The present thesis about the Austrian writer Hans Carl Artmann (1921--2000) argues that his literary work is designed by a structuralist imagination in the sense of a reasoning that corresponds to linguistic structuralism that is based on Saussurean semiology. The study is divided in four sections. The first section provides introductory chapters on Artmann's biographic context, the scholarly context, and the cultural context of Austrianness. The second section discusses methodological implications that are relevant for theorizing postmodernity in general and Artmann's postmodernity in a particular sense. Given that Artmann's strong potential for postmodernity can be principally characterized by many different theories and notion of postmodernity, the study selects a narrow definition of postmodernity as bi-paradigmatic irony. The third section analyzes Artmann's three aesthetic principles (synchrony, arealism, smallness) and examines their relation to rhetoric, on the basis of which three typical categories of signs (aliens, angels, monsters) are proposed to be characteristic of his work. Taking into account Artmann's aesthetic principles, the fourth section applies the selected definition of postmodernity in terms of bi-paradigmatic irony to three prose texts (dracula dracula, tok ph'rong suleng, Grunverschlossene Botschaft).

Euclid presents the essential of mathematics in a manner which has set a high standard for more than 2000 years. This book, an explanation of the nature of mathematics from its most important early source, is for all lovers of mathematics with a solid background in high school geometry, whether they be students or university professors.

Newly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmann’s groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre. In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic theory and theatre history, as an inventive response to the emergence of new technologies, and as an historical shift from a text-based culture to a new media age of image and sound. Engaging with theoreticians of 'drama' from Aristotle and Brecht, to Barthes and Schechner, the book analyzes the work of recent experimental theatre practitioners such as Robert Wilson, Tadeusz Kantor, Heiner Müller, the Wooster Group, Needcompany and Societas Raffaello Sanzio. Illustrated by a wealth of practical examples, and with an introduction by Karen Jürs-Munby providing useful theoretical and artistic contexts for the book, Postdramatic Theatre is an historical survey expertly combined with a unique theoretical approach which guides the reader through this new theatre landscape.

"In addition to providing a much-needed resource for artists, teachers, and collectors, this book will form a bridge between book artists and their audience by providing ready access to information about a much discussed but little known art form."--Book jacket flap.

Space, Place and Poetry in English and German, 1960-1975 examines the work of Paul Celan, J. H. Prynne, Derek Mahon, Sarah Kirsch, Edwin Morgan and Ernst Jandl, bringing together postwar English- and German-language poetry and criticism on the theme of space, place and landscape. Nicola Thomas highlights hitherto underexplored connections between a wide range of poets working across the two language areas, demonstrating that space and place are vital critical categories for understanding poetry of this period. Thomas’s analysis reveals weaknesses in existing critical taxonomies, arguing for the use of ‘late modernist’ as a category with cross-cultural relevance, and promotes methodological exchange between the Anglophone and German traditions of landscape, space and place oriented poetic criticism, to the benefit of both.