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We Out of Many - First-Person Plural Narration in 21st-Century American Novels

Dissertation Project by
Michaela Beck

My PhD project focuses on what has been described as the ‘rise’ of the ‘we’ narrator in recent U.S. literature (Maxey 2015, Cf. Costello 2012) – that is, the use of the first-person plural narrator in a growing body of short and longer narrative fiction, including Kate Walbert's Our Kind (2005), Joshua Ferris's Then We Came to the End (2007), Hannah Pittard's The Fates Will Find Their Way (2011), and TaraShea Nesbit's The Wives of Los Alamos (2014), among others. 

More specifically, my dissertation examines this ‘we’, or communal narrator in a selection of six 21st-century (post-postmodern) U.S. American novels with a decided focus on its cultural work. Drawing on New Formalist approaches (Olson and Copland 2016, Levine 2015), I aim to conjoin two (hitherto discrete) strands of research in my project: For one, I employ formalist-narratological discussions of the ‘we’ narrator – particularly approaches by Margolin, Bekhta, Marcus, Fludernik, and Richardson – for a precise discussion of the framing and narrative use of the first-person plural pronoun in the primary texts. Importantly, in doing so, I seek to detach the formal discussion of the ‘we’ narrator in my project from the ‘unnatural’ versus natural narrative debate (Cf. Richardson 2006, 2015), and I read the communal narrator as a textual form whose meta- and/or extratextual implications necessarily depend on its specific aesthetic as well as socio-cultural frames of reference.

At the same time, my project aims to enquire into these implications by focusing specifically on the interaction between the affordances of this form and socio-cultural, economic, or political discourses or ‘forms’ (Cf. Levine 2015) in a contemporary U.S. American context. As such, the individual textual analyses within my project zoom in on the inter-relation between the different form(ulation)s of the communal narrator and the discussion of the following socio-political and cultural paradigms in the primary material: first, the conceptualization of U.S. national society as a complex, yet bounded ‘whole’; second, the proposition of attached notions of civic collectivity and national belonging which are premised on both cognitive and affective ties; and third, the idealized understanding of the American (post-postmodern) novel as a prestigious and most vital medium and forum for negotiating these paradigms in and for U.S. culture.

The Invective Mode in Contemporary US-American Television: Sitcoms

Dissertation Project by
Katja Schulze

In my thesis, I want to analyze the formal principles, media-specific realizations, and social andpoliticalresonances of invectivity in contemporary situation comedies.Through a comparative analysis and close reading of a broad corpus of materials (e.g. Parks and Recreation, The Comeback, Life in Pieces, 30 Rock, etc.), I hope to be able to see larger patterns of invective strategies and certain conventions that define the dynamism of the comedic genre and its developments. For this, I will focus on where the poetics of the material rely on moments of invectives, formally describe them in their bandwidth of symbolic abuse, as well as examine their social connotations. Another crucial point will be the affective rhythms and the role of laughter in the comedic audiovisual material. Humor strategies that largely depend on a discourse of superiority and embarrassment will be of particular interest. Following Thomas Hobbes’ deliberations that “laughter is always antagonistic and conflictual [and establishes] a hierarchy at the moment of pleasure” (Scott 127),[1] comedy and laughter can be seen as a means to demarcate and exert power. This, again, leads the way to a thorough analysis of group formation processes and their dynamics on the basis of normative discourses of identity (race, class, gender). By answering these questions, I hope to contribute to comedic research in general, our sub-project’s aims in popular culture, and to the CRC’s large-scale theory of invectivity.

Narrative Liminality and/in the Formation of American Modernities

This DFG-funded network proposes the notion of "narrative liminality" as a category for the study of US American culture.

Poetics of Politics: Textuality and Social Relevance in Contemporary American Literature and Culture

Herrmann, Sebastian M., Carolin Alice Hofmann, Katja Kanzler, Stefan Schubert, and Frank Usbeck, eds. Poetics of Politics: Textuality and Social Relevance in Contemporary American Literature and Culture. Heidelberg: Winter, 2015. Print. American Studies - A Monograph Ser. 258.

Objectivism, Narrative Agency, and the Politics of Choice in the Video Game BioShock

Schubert, Stefan. "Objectivism, Narrative Agency, and the Politics of Choice in the Video Game BioShock." Poetics of Politics: Textuality and Social Relevance in Contemporary American Literature and Culture. Ed. Sebastian M. Herrmann et al. Heidelberg: Winter, 2015. 271-89. Print.

'Lose Yourself': Narrative Instability and Unstable Identities in Black Swan

Schubert, Stefan. "'Lose Yourself': Narrative Instability and Unstable Identities in Black Swan." COPAS 14.1 (2013): 1-17. Web.

Wrestling With the Real

Herrmann, Sebastian M. “Wrestling with the Real: Politics, Journalism, History in Frost/Nixon, and the Complex Realism of Kayfabe.” Amerikastudien – American Studies 61.1 (2016): 11-31. Print.

Participating Audiences, Imagined Public Spheres

Herrmann, Sebastian M., Carolin Alice Hofmann, Katja Kanzler, and Frank Usbeck: Participating Audiences, Imagined Public Spheres: The Cultural Work of Contemporary American(ized) Narratives. Leipzig: Leipziger Universitätsverlag, 2012. Print.

Presidential Unrealities

Herrmann, Sebastian M. Presidential Unrealities: Epistemic Panic, Cultural Work, and the US Presidency. Heidelberg: Winter, 2014. Print. American Studies - A Monograph Series.

Narrative Instability in Contemporary US Popular Culture

Dissertation project by
Stefan Schubert

This (completed) dissertation project investigates contemporary US popular culture for what it terms ‘narrative instability.’ The project identifies a narrative trend since the 1990s among popular media to engage in instability in their narration: Such texts obfuscate and hinder narrative comprehension through fragmented, distorted, or unreliable narrations that complicate—and thus draw attention to—the process of (re)constructing a text’s storyworld. Significantly, unlike novels of ‘high’ postmodernism, which serve as the forebears of this trend, these contemporary unstable texts have attained widespread commercial popularity among different media. The project thus examines this phenomenon as a transmedia trend by looking particularly at contemporary films (e.g., Fight Club, Inception), TV series (e.g., Westworld), and video games (e.g., Alan Wake, BioShock Infinite), while also pointing to contemporary novels that work similarly and have, in turn, been influenced by these ‘newer’ media (e.g., House of Leaves, People of Paper).

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