Orbis Litterarum

Publisher: Wiley

Journal description

Orbis Litterarum is an international journal devoted to the study of European and American literature. Concentrating on literary theory and the principles of literary history and criticism Orbis Litterarum publishes articles of a theoretical nature and analyses of specific works genres periods etc.

Current impact factor: 0.00

Impact Factor Rankings

Additional details

5-year impact 0.00
Cited half-life 0.00
Immediacy index 0.00
Eigenfactor 0.00
Article influence 0.00
Website Orbis Litterarum website
Other titles Orbis litterarum (Online)
ISSN 1600-0730
OCLC 47651471
Material type Document, Periodical, Internet resource
Document type Internet Resource, Computer File, Journal / Magazine / Newspaper

Publisher details


  • Pre-print
    • Author can archive a pre-print version
  • Post-print
    • Author cannot archive a post-print version
  • Restrictions
    • 2 years embargo
  • Conditions
    • Some journals have separate policies, please check with each journal directly
    • On author's personal website, institutional repositories, arXiv, AgEcon, PhilPapers, PubMed Central, RePEc or Social Science Research Network
    • Author's pre-print may not be updated with Publisher's Version/PDF
    • Author's pre-print must acknowledge acceptance for publication
    • Non-Commercial
    • Publisher's version/PDF cannot be used
    • Publisher source must be acknowledged with citation
    • Must link to publisher version with set statement (see policy)
    • If OnlineOpen is available, BBSRC, EPSRC, MRC, NERC and STFC authors, may self-archive after 12 months
    • If OnlineOpen is available, AHRC and ESRC authors, may self-archive after 24 months
    • Publisher last contacted on 07/08/2014
    • This policy is an exception to the default policies of 'Wiley'
  • Classification
    ​ yellow

Publications in this journal

  • [Show abstract] [Hide abstract]
    ABSTRACT: During the interwar period, bilingual Belgium found itself in an existential crisis. In the 1920s and 1930s, growing linguistic conflicts between Dutch- and French-speakers criticized the legitimacy of a unified Belgian nation and a solid national identity. In cultural life, that is in literary and artistic journals, in the course of arts exhibitions, in theatre life and in academies of fine arts, the validity of diverse cultural identities within Belgium was debated. Consequently, cultural and linguistic borders were shifting. In this article, the circulation of cultural identities in a conflicted bilingual country is analysed through the examination of the cultural transfers of one cultural mediator, Gaston Pulings. As a mediator, Pulings constantly transgressed political-cultural, linguistic and artistic borders and his cultural practices were largely related to the construction, promotion or rejection of diverse cultural identities.
    Orbis Litterarum 10/2015; 70(5). DOI:10.1111/oli.12075
  • Orbis Litterarum 10/2015; 70(5). DOI:10.1111/oli.12105
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    ABSTRACT: The debate about the relevance of the marriage theme in the late Middle Ages has been ongoing for a long time. We are still collecting data to establish a solid paradigm for future discussions about this topic. The current article examines two highly popular prose novels, Thüring von Ringoltingen's Melusine (1456) and the anonymous Fortunatus (1509) where the married life of the protagonist gains much more traction in the narrative development than in previous courtly romances. Most importantly, both authors place significant emphasis on the role of the family and portray their characters as situated in the network of smaller social units consisting of parents and children only. We can thus recognize the meaningfulness of the new genre of the prose novel (Volksbuch) in the public discourse about family and kinship during the late Middle Ages.
    Orbis Litterarum 10/2015; 70(5). DOI:10.1111/oli.12070
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    ABSTRACT: Taking as my starting point the intermedial idea that all literary texts exhibit some kind of medial mixture, the article argues that Vladimir Nabokov's formally exquisite and existentially moving short story “Spring in Fialta” (which I analyze in Nabokov's own English translation from Russian) is best understood when it is considered a mixed mediality text. I hope to demonstrate the general idea that when a conventionally literary text is being read as a medially mixed text the role of media turns out to be crucial for the understanding of the entire text. More specifically, I shall argue that the schism between artistic representation and life in itself, condensed into the problem of how to represent and recall memory traces, is a major theme in “Spring in Fialta.”1
    Orbis Litterarum 10/2015; 70(5). DOI:10.1111/oli.12074
  • Orbis Litterarum 10/2015; 70(5). DOI:10.1111/oli.12098
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    ABSTRACT: Although Plato's Utopia or ideal city is the non-place that holds the promise of perfection, it remains the place in which citizens are categorized by a rigid structure. José Saramago, on the other hand, introduces us to a dystopia in his novel Blindness, in which one event leads to the ruin of a city. Yet, as with Plato's Utopia, a similar desirable separation by the higher authorities is enacted. When a strange ailment leads to the blindness of some of the citizens, we begin to witness the disintegration of both the human and the city. In The Cave, which reverberates with Plato's “Simile of the Cave,” Saramago provides an unrelenting criticism of a city's landscape that is changed by a blind capitalist system. In this unnamed city, imitation is more valued than the real. In the simile, Plato questions what would become of the dwellers of the cave if one were to see beyond the screen. In Saramago's novel, the lone potter is the one who is able to see beyond the shadows.
    Orbis Litterarum 06/2015; 70(3). DOI:10.1111/oli.12067
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    ABSTRACT: Stefan Zweig's novella Brief einer Unbekannten continues to draw critical and popular interest for its intriguing contents. The article explores the performativities relating to social status and then discusses its culturally and cinematically distinct representations in the Hollywood adaptation by Max Ophüls (1948) and the film by Chinese director Xu Jinglei (2004). This approach suggests that the novella consists of two interwoven narrative threads, one devoted to the theme of unrequited love and the other to the development of Aladdin's “rags to riches” motif linked to the performativities of social status. The challenge for a film adaptation is the creation of a visual representation that will retain the impassioned voice speaking from the written text. Ophüls shifts the narrative and performativities toward a melodramatic romance with an ending that plays into the practical expectations of Hollywood. Xu is concerned not with the relief from an emotional condition but with feudal mentalities.1
    Orbis Litterarum 06/2015; 70(3). DOI:10.1111/oli.12063
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    ABSTRACT: Moritz's fictionalized autobiography Anton Reiser is a psychological novel primarily concerned with the significance of the imagination in personal development, pedagogy and identity formation. By clarifying the influence of the experience of time and space on the imagination, Moritz's analysis of the imagination makes a significant contribution to empirical psychology. Bakthin's theory of the chronotope is applied in this reading in order to show that the realism of the novel consists in its evocation of the protagonist's experience of his own situatedness, and to illuminate the architectonics of the novel, those processes by which it is constituted as an aesthetically formed whole. The reading demonstrates the full implications of Moritz's decision to make the novel – an aesthetic form – the vehicle for a pursuit of psychological insight in which the reader's imagination is enlisted in the process of enlightenment.
    Orbis Litterarum 06/2015; 70(3). DOI:10.1111/oli.12069
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    ABSTRACT: Was ist der Mensch und was ist ihm der Affe? In diesem Aufsatz wird der Fokus auf die subtile Konstruktion einer Affinität von Frauen und Affen in Goethes Roman gelegt. Vor dem Hintergrund anthropologischer Umbrüche und gesellschaftspolitischer Veränderungen rücken Affen und Frauen in eine überraschende Nähe zueinander: Durch ihre Beschäftigung mit Affen werden Luciane und Ottilie zu Repräsentationen einer Auseinandersetzung mit Diskursen, die Affen und Frauen im Zuge einer krisenhaften Epochenschwelle um 1800 unter der Drohung des Monströsen zu Topoi der Differenzierung werden lassen. Anhand dieser Beschäftigung mit Affen zeigt sich die Ablösung alter durch neue Geschlechterrollen ebenso wie die Instrumentalisierung des Affen für die Überschneidungsmengen von ästhetischen, Bildungs- und Geschlechterdiskursen. Dabei wird der Affe als nächster Verwandter des Menschen zum sittlichen Problem für ein neues Frauenideal.
    Orbis Litterarum 04/2015; 70(2). DOI:10.1111/oli.12048
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    ABSTRACT: In this essay, I approach Suzan-Lori Parks's The Death of the Last Black Man in the Whole Entire World from the perspective of postmodern drama so as to explore a number of key preoccupations of postmodern aesthetics in this play. I argue how the creation of indeterminacy enables Parks to develop an indeterminate representation of history and exercise the African Americans' resistance against the hierarchies of power. In addition, I argue that the use of postmodern aesthetics helps the playwright to create a postmortem state so as to proffer alternative perspectives, which can resist and eventually break the monophony and monopoly of the dominant discourse. I finally show how the employment of the theories of postmodern drama helps Parks to represent a typical image of a media-saturated society and to direct and throw her energies into undermining a number of dominant metanarratives, ill-propaganda, and negative stereotypes, which have been created by media and have afflicted African Americans in their personal and social lives. It is worth noting that the focus of my analysis is on the terrains that reflect the playwright's quest for identities for African Americans.1
    Orbis Litterarum 04/2015; 70(2). DOI:10.1111/oli.12066
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    ABSTRACT: This article reads the motifs of repetition and reincarnation in E. L. Doctorow's Ragtime alongside the text's appraisal of mechanical reproduction in the years of the Second Industrial Revolution, the so-called Gilded Age of American wealth and collective buoyancy. As this article argues, Doctorow provocatively combines authentic and artificial histories of three icons of mechanical reproduction as a means to test his narrator's understanding of self as much as of history. In overlaying authentic and artificial histories of mechanical reproduction, the novel evaluates what might potentially fill the void in emptied-out mechanical art, and defines the iterability of humans as an unsustainable industrial and aesthetic fantasy.
    Orbis Litterarum 04/2015; 70(2). DOI:10.1111/oli.12060
  • Orbis Litterarum 02/2015; 70(1). DOI:10.1111/oli.12086
  • Orbis Litterarum 02/2015; 70(1). DOI:10.1111/oli.12058
  • Orbis Litterarum 02/2015; 70(1). DOI:10.1111/oli.12083
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    ABSTRACT: This article examines the fiction writing of two American authors, James A. Michener and John Oliver Killens, and asks how the American ‘occupation’ of Australia during the Second World War featured, or failed to feature, in their writings. The Second World War arguably remains the watershed moment in which American servicemen and Australians from all walks of life entered into a prolonged awareness of one another, courtesy of the presence of around a million enlisted Americans who passed through Australia on their way to the war against Imperial Japan. In his short story ‘The Jungle’, Michener structured international gender relations in ways that anticipated his novel Sayonara (1954), allowing the reader to draw parallels between the American–Australian and American–Japanese social dynamic but also subordinating the wartime social history of Australia to American current affairs. For his part, Killens was likewise preoccupied with American social history, specifically the rights of enlisted African-American servicemen. His novel And Then We Heard the Thunder (1963) deployed Australian characters in a race war fantasy that had hitherto imagined an alliance between African Americans and Japanese. In summary, Michener and Killens both subordinated Australian wartime history to American current affairs, albeit with different literary objectives in mind.
    Orbis Litterarum 02/2015; 70(1). DOI:10.1111/oli.12045
  • Orbis Litterarum 02/2015; 70(1). DOI:10.1111/oli.12079
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    ABSTRACT: During half of the twentieth century, the socialist states in Eastern and Central Europe functioned as a political Other that helped shape collective identities in the USA. The collapse of the socialist regimes in the early 1990s opened up a new territory for economic, personal and imaginary investments. This territory was soon explored by a number of American novels: John Beckman's The Winter Zoo (2002), Dave Eggers's You Shall Know Our Velocity (2002), Jonathan Safran Foer's Everything Is Illuminated (2002), Jonathan Franzen's The Corrections (2001), William Gibson's Pattern Recognition (2003), Arthur Phillips's Prague (2002) and Gary Shteyngart's The Russian Debutante's Handbook (2002). This article argues that in these novels post-communist Eastern Europe functions as a region off the symbolic map, a wilderness, often violent, replete with traces of an insistent past. The novels often view the American travellers’ encounters with this landscape through the codes of the American Gothic and Western genres. Thus, the novels frame their investigations of the legacy of authoritarianism, the possibility of cross-cultural encounters and the consequences of globalisation in literary modes that ultimately refer back to an American cultural tradition and give rise to critical reflections on the formation of American identity after the Cold War.
    Orbis Litterarum 02/2015; 70(1). DOI:10.1111/oli.12046
  • Orbis Litterarum 02/2015; 70(1). DOI:10.1111/oli.12081
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    ABSTRACT: Although they are completely different types of works, Giorgione's painting, La tempesta (1508) and Charles Baudelaire's poem “Correspondances” (1857) from his collection Les fleurs du mal seem to provoke a similar sense of mystery in the viewer/reader. If we can clearly see what the two works “represent” in the sense of images, their meaning and/or purpose seem to evade us when we try to close-read them. Using a contrastive method inspired by the lingusitic theory of the same name to compare their effect, we will try to show how this artificial proximity can enable us to analyze works that seem to “resist” our hermeneutical desire and build a critical discourse based precisely on this resisting, following in the foosteps of Arnaud Rykner.1
    Orbis Litterarum 12/2014; 69(6). DOI:10.1111/oli.12047
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    ABSTRACT: Don Paterson's Orpheus (2006) is an English-language version that transmutes Rilke's original Die Sonette an Orpheus (1922). Abandoning the imperative for prosodic equivalence and claiming instead to locate the ‘spirit of the original’, Paterson's sonnets can be reread as performing peculiar linguistic enactments of poetic truths exigent (philosopher Martin Heidegger claims) in Rilke's sonnets. In the essay ‘Poetically man dwells’, Heidegger claims ‘Poetry is a measuring’ and that the ‘nature of the image is to let something be seen’; elsewhere, the philosopher argues Rilke's work performs an illuminating projection of lexis (words) and logos (order, knowing). In his version, however, Paterson foregrounds variation when ushering the spirit of Rilke's images into English sounds: through a range of creative decisions (poiesis, techné, ekphrasis), the contemporary poet achieves gestural equivalence through his radical rewriting of Rilke's glimpsed truths.1
    Orbis Litterarum 12/2014; 69(6). DOI:10.1111/oli.12049