Fakultät Geistes- und Kulturwissenschaften

Lehrstuhl für Englische Literaturwissenschaft

Publications

Monographs

The English Crime Play in the Twentieth Century (Palgrave Macmillan, 2015)

Shakespeares Komödien aus der Sicht der Pragmatischen Kommunikationstheorie (Münster: LIT, 1998)

 

Essays

"Somebody Else's Poem: Kipling's 'Wireless' and 'Dayspring Mishandled' and Their Accompanying Poems", Connotations 24.2 (2014/15) 169-86.

"Crossing Borders – the Example of Michael Frayn's Afterlife", Anglo-German Theatrical Exchange, ed. Rudolf Weiss (Leiden und Boston: Rodopi, 2015) 149-70.

"Conservative and Countercultural Elements in Tim Burton's The Nightmare before Christmas", The Politics of Contemporary Fantasy, ed. Angela Sedlmaier, Gerold Sedlmayr, Nicole Waller, (Jefferson: MacFarland, 2014) 43-56.

"Othello – ein Drama in Schwarz und Weiß? ", Tatort Kultur – Atelier-Gespräche II, ed. Sabine Coelsch-Foisner (Salzburg: Pustet, 2013) 171-77.

"Dead Bodies on Stage", Journal of Contemporary Drama in English 1:1 (2013) 43-53.

"Sister Arts? Alfred Hitchcock und das Londoner Theater der 1920er und 1930er Jahre", in: Hitchcock und die Künste, ed. Henry Keazor (Marburg: Schüren, 2013) 67-82.

"A New Variation on the Alien Invasion Theme – Neill Blomkamp's District 9", New Directions in the European Fantastic, ed. Sabine Coelsch-Foisner und Sarah Herbe (Heidelberg: Winter, 2012) 129-37.

"Unreliable Narration and Film – Asylum, Notes on a Scandal, Atonement", in: Anglistentag 2009, ed. Jörg Helbig und Adi Wimmer (Trier: WVT, 2010) 211-223.

"The Unco Tales of Robert Louis Stevenson in German Translation", International Journal of Scottish Literature 7 (Herbst/ Winter 2010)

"Point of View in Atonement – Novel and Film", Anglistik 21:2 (2010) 83-91.

"From Screen to Stage: The Case of The 39 Steps", in: Adaptations – Performing across Media and Genres, ed. Monika Pietrzak-Franger und Eckart Voigts-Virchow (Trier: WVT, 2009) 143-58.

"Embodiments of Evil in the 'Entertainments' of Graham Greene", in: Representations of Evil in Fiction and Film, ed. Jochen Achilles und Ina Bergmann (Trier: WVT, 2009) 95-108.

"Amadeus and Narrative Unreliability", in: Mozart in Anglophone Cultures, ed. Sabine Coelsch-Foisner, Dorothea Flotow und Wolfgang Görtschacher (Frankfurt: Peter Lang, 2009) 25-36.

"Learning from Animals: T.H. White's King Arthur", in: Anglistentag 2007, ed. Klaus Stierstorfer (Trier: WVT, 2008) 85-94.

"Assumed Identity: Agatha Christie's Novels Adapted for the Stage", in Questions of Identity in Detective Fiction, ed. Linda Martz und Anita Higgie (Newcastle: Cambridge Scholars Publishing, 2007) 191-202.  

"The 'Desire to See the Real Man behind the Author' – Looking for Autobiographical Elements in Vladimir Nabokov's Fiction", in Fiction and Autobiography – Modes and Models of Interaction, ed. Sabine Coelsch-Foisner und Wolfgang Görtschacher (Frankfurt: Peter Lang, 2006) 209-20.

"The Moon's an Arrant Thief – Self-Reflexivity in Nabokov's Pale Fire", in: Self-Reflexivity in Literature, ed. Werner Huber, Martin Middeke und Hubert Zapf (Würzburg: Königshausen und Neumann, 2005) 113-23.

"Politically Correct Shakespeare: The Treatment of Political Issues in Productions of The Merchant of Venice and The Taming of the Shrew", in Not of an Age, But for All Time: Shakespeare Across Lands and Ages, ed. Sabine Coelsch-Foisner und György Endre Szönyi (ASE, Braumüller, 2004) 213-27.

"Painting and Writing in Michael Frayn's Headlong", in Anglistentag 2003, ed. Hans Sauer (Trier: WVT, 2004) 211-20.

"The Lives of Galileo: Laughton, Brenton and Hare Translate Brecht", in Drama Translation and Theatre Practice, ed. Sabine Coelsch-Foisner und Holger Klein (Frankfurt: Peter Lang, 2004) 435-53.

"Representations of the British Legal System in Twentieth-Century Popular Courtroom Drama", in In the Grip of the Law: Trials, Prisons and the Space Between, ed. Monika Fludernik und Greta Olson (Frankfurt: Peter Lang, 2004) 65-82.

"Rediscovered Country: Tom Stoppard's Austrian Plays", in Austria and Austrians: Images in World Literature, ed. Wolfgang Görtschacher und Holger Klein (Tübingen: Stauffenburg, 2003) 171-82.

"Speaking Shakespeare – The Problems of Verse in Performance", in Meter, Rhythm and Performance – Metrum, Rhythmus, Performanz, ed. Christoph Küper (Frankfurt: Peter Lang, 2002), 229-38.

"Stoppard's Wilde – Travesty and Invention", in The Importance of Reinventing Oscar, ed. Uwe Böker, Richard Corballis und Julie Hibbard (Amsterdam: Rodopi, 2002), 189-95.

"The Private Life of Robert Browning, According to Henry James", in Public and Private Voices in Victorian Poetry, ed. Sabine Coelsch-Foisner und Holger Klein (Tübingen: Stauffenburg, 2000) 79-88.

"Rosencrantz and Guildenstern Go to the Movies, or: What Happens to Hamlet", in Elizabethan Literature and Transformation, ed. Sabine Coelsch-Foisner (Tübingen: Stauffenburg, 1999), 253-61.

"Race, Religion and the Group Process: The Plays of David Edgar", in Race and Religion in Contemporary Theatre and Drama in English, ed. Bernhard Reitz (Trier: WVT, 1999), 43-54.

 

Shorter contributions, reviews, etc.

"Krimi pa scenen – krimi pa papiret" (übersetzt von Mette Garfield), Teater1 176 (2016) 36-39.

"On Poets, Poets' Critics, and Critics' Critics: A Response to Maurice Charney and Thomas Kullmann", Connotations 25.1 (2015/2016): 108-34.

Rezension von Christine Müller-Scholle, Rudyard Kipling oder die Welt als Maskenball, Kipling Journal (Dezember 2015)

"Writing Backwards—Writing Forwards: A Response to Philipp Erchinger", Connotations 21.1 (2011/12): 28-36.

Einträge zu Edgar Wallace, "Die Kriminalromane", "Biogramm" und The Gaunt Stranger in Kindlers Literaturlexikon

Rezension von Gabriela Holzmann, Schaulust und Verbrechen: Eine Geschichte des Krimis als Mediengeschichte 1850-1950, Archiv der neueren Sprachen und Literaturen 242 (1/2005) 194-196.

 

In preparation

"Das Motiv des Wahnsinns in Shakespeares Tragödien und Komödien", WahnSinn in der Literatur und den Künsten, ed. Gerhard Penzkofer und Irmgard Scharold, Königshausen und Neumann.

"Ostranenie in the Detective Fiction of G. K. Chesterton"

"The Confines of the Well-Made Play in Noёl Coward’s Hay Fever"