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"The future is open": This is a basic assumption of modernity. It originated in the 18th century and still shapes our self-image today. This study uncovers another tradition: the effort to close the future again, to 'fill it up' with orders, models and political expectations. The theoretical and literary procedures of this closure from the period around 1800 recur in later phases of modernity as well. Mit der ,Sattelzeit' und den gesellschaftlichen Transformationen um 1800 wird für gewöhnlich das Ende determinierter Zukunftserwartungen und der Beginn eines modernen, offenen Zukunftsdenkens verbunden. Diese Studie revidiert das Modernenarrativ der offenen Zukunft, indem sie den theoretischen und literarischen Schließungsverfahren nachgeht, mit denen die Lücke zwischen Erfahrungsraum und Erwartungshorizont im ausgehenden 18. Jahrhundert unmittelbar wieder geschlossen werden sollte. Eine Verfahrensanalyse von Poetiken, Ästhetiken, Geschichtsphilosophie, Staatstheorie und Historiographie, von literarischen, probabilistischen, protobiologischen und kunsttheoretischen Schriften zeigt, dass die Schließung der offenen Zukunft keine spätere ,Entgleisung' der Moderne ist, sondern zur Grundstruktur ihrer Denkformen und Wissensordnungen gehört und als solche auch in den nachfolgenden Jahrhunderten regelmäßig wiederkehrt. Die Analysen legen die Modelle, Systematiken und Semantiken der Schließung künftiger Zeit frei: von Baumgarten bis Gumbrecht, von Lessing bis Milo Rau. Damit reformulieren sie Grundannahmen der literartur-, geschichts- und sozialwissenschaftlichen Zukunftsforschung.

Future, The, in literature. --- Future in literature

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"Ovid's Fasti offers multifocal views of Augustan religion to convey ambivalences, inconsistencies and paradoxes in the imperial family's religious agenda. Darja Sterbenc Erker explores Ovid's irreverent and ambiguous presentations of calendrical aeitiologies, deifications and imperial gods that humorously call to mind Arachne's tapestry depicting faulty gods and that stand in sharp contrast to the poet's more serious discussions of the values he cherishes, such as freedom and poetic immortality. Especially in the exilic revisions of the poem, Ovid emphasises the motif of bestowing divine honours upon mortals through poetry. For him, the stars in the heavens do not represent deified statesmen but immortal authors".

Ambiguity in literature. --- Ovid, --- Augustus, --- In literature.

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Although the traditions of ‹i›philia‹/i› and ‹i›amicitia‹/i› proclaim friendship as a universal concept, it has been an androcentric model until the emergence of the female friend in the Age of Enlightenment. This book analyzes the discursive turn from premodern to modern gendered constructions of friends in Spanish literature and sheds light on specific models of male, female, and mixed relationships in the seventeenth and eighteenth century. Our approach reveals the gendering of male friendship through the exclusion of women and shows the crucial moment when women appear capable of true friendship. The study traces the process of transition from a homosocial bond based on a feudal notion of honor in the ‹i›Siglo de Oro‹/i› to new forms of affective relations in a proto-bourgeois society that promotes equality, reason and citizenship. This book spans two centuries of friendship and scrutinizes the creation of specifically gendered social bonds in literary and theoretical frameworks ranging from political writing to poetry, and from the working classes to the intellectual elites. Through ‹i›novellas‹/i›, novels, plays, poems, moral weeklies, and letters by female and male authors, every chapter examines a specific concept of fe/male friends related to society, politics, ethics, subjectivity, courtly culture, family and marriage structures. Thus, the book demonstrates the very act of gendering as it relates to friendship as one of the most important forms of social interaction.

Friendship in literature. --- Gender identity in literature.

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In Open Book in Ways of Water, poet and artist Adam Wolfond explores the synaesthetic quality of autistic perception, the way in which water in its different materializations shapes and channels language. Building on notions such as "wetness," "streams," and "currents," Wolfond constructs a linguistic universe in which writing and perception merge, move, and "pace to gether" - echoing both the togetherness of the senses and the gathering rhythms of water. Open Book in Ways of Water is as much a book of poetry and a book about poetry, a self-reflection in an endlessly moving and transforming element. As the author himself explains: Language is a way to understand each other but it is also reductive in the ways that it is abstracted and non-sensuous, and open writing as movement tends to be ignored as autistics are forced into neurotypical ways of seeing, and the thinking around artistic practices feels of a pace that intensifies the use of forms forming, and similarities with open processes are languaging the way of water, making language about artful relations with the more than human. Water is a game of ways and patterns that wave and ripple and can pull us under, the talk is about surfacing but languaging is about feeling, moving the ways that it makes are having variances moving the thresholds in thinking feeling of a rally that comes from cutting the grammars out and that is the way of perception that is cut by grammar and people need art to dance this dance of relation. A man of autism answers the ways of the body much of the time and that means my body rallies the artful atmospheres that are dancing me and the real feeling can dance the atmospheres as my body presence and pace shifts other bodies to be free. Having a ticcing body is making the dance about disorder but really it is about a different and diverse way of languaging with many feelings and bathing and immersing and I don't have any other way.

Autism in literature. --- Water

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Railroad travel in literature.