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Spellbound Beginnings and Endings in American Literature and Film

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Spellbound Beginnings and Endings in American Literature and Film Spellbound Beginnings and Endings in American Literature and Film Lecturer: Univ.-Prof. Dr. Stefan Brandt Course number: 512.312 Winter Term 2016/17 Selected Bibliography Primary Sources Films Annie Hall. Dir. Woody Allen. United Artists, 1977. Boyhood. Dir. Richard Linklater. Universal Pictures, 2014. Butch Cassidy and the Sundance Kid. Dir. George R. Hill. 20th Century Fox, 1969. Fight Club. Dir. David Fincher. 20th Century Fox, 1999. Inception. Dir. Christopher Nolan. Warner Bros. Pictures, 2010. Jaws. Dir. Steven Spielberg. Universal Pictures, 1975. Magnolia. Dir. Paul T. Anderson. New Line Cinema, 1999. Manhattan. Dir. Woody Allen. United Artists, 1979. Once Upon A Time in America. Dir. Sergio Leone. Warner Bros. Pictures, 1984. Psycho. Dir. Alfred Hitchcock. Paramount Pictures, 1960. Saw. Dir. James Wan. Lionsgate Films, 2004. Seven. Dir. David Fincher. New Line Cinema, 1995. Source Code. Dir. Duncan Jones. Summit Entertainment, 2011. Thelma & Louise. Dir. Ridley Scott. MGM, 1991. The Sixth Sense. Dir. M. Night Shyamalan. Buena Vista, 1999. Literary Sources Auster, Paul. The Brooklyn Follies 2005. London: Faber and Faber, 2011. Bellow, Saul. The Adventures of Augie March. 1949. New York: Penguin, 2001. Ellis, Bret Easton. American Psycho. New York: Vintage Books, 1991. Ellison, Ralph. Invisible Man. 1952. London: Penguin Classics, 2001. Harnid, Mohsin. The Reluctant Fundamentalist 2007. London: Penguin Books, 2008. Hemingway, Ernest. A Farewell to Arms. 1929. London: Vintage, 2013. Johnson, James Weldon. The Autobiography of an Ex-Colored Man. 1912. Ed. and Introd. William L. Andrews. New York: Penguin, 1990. Keller, Hellen. The Story of My Life. 1904. New York: Bantam Classic, 2005. Kincaid, Jamaica. The Autobiography of My Mother. 1996. New York: FSG Books, 2013. McInerney, Jay. Bright Lights, Big City. 1984. London: Vintage Books, 2006. Monette, Paul. Becoming a Man: Half a Life Story. San Francisco: Harper, 1992. Morrison, Toni. Beloved. 1987. London: Vintage Books, 2004. Morrison, Toni. Jazz. 1992. London: Vintage Books, 2005. Morrison, Toni. Paradise. 1997. London: Vintage Books, 1999. Salinger, J.D. The Catcher in the Rye. 1951. London: Penguin Books, 1994. Shteyngart, Gary. Super Sad Love Story 2010. New York: Random House, 2011. Sinclair, Upton. The Jungle. 1906. New York: Simon & Schuster, 2009. Solomon, Barabara H. ed. The Awakening and Selected Stories of Kate Chopin. New York: Signet Classics, 1976 Twain, Mark. Adventures of Huckleberry Finn. 1884. London: Penguin Books, 2003. Updike, John. Terrorist 2006. London: Penguin Books, 2007. Vonnegurt, Kurt. Slaughterhouse Five 1969. New York: Dell Publishing, 1991. Wright, Harold Bell and Elsbery W. Reynolds. When A Man’s a Man. 1916. Louisiana: Pelican Pouch, 2012. Secondary Sources Ashton, Paul. The Calling Card: A Writer’sToolbox for Stage, Screen and Radio. London: A&C Black, 2011. Backus, Joseph M. “’He came into her line of vision walking backward‘. Nonsequential sequence-signals in short story openings“. Language Learning, vol. 15, 1965, pp. 67-83. Beck, Harald. Roman-Anfänge. Rund 500 erste Sätze. Excerpiert und wohlsortiert von Harald Beck. Zürich: Haffmans, 1992. Bennett, James R. “Beginning and Ending. A Bibliography.” Style, vol. 10, 1976, pp. 184-188. Bennett, James R. and Richard L. Lindell II. “The Ending of Filmed Adaptions of Literature 1946-1977”. Studies in Popular Culture, vol. 2, no. 1, 1978, pp. 59-76. Birus, Hendrik. “Raabes Erzählanfänge aus komparatistischer Sicht“. Jahrbuch der Raabe-Gesellschaft, 1996, pp. 1-25. Brombert, Victor. “Opening Signals in Narrative.” New Literary History, vol. 11, 1979, pp. 489-502. Burda, Herbert . In medias res. Zehn Kapitel zum Iconic Turn. München: Fink Verlag, 2010. Caroll, Noël, and Lester H. Hunts. Philosophy in the Twilight Zone. Chichester: Blackwell, 2009. Carter, Ronald. “The Placing of Names: Sequencing in Narrative Openings.“ Leeds Studies in English, vol. 18, 1987, pp. 89-100. Engelmann, Peter. Postmoderne und Dekonstruktion: Texte französischer Philosophen der Gegenwart. Stuttgart: Reclam, 1990. Harweg, Roland. “Beginning a Text.“ Discourse Processes, vol. 3, 1980, pp. 313-326. Kermode, Frank. The Sense of an Ending: Studies in the Theory of Fiction. 1966. New York: Oxford University Press, 2000. Laurence, Frank M. “Death in the Matinée: The Film Endings of Hemingway’s Fiction.” Literature/Film Quarterly, vol. 2, no. 1, 1974, pp. 44-51. Miller, J. Hillis. “The Problematic of Ending in Narrative.” Nineteenth-Century Fiction, vol. 33, no. 1, 1978, pp. 3–7. Miller, Norbert. Der empfindsame Erzähler. Untersuchungen an Romananfängen des 18. Jahrhunderts. München: Carl Hanser Verlag, 1968. Miller, Norbert. Romananfänge: Versuch zu einer Poetik des Romans. Berlin: Literarisches Colloquium, 1965. Neupert, Richard. The End: Narration and Closure in the Cinema. Detroit: Wayne State University Press, 1995. Nuttall, A.D. Openings: Narrative Beginnings from the Epic to the Novel. Oxford: Clarendon Press, 1992. Pope, Robert. “Beginnings.” The Georgia Review, vol. 36, no.4, 1982, pp. 733-751. Preis, Eran. “Not Such A Happy Ending: The Ideology Of The Open Ending.” Journal of Film and Video, vol. 42, no. 3, 1990, pp. 18–23. Retsch, Annette. Paratext und Textanfang. Würzburg: Königshausen u. Neumann, 2000. Richardson, Brian. Narrative Beginnings. Theories and Practices. Lincoln: University of Nebraska Press, 2009. Rosner, Mary Isobel. Novel Beginnings. A Rhetorical Analysis of Ouvertures in Nineteenth-Century Fiction. Ohio: Ohio State Univerity, 1978. Said, Edward. Beginnings: Intention and Method. 1975. London: Granta, 2012. Schönau, Walter. “In medias res. Zur Aktualisierung des unvermittelten Anfangs moderner Erzähltexte.“ Amsterdamer Beiträge zur Neueren Germanistik, vol. 2, 1973, pp. 45-62. Schestag, Thomas. “’Call me Ishmael‘.“ Paratexte in Literatur, Film, Fernsehen, edited by Klaus Kreimeier and Georg Stanitzek, Berlin: De Gryter, 2004, pp. 21-42. Spacks, Patricia Meyer. Novel Beginnings: Experiments in Eighteenth-Century English Fiction. Conneticut: Yale University Press, 2006. Steierwald, Ulrike. Wie anfangen? Literarische Entwürfe des Beginnens. Berlin: Duncker & Humblot, 2016. Toscan, Richard. Playwriting Seminars 2.0: A Handbook on the Art and Craft of Dramatic Writing with an Introduction to Screenwriting. Franz Press, 2012 Wagner, Robert W. “Film: Films without Endings.” Audio Visual Communication Review, vol. 3, no. 2, 1955, pp. 138–143. Wirth, Uwe. “Das Vorwort als performative, paratextuelle und parergonale Rahmung.“ Rhetorik. Figuration und Performanz, edited by Jürgen Fohrmann, Weimar: Metzler, 2004, pp. 603-628. Wolkerstorfer, Andreas. Der erste Satz: Österreichische Romananfänge 1960-1980. Wien: Facultas, 1994. .
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