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Odell A: Gwyneth

Gwyneth

The Biography

Wenn einer wie Jürgen Frankenhauser-Erlitz aus heiterem Himmel zu einem Sarg kommt, gibt es statt Ruhe kein Halten mehr.
Uns wenn es auch noch ein Verbrennungssarg ist, der wegen Wasserschaden ausgemustert werden musste und daher in seinem Atelier landet - ja dann ist das der reinste Quell an lebensfrohen Ideen. Eine Provokation, die in Prozession und Probeliegen mündet. Welch zufällige Alliteration. Oder ist es Bestimmung? Ach, von Anfang bis Ende auf allen Ebenen einfach nur herrlich!

Provokation - Prozession - Probeliegen, Ein Sarg sucht seinen Weg

Anfang und Ende

Palgrave Studies in Adaptation and Visual Culture

This book traces the intertextual genealogy behind Netflix’s new series 
 Riple
 y, directed by Steve Zaillian, and offers a critical examination of Tom Ripley’s enduring appeal across different media. As the series quickly climbs Netflix’s international charts, this volume provides a timely and insightful contribution to the Ripleyverse, exploring the character’s complex moral and sexual dimensions in today’s cultural context. McEntee investigates Ripley’s role within the televisual antihero genre, engaging with theories from Jason Mittell’s 
 Complex T
 V and Margrethe Bruun Vaage’s 
 The Antihero in American Television
 . While Andrew Scott’s portrayal of Ripley aims to generate empathy, this book contends that traditional frameworks for understanding antiheroes are insufficient. Instead, it introduces Eric Leake’s notion of “difficult empathy” as a more appropriate model for analyzing Scott’s Ripley, offering a fresh perspective on the character’s moral ambiguity. This contrasts sharply with Anthony Minghella’s 1999 adaptation, where Matt Damon’s Ripley elicited a more straightforward emotional response. Readers will discover a nuanced discussion of how Ripley both adheres to and subverts the conventions of the antihero genre and comments self-reflexively on the process of adaptation. The book invites scholars and students of television studies, film, and literature to engage with these themes, providing a rich resource for understanding the evolving landscape of media narratives. Whether you are a scholar of media studies or a curious reader intrigued by the complexities of modern narratives, this book promises to deepen your understanding of the cultural significance of Tom Ripley’s latest iteration.
 Joy McEntee
 is an adjunct Senior Lecturer at the University of Adelaide, Australia. She is the coeditor of 
 Kubrick and Race
 (2025) and author of 
 Stanley Kubrick and Women
 (forthcoming). Her work has also been published in a number of journals, including 
 Senses of Cinema, Film Criticism, Camera Obscura, Adaptation, 
 and 
 the Journal of Adaptation in Film and Performance.

Television Antiheroes, Difficult Empathy, and the Aesthetics of Forgery

Netflix's Ripley

Eleanor Antin. Works 1965-2017

Roman

Letzter Akt

Hour of the Wolf

Mary McCarthy, one of the leading American intellectuals of the twentieth century, skewers her strict Catholic upbringing in this witty and compelling memoir, one of her major works.

Memories of a Catholic Girlhood

200 Jahre Lenzburger Frauenpower

Pionierinnen, Künstlerinnen, Denkerinnen

Eigentlich kehren die ungleichen Freundinnen Zoe&nbsp;und Hailey New York den Rücken, um im Berlin der&nbsp;Nullerjahre Kunst zu studieren. Hailey auf der Suche nach Erfolg; Zoe, um über den Tod ihrer besten&nbsp;Freundin hinwegzukommen. Immer tiefer tauchen&nbsp;sie ins Berliner Nachtleben ein und versuchen, sich&nbsp;in der Szene einen Namen zu machen. Schließlich&nbsp;eröffnen sie einen illegalen Club in ihrer Wohnung,&nbsp;die ihnen die Krimi-Autorin Beatrice überlassen hat,&nbsp;und veranstalten immer wildere Partys. Schon bald&nbsp;verschwimmen die Grenzen zwischen Wirklichkeit&nbsp;und Fiktion, denn sie fühlen sich beobachtet: Benutzt&nbsp;Beatrice sie als Vorlage für ihren neuen Roman? Die beiden jungen Frauen beschließen, ihre Geschichte&nbsp;selbst zu inszenieren - mit einer blutigen Wendung.&nbsp;

Ruhm für eine Nacht

Liveright

Joan Didion opened The White Album (1979) with what would become one of the most iconic lines in American literature: "We tell ourselves stories in order to live." Today, this phrase is deployed inspirationally, printed on T-shirts and posters, used as a battle cry for artists and writers. In truth, Didion was describing something much less rosy: our human tendency to manufacture delusions that might ward away our anxieties when society seems to spin off its axis. Nowhere was this collective hallucination more effectively crafted than in Hollywood.
In this riveting cultural biography, The New York Times film critic Alissa Wilkinson examines Joan Didion's influence through the lens of American myth-making. As a young girl, Didion was infatuated with John Wayne and his on-screen bravado and was fascinated by her California pioneer ancestry and the infamous Donner Party. The mythos that preoccupied her early years continued to influence her work as a magazine writer and film critic in New York, offering glimmers of the many stories Didion told herself that would come to unravel over the course of her career. But out west, show business beckoned.
We Tell Ourselves Stories eloquently traces Didion's journey from New York to her arrival in Hollywood as a screenwriter at the twilight of the old studio system. She spent much of her adult life deeply embroiled in the glitz and glamor of the Los Angeles elite, where she acutely observed-and denounced-how the nation's fears and dreams were sensationalised on screen. Meanwhile, she paid the bills writing movie scripts like A Star Is Born, while her books propelled her to celestial heights of fame.
Peering through a scrim of celluloid, Wilkinson incisively dissects the cinematic motifs and machinations that informed Didion's writing-and how her writing, ultimately, demonstrated Hollywood's addictive grasp on the American imagination. More than a portrait of a writer, We Tell Ourselves Stories shines a new light on a legacy whose impact will be felt for generations.

Joan Didion and the American Dream Machine

We Tell Ourselves Stories

A Novel

The Copywriter

Passagen Literatur

ATMEN/LAUSCHEN

'I was so thirsty for the prize of academia, so thrilled to defy the fates, that I suffocated my own history and culture, my Burmese heritage and my mother's language. By doing this, I also possessed my ancestors and made them dance to the tune of Imperialism. How could I be so wrong?'After two decades of academic research and undergraduate teaching Davina Quinlivan, and the world of university education, were approaching crisis; teaching online, ticking boxes for other people's diversity criteria, stuck, like so many others, in a cycle of fixed term contracts. Yet as a child of Anglo-Burmese parents, growing up in West London, academia had promised a way out. Something better.This is her powerful, compelling story of fragmenting and rebuilding from the inside out, one that is filled with the voices of both Burma and Southall. Haunted by the ghosts of colonialism, Davina Quinlivan beautifully lays bare our blind spots as we grapple with decolonisation and the hypocrisies within our institutions of education.

A Memoir of Transformation in an Era of Precarity

Possessions

Gwyneth

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