Alternate History

1 - 1 Introduction [Seite 9]
1.1 - 1.1 Contexts: Alternate Histories and Future Narratives [Seite 9]
1.2 - 1.2 Methodology [Seite 12]
1.3 - 1.3 Proceedings and Theses [Seite 14]
1.4 - 1.4 Selection of Primary Sources [Seite 18]
1.4.1 - 1.4.1 Medium vs. Genre [Seite 18]
1.4.2 - 1.4.2 The International Spectrum [Seite 19]
2 - 2 The Poetics of Alternate History [Seite 22]
2.1 - 2.1 'History' in Alternate History [Seite 34]
2.1.1 - 2.1.1 The Postmodern Challenge to History [Seite 34]
2.1.2 - 2.1.2 Referentiality: Possible-worlds Theory [Seite 41]
2.1.3 - 2.1.3 'History' as the Normalized Narrative of the Past [Seite 51]
2.1.4 - 2.1.4 The Selection and Emplotment of Historical Events in Alternate History [Seite 56]
2.1.5 - 2.1.5 Nineteenth-century Paradigms of History in Alternate History [Seite 64]
2.2 - 2.2 Alternate History and Other Kinds of Past Narrative [Seite 66]
2.2.1 - 2.2.1 The Epistemology of History: Alternate History in the Context of Postmodern Historical Fiction [Seite 66]
2.2.2 - 2.2.2 Alternate Histories versus Secret History, "Plot-type" Counterfactual Histories, and Historical Fiction with "neokausale Verfremdungsverfahren" [Seite 81]
2.2.3 - 2.2.3 Alternate Histories versus 'framed' Alternate Histories [Seite 89]
2.2.4 - 2.2.4 Alternate History versus Counterfactual History [Seite 93]
2.2.5 - 2.2.5 Hybrids and Overlap [Seite 104]
2.2.5.1 - 2.2.5.1 The 'Y': Structure vs. Reception Models [Seite 104]
2.2.5.2 - 2.2.5.2 Alternate History as Fantasy [Seite 107]
2.2.5.3 - 2.2.5.3 Alternate History as Science Fiction [Seite 111]
2.3 - 2.3 Alternate History and Future Narrative [Seite 117]
2.3.1 - 2.3.1 Activation of the Reader: Text Strategies of Alternate History [Seite 117]
2.3.2 - 2.3.2 Alternate History as Non-interactive game: Points of Divergence versus Nodes [Seite 127]
2.3.3 - 2.3.3 Bifurcation vs. Divergence from History [Seite 129]
2.3.3.1 - 2.3.3.1 Alternate History versus Forking-paths Narratives [Seite 129]
2.3.3.2 - 2.3.3.2 Alternate-history FNs [Seite 132]
2.3.4 - 2.3.4 The Paradox of Alternate History: Contingency and Necessity [Seite 137]
2.3.5 - 2.3.5 The 'Open' Alternate History? [Seite 142]
2.3.5.1 - 2.3.5.1 The Open Artwork [Seite 142]
2.3.5.2 - 2.3.5.2 The Closed Alternate History [Seite 146]
3 - 3 Case Studies [Seite 155]
3.1 - 3.1 Philip K. Dick's The Man in the High Castle [Seite 155]
3.1.1 - 3.1.1 The Alternate History [Seite 155]
3.1.2 - 3.1.2 Piecing It All Together: the Exposition [Seite 156]
3.1.3 - 3.1.3 The Alternate History within the Alternate History [Seite 163]
3.1.4 - 3.1.4 The Nature of Reality [Seite 169]
3.1.5 - 3.1.5 Human Agency [Seite 173]
3.2 - 3.2 The 'Flawed' Alternate History: Philip Roth's The Plot against America [Seite 177]
3.2.1 - 3.2.1 Roth's Novel as Alternate History [Seite 177]
3.2.2 - 3.2.2 The Alternate-history Autobiography: the National/Political and the Familial/Personal Stages [Seite 181]
3.2.3 - 3.2.3 Undermined Authenticity [Seite 187]
3.2.4 - 3.2.4 The Question of Causal Logic [Seite 192]
3.3 - 3.3 Of Dead Messiahs and Alaskan Dreams: Michael Chabon's The Yiddish Policemen's Union [Seite 197]
3.3.1 - 3.3.1 Alternate History Integrated [Seite 197]
3.3.2 - 3.3.2 The Detective Game [Seite 199]
3.3.3 - 3.3.3 "Strange times to be a Jew": in Search of a Homeland [Seite 205]
3.3.3.1 - 3.3.3.1 Yiddishland [Seite 205]
3.3.3.2 - 3.3.3.2 Trouble in Yiddishland: "No future here for any Jew" [Seite 208]
3.3.4 - 3.3.4 The Chess Metaphor [Seite 212]
3.3.4.1 - 3.3.4.1 Zugzwang [Seite 212]
3.3.4.2 - 3.3.4.2 Landsman Plays [Seite 213]
3.3.4.3 - 3.3.4.3 Others Play: Saviors and Holy Lands [Seite 216]
3.3.5 - 3.3.5 Stories Already Told [Seite 220]
3.4 - 3.4 Time Travel and "to the present": Stephen Fry's Making History [Seite 223]
3.4.1 - 3.4.1 A New Take on a Popular Premise [Seite 223]
3.4.2 - 3.4.2 "The true story of what never happened": Making Sense of Making History [Seite 227]
3.4.3 - 3.4.3 The Meisterwerk and Mastering Academia [Seite 231]
3.4.4 - 3.4.4 The Historian as God? Agency, Free Will, and Determinism [Seite 234]
3.4.5 - 3.4.5 Historical Sensitivity [Seite 238]
3.5 - 3.5 An Exceptional Hybrid: Dieter Kühn's N [Seite 241]
3.5.1 - 3.5.1 Alternate History as FN [Seite 241]
3.5.2 - 3.5.2 The Structure of a 'True' Forking-paths Alternate History [Seite 243]
3.5.3 - 3.5.3 The Historiographical Shortcomings of the Past Narrative [Seite 245]
3.5.4 - 3.5.4 Big Plans, Little N [Seite 249]
3.5.5 - 3.5.5 The Narrator as 'Great Man'? [Seite 252]
3.6 - 3.6 The Mock Alternate History: Inglourious Basterds [Seite 255]
3.6.1 - 3.6.1 A New Kind of World-War-II Movie, a New Kind of Alternate History [Seite 255]
3.6.2 - 3.6.2 Contingency and the Point of Divergence [Seite 257]
3.6.3 - 3.6.3 Metacinema: Competing Director-figures in the Film [Seite 261]
3.6.4 - 3.6.4 The Art of Direction: Authority and Authorization of the Film [Seite 268]
3.7 - 3.7 Alternate History as Apotheosis of Representation: Christian Kracht's Ich werde hier sein im Sonnenschein und im Schatten [Seite 271]
3.7.1 - 3.7.1 Krachtian Alternate History [Seite 271]
3.7.2 - 3.7.2 School of KrachtKracht, Christian (Ich werde hier sein im Sonnenschein und im Schatten) [Seite 273]
3.7.3 - 3.7.3 Hyperreality and Alternate History [Seite 275]
3.7.4 - 3.7.4 Rauchsprache - Krachtsprache [Seite 277]
3.7.5 - 3.7.5 Literary Evolution? [Seite 280]
3.7.6 - 3.7.6 Regress and Dissolution [Seite 283]
4 - 4 Conclusion [Seite 287]
4.1 - 4.1 What if this study had never been written? [Seite 287]
4.2 - 4.2 The History (and Future) of Alternate History [Seite 290]
5 - Works Cited [Seite 293]
5.1 - Primary Literature [Seite 293]
5.2 - Secondary Literature [Seite 297]
5.3 - Studies on Indivudual Works [Seite 304]
6 - Index [Seite 318]