Bausteine Zu Einer Ethik Des Strafens

Die "Bausteine einer Ethik des Strafens" fussen auf der Annahme, dass die Strafe ein notwendiges und gerechtfertigtes Mittel der Reaktion auf Rechtsverletzungen ist. Die Ethik des Strafens will nicht Abstand nehmen von den zugehorigen Themen der Philosophie und Rechtsphilosophie - Rechtfertigung der Strafe, Strafgerechtigkeit, das heisst: Strafzumessung und Tatproportionalitat -, sondern sie berucksichtigt den Unterschied zwischen den Rechtfertigungstheorien und den Vollzugstheorien der Strafe derart, dass die Begrundungstheorien der Strafe in die allgemeine Ethik uberfuhrt werden konnen. Weil das Dass der Strafe nicht gleichbedeutend mit dem Wie der Strafe ist, fragt sie unter Anleitung der Prinzipien der Gerechtigkeit und Verantwortlichkeit nach den konkreten Moglichkeiten, Menschen ihre Taten im Falle des Rechtsbruches zuzuschreiben und ihnen die personliche Ubernahme der Verantwortung, die ihnen aus ihren Taten erwachst, im doppelten Sinne des Wortes zuzumuten, das heisst: ihnen individuelle Verantwortung abverlangen und zutrauen. In diesem Sinne beschaftigt sich Teil I (Systematische Aspekte) mit dem Zusammenhang von rechtfertigungs- und vollzugstheoretischen Fragen der Strafe und macht in je verschiedener Weise philosophische und rechtswissenschaftliche Kontexte einer Ethik des Strafens auf. Teil II (Aktuelle Folterdebatte) bringt in dem im Titel festgeschriebenen Bewusstsein, dass die Ethik des Strafens ein junges Forschungsfeld ist, am konkreten und bewusst zeitgenossischen Beispiel erste Annaherungen an eine ethische Vollzugstheorie der Strafe, wahrend Teil III (Literarische Perspektiven) und Teil IV (Grenzen des Strafens) danach fragen, wie literarische Texte beziehungsweise offentliche Debatten unsere Vorstellungen eines gerechten Strafvollzuges beeinflussen.

This book presents new ways of thinking about the historical, epistemological and institutional role of literature, and aims at providing a theoretically well-founded basis for what might otherwise be considered a relatively unfounded historical fact, i.e. that both literature and the teaching of literature hold a privileged position in many educational institutions. The contributors take their point of departure in the title of the volume and use narratological, historical, cognitive, rhetorical, postcolonial and political frameworks to pursue two separate but not necessarily related questions: Why literature? and, Why study? This collection brings together theoretical studies and critical analyses on literature as a medium among, and compared to, other media and includes essays on the physical and mental geography of literature, focusing on the consequences and values of its reading and studying.

This volume combines narratological analyses with an investigation of the ideological ramifications of the use of narrative strategies. The collected essays do not posit any intrinsic or stable connection between narrative techniques and world views. Rather, they demonstrate that world views are inevitably expressed through highly specific formal strategies. This insight leads the contributors to investigate why and how particular narrative techniques are employed and under what conditions.

Metaphors of Confinement: The Prison in Fact, Fiction, and Fantasy offers a historical survey of imaginings of the prison as expressed in carceral metaphors in a range of texts about imprisonment from Antiquity to the present as well as non-penal situations described as confining or restrictive. These imaginings coalesce into a 'carceral imaginary' that determines the way we think about prisons, just as social debates about punishment and criminals feed into the way carceral imaginary develops over time. Examining not only English-language prose fiction but also poetry and drama from the Middle Ages to postcolonial, particularly African, literature, the book juxtaposes literary and non-literary contexts and contrasts fictional and nonfictional representations of (im)prison(ment) and discussions about the prison as institution and experiential reality. It comments on present-day trends of punitivity and foregrounds the ethical dimensions of penal punishment. The main argument concerns the continuity of carceral metaphors through the centuries despite historical developments that included major shifts in policy (such as the invention of the penitentiary). The study looks at selected carceral metaphors, often from two complementary perspectives, such as the home as prison or the prison as home, or the factory as prison and the prison as factory. The case studies present particularly relevant genres and texts that employ these metaphors, often from a historical perspective that analyses development through different periods.

The notion of possible worlds has played a decisive role in postclassical narratology by awakening interest in the nature of fictionality and in emphasizing the notion of world as a source of aesthetic experience in narrative texts. As a theory concerned with the opposition between the actual world that we belong to and possible worlds created by the imagination, possible worlds theory has made significant contributions to narratology. Possible Worlds Theory and Contemporary Narratology updates the field of possible worlds theory and postclassical narratology by developing this theoretical framework further and applying it to a range of contemporary literary narratives. This volume systematically outlines the theoretical underpinnings of the possible worlds approach, provides updated methods for analyzing fictional narrative, and profiles those methods via the analysis of a range of different texts, including contemporary fiction, digital fiction, video games, graphic novels, historical narratives, and dramatic texts. Through the variety of its contributions, including those by three originators of the subject area—Lubomír Doležel, Thomas Pavel, and Marie-Laure Ryan—Possible Worlds Theory and Contemporary Narratology demonstrates the vitality and versatility of one of the most vibrant strands of contemporary narrative theory.