TELLING STORIES STUDIES IN HONOUR OF ULRICH BROICH ON THE OCCASION OF HIS 60TH BIRTHDAY -- Title page -- Copyright page -- TABULA GRATULATORIA -- Table of contents -- PREFACE -- CHAUCER'S SLOW-MOTION CAMERA - AND WHAT IT DOES TO THEFABLIAU -- "MAN'S DISTINCTIVE MARK":PARADOXICAL DISTINCTIONS BETWEEN MAN AND HIS BESTIAL OTHERIN EARLY MODERN TEXTS -- I -- II -- III -- IV -- V -- AUTHORITY AND REPRESENTATION IN THE PRE-SHAKESPEAREANPROLOGUE -- THE RISE OF A NEW LITERARY GENRE: THOMAS DELONEY'S BOURGEOIS NOVEL JACK OF NEWBURY -- I -- II -- III -- IV -- V -- VI -- LOVESTORIES. ANTONY AND CLEOPATRA PLAYS OF THE 16TH AND 17TH CENTURIES -- I -- II -- III -- "IREPEAT AND REPEAT." REPETITION AS STRUCTURE IN DEFOE'S ROBINSON CRUSOE -- UNDERMINING PUBLIC OPINION. THE FUNCTION OF NARRATIVE IN FIELDING'S TOM JONES -- I -- II -- III -- IV -- V -- FALLING AND THE FALL IN STERNE'S TRISTRAM SHANDY -- PREACHERS AND PREACHING. EMOTIONALISM IN EIGHTEENTH-CENTURY HOMILETICS ANDHOMILIES -- I. Theoretical reflections on emotionalism in sermons -- II. The place of the emotions in eighteenth-century homiletics -- III. The appeal to the emotions in Methodist sermons -- IV. Emotionalism, reason, and sentimentalism -- PHILOSOPHERS AS STORY-TELLERS. DIFFICULTIES OF THE ENLIGHTENMENT WITH MORALITY -- I -- II -- III -- IV -- V -- VI -- VII -- VIII -- OF ANTS AND ALIENS: WELLS'S THE WAR OF THE WORLDS AS MENIPPEAN SATIRE -- I. Monsters in the sand-pit: A fin-de-siècle scenario -- II. Menippean chiasmus: Insect-men versus human insects -- III. Acknowledging the tradition -- IV. "That horrible privilege of sight": The protagonist as voyeur -- HISTORY AS ROMANCE, TRAGEDY AND FARCE. NARRATIVE VERSIONS OF THE ANGLO-BOER WAR -- I -- II -- III -- IV -- V -- COMMON TRAITS OF CHAUCER'S AND JOYCE'S NARRATIVE ART.

CAN STORIES BE READ AS MUSIC?POSSIBILITIES AND LIMITATIONS OF APPLYINGMUSICAL METAPHORS TO FICTION -- I. The problem of a "musicalization of fiction" -- II. Towards defining 'musicalization' -- III. When does it make sense to speak of a 'musicalized fiction'? - Some criteria -- IV. Sterne's Tristram Shandy - a 'musical novel'? -- V. Possibilities and limitations of applying musical metaphors: The Sirens episodeof Ulysses I -- VI. Functions of a musicalization of Gction: The Sirens episode of Ulysses II -- VII. Conclusion -- HOW BORIS PIL'NIAK CAME TO KNOW "THE WAY" - JAPANESE -"STORIESARE CREATED"* -- AUSTRIAN AUDEN -- I -- II -- III -- TOTALITARIANISM: A NEW STORY? AN OLD STORY? -- I -- II -- III -- IV -- V -- A FURTHER CASE OF THE 'DETECTIVE NOVEL UNBOUND'. THORNTON WILDER'S THE EIGHTH DAY AND THE MYSTERY NOVEL -- I -- II -- III -- IV -- V -- VI -- VII -- THE AUTHORIAL MIND AND THE QUESTION OF GENDER -- I -- II -- III -- ULRICH BROICH- LIST OF PUBLICATIONS -- I. Books -- II. Articles -- III.Editor -- IV. Reviews.