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V o n j u l i a o b e r m a y r Der folgende Artikel geht der Frage nach, welche Besonderheiten die "literatura sorda", die spanische Ge hörlosenliteratur, in einem Print medium aufweist, woran sich die gebärdensprachliche Erzählweise der gehörlosen AutorInnen formal im Text erkennen lässt und wie sich schließlich diese narrative Diskurs tradition -basierend auf einer kar nevalesken Erzähltradition -auf die Identitätskonstruktion Gehörloser auswirkt. Hierfür werden die spa nischen Werke Háblame a los ojos (2004) sowie Sordo ¡y qué! (2007) in ihren soziopolitischen und histo rischen Kontexten, die sich auf die drei kulturellen Hauptvektoren Ge hörlosigkeit, Gebärdensprache und Gehörlosenorganisationen stützen, genauer untersucht.

En marzo de 2020, cuando la OMS declaró la pandemia de COVID-19, 1 de repente, las sociedades del mundo entero se encontraron en estado de emergencia. Mientras la política empezó a consultar a especialistas médicos, tales como virólogxs, epidemiólogxs y expertxs en salud pública, la gente empezó a gestionar la situación consultando producciones culturales existentes sobre situaciones similares. Hubo, por ejemplo, una lectura pública en línea de La peste (1947) de Albert Camus en Austria 2 y en las librerías se agotaron los libros relacionados con enfermedades y epidemias. A la vez, la gente se puso a escribir con el fin de documentar la situación, de consolar y entretener, 3 pero también para mejor gestionar las propias experiencias traumáticas que resultaban de la pandemia. 4 Sin embargo, debido al actual paisaje mediático, la repercusión de la situación experimentada como excepcional-hubo siempre epidemias, enfermedades

In March 2020, more than 100 governments around the world imposed partial or full lockdown policies prohibiting people to leave their homes except for activities deemed essential (e.g. procuring food, going to work) to reduce SARS-CoV-2 transmissions. Furthermore, authorities, media and peers encouraged people to adopt physical distancing behaviors, requesting not to touch each other and even keep a distance of at least one to two meters from one another. Cultural and literary productions—so-called Corona Fictions—represent and process the multitude of ways the population perceived and coped with the lockdown situation during the pandemic and its diverse effects. While literary texts written during confinement and published in anthologies focus on emotional states enhanced by the psychological impact of the lockdown, the narratives in films such as Norberto Ramos del Val’s ¡Ni te me acerques! (2020) focus on negotiating the process of physical distancing itself. This contribution wi...

Fiktionale Erzählungen dienen als Spiegel der Welt. Egal ob in Liebes-, Helden-oder Katastrophengeschichten, zumeist erzählen sie vom zwischenmenschlichen Miteinander. An solchen Geschichten lassen sich das Ausmaß sozialer Beziehungen, emotionaler Verbundenheit sowie von Gemeinwohlorientierung innerhalb von Gruppen ablesen, die als Determinanten für sozialen Zusammenhalt angesehen werden können. So geben auch die fiktionalen Werke, die im Zuge der Corona-Krise entstehen, sogenannte Corona Fictions, Indikationen dafür, wie gesellschaftlicher Zusammenhalt vor allem in der Anfangsphase der Krise er-und gelebt wurde. Ebenfalls zeigen sie, dass die globale Ausnahmesituation zu kreativen Formen des Miteinanders unter den Literatur-und Kulturschaffenden geführt hat.

During the Covid-19 pandemic numerous early Corona Fictions (including films) emerged, creating a multitude of pandemic protagonists across media. The aim of this article is to examine these protagonists of two European Corona Fictions comedies: 8 Rue de l'Humanité (2021) and ¡Ni te me acerques! (2020). Applying Stuart Hall's (1997) circuit of culture lens (encoding/decoding model), as well as various concepts of hope (e.g.

The interdisciplinary conference entitled Pandemic Protagonists. Viral (Re)Actions in Pandemic and Corona Fictions was held as part of the Corona Fictions project 2 from June 1 st to June 3 rd , 2023, at Graz University of Technology. It marked the culmination of a year of joint work on the recently published volume of the same title 3 , which stood at the center of the conference. Within this framework, the organising committee 4 invited all scholars whose contributions had appeared in the volume.

The Covid-19 pandemic continuously affects people around the world, exposing the already existing social interconnectedness and economic interdependencies of our times. Revisiting pandemic fiction, as well as, crises narratives in literature and other cultural productions in general, has suddenly become a coping strategy to counteract the effects of physical distancing, but in particular the experiences of lockdowns. Interestingly, since the early stages of the pandemic in the Western world in spring 2020, numerous artists have not only dissected the reality of confinement across diverse genres but more so provided the public with uplifting content in various audiovisual formatssuch as short films, web series, and music videos. In this article we will mainly take on the latter producing material about the pandemic during the pandemic, portraying the human need for connection, uplifting narratives and images. Across national, cultural, and linguistic borders, Corona Fictions (cf. Research Group Pandemic Fictions 2020) demonstrate how fragile our social fabric is while, at the same time, strengthening the feeling of solidarity, togetherness/ unity, and cohesion. Hence, this article will examine Corona Fictions music videos for their understanding and depiction of uplifting narratives in these challenging times.

The Covid-19 pandemic continuously affects people around the world, exposing the already existing social interconnectedness and economic interdependencies of our times. Revisiting pandemic fiction, as well as crises narratives in literature and other cultural productions in general, has suddenly become a coping strategy to counteract the effects of physical distancing, but in particular the experiences of lockdowns. Interestingly, since the early stages of the pandemic in the Western world in spring 2020, numerous artists have not only dissected the reality of confinement across diverse genres but more so provided the public with uplifting content in various audiovisual formats – such as short films, web series, and music videos. Although anglophone music videos are more broadly known, many culture specific uplifting narratives emerged also in Romance languages. Research results from psychology, social sciences and musicology all suggest that in times of crises listening to music, watching music videos and music-making have great potential as coping strategies and tools for mood regulation, significantly contributing to well-being. In this article, we analyze from an interdisciplinary cultural, film, and media studies perspective how three music videos in Romance languages (No tengas miedo by El Canijo de Jerez, Ya pasará by Carlos Rivera, and Andrà tutto bene by Jack Savoretti) encode the uplifting storytelling, portraying the human need for connection, on a narratological macro (fictional arc) and micro level (textual and audiovisual cues). Across national, cultural, and linguistic borders, these Corona Fictions demonstrate how fragile our social fabric is while, at the same time, strengthening the feeling of solidarity, togetherness/ unity, and cohesion in their representations and approach to the Covid-19 pandemic. With this contribution, we intend to enrich the existing research from the intersections of psychology, social sciences and musicology with a specific cultural and media studies perspective beyond cultural products in English.

Yvonne Völkl / Julia Obermayr / Elisabeth Hobisch (Eds.)
Pandemic Protagonists
Viral (Re)Actions in Pandemic and Corona Fictions

During the first mandatory lockdowns of the Covid-19 pandemic, citizens worldwide turned to »pandemic fictions« or started to produce their own »Corona Fictions« across different media. These accounts of (previously) experienced or imagined health crises feature a great variety of protagonists and their (re)actions in response to the exceptional circumstances. The contributors to this volume take a closer look at different pandemic protagonists in fictional narratives relating to the Covid-19 pandemic as well as in existing pandemic fictions. Thereby they provide new insights into pandemic narratives from a cultural, literary, and media studies perspective from antiquity to today.

Kapitel-Übersicht
Frontmatter
Seiten 1 - 4
Table of Contents
Seiten 5 - 6
Acknowledgements
Seiten 7 - 8
Pandemic Protagonists (Re)Claiming Agency: An Introduction
Seiten 9 - 22
Bloody Investigations. Scientists as Ambiguous Pandemic Protagonists in the Dystopian Streaming Series La Valla and La Révolution
Seiten 23 - 40
Corona Palimpsests: Pandemic Protagonists as Readers
Seiten 41 - 64
Hysterical Men and Reasoning Women? On Gender Roles and Agency in Corona Fictions
Seiten 65 - 86
La novela de la pandemia como una modalidad de la novela de la crisis. El caso de La madre del futbolista de Pablo García Casado
Seiten 87 - 98
Mediated Vulnerabilities: Transforming Virginia Woolf's Characters in Corona Fictions
Seiten 99 - 116
'¿Te importa?' Entre soledad y olvido: la representación de los ancianos en el teatro español durante la pandemia de COVID-19
Seiten 117 - 136
Immunity and Community: The Role of Immune Protagonists in Saramago's Ensaio sobre a Cegueira (1995) and Roth's Nemesis (2010)
Seiten 137 - 156
The Crowd as a Pandemic Character: Determinism, Entertainment and Transgression in Literature
Seiten 157 - 178
'C'était quelqu'un de toute façon' : les personnages humains et non humains dans le roman animaliste Les Métamorphoses de Camille Brunel
Seiten 179 - 198
The Role of Animals in Pandemic Narratives: Forewarning Disaster, Causing Outbreaks, Conferring Immunity
Seiten 199 - 222
Germs as Social Protagonists: (In)visible Enemies and the Fear of Epidemic Invasion in Classical Hollywood Cinema
Seiten 223 - 238
Human-Viral Hybrids as Challenge to the Outbreak Narrative and Neo-Liberal Biopolitics
Seiten 239 - 256
Protagonisti in cerca di una nuova agency: la pandemia di Covid-19 nella letteratura italiana
Seiten 257 - 276
Corona Fictions Agents: Cinematic Representations of Hopeful Pandemic Protagonists in Early Corona Fictions
Seiten 277 - 302
Authors
Seiten 303 - 308