Publications

Monographs

Dream and Narrative in Literature, Film and Art. Paderborn: Fink 2014 [also available as an e-book].

Literary fantasy in the postmodern age. Klaus Hoffer's methods of confusion. Heidelberg: Winter 2007 (= Frankfurter Beiträge zur Germanistik 45).

Collected volumes/journals

(ed.): Classics of Austrian Literature. A 'literary history' in individual text analyses (19th-21st century). Paderborn: Fink 2024 [in preparation].

(ed.): Johannes Schmid. Kasseler Grimm-Poetikprofessor 2024. Würzburg: Königshausen & Neumann 2025 (= Grimm-Poetikprofessur 6). [in preparation]  

(ed.): Feridun Zaimoglu. Kasseler Grimm-Poetikprofessor 2023. Würzburg: Königshausen & Neumann 2024 (= Grimm-Poetikprofessur 5).  

(ed.): Doris Dörrie. Kassel Grimm Poetry Professor 2022. Würzburg: Königshausen & Neumann 2023 (= Grimm Poetry Professorship 4). 

(ed.): Terézia Mora. Kassel Grimm Poetry Professor 2021, with the collaboration of Caroline Frank. Würzburg: Königshausen & Neumann 2022 (= Grimm Poetry Professorship 3).

(ed.): FilmZeit - Time dimensions of film. Marburg: Schüren 2021.

(ed.): Felicitas Hoppe. Kassel Grimm Poetry Professor 2019, with the collaboration of Caroline Frank. Würzburg: Königshausen & Neumann 2020 (= Grimm Poetry Professorship 2).

(ed.): Klaus Hoffer. Kasseler Grimm-Poetikprofessor 2018. Würzburg: Königshausen & Neumann 2020 (= Grimm-Poetikprofessur 1).

together with Uwe Durst (ed.): Das Wunderbare. Dimensions of a Phenomenon in Art and Culture. With the collaboration of Caroline Frank. Paderborn: Fink 2018 (= Dream - Research - Narrative 3).

(ed.): Experiments in the Arts. Transmedial explorations in literature, theater, film, music and the visual arts. Bielefeld: Transcript 2012 (= Cultural and Media Theory). [also available as an e-book]

Der Deutschunterricht 60 (2008) H. 2: Science Fiction. Edited by Stefanie Kreuzer, Peter Schlobinski and Oliver Siebold.

Der Deutschunterricht 59 (2007) H. 6: Realism. Edited by Stefanie Kreuzer and Helmut Scheuer.

together with Maren Bonacker (ed.): From Middle-earth to the far reaches of space. Fantasy and Science Fiction in Literature and Film. Wetzlar: Phantastische Bibliothek 2006.[www.diestrasse.de/publikation.html]

together with Alexander Karschnia, Oliver Kohns and Christian Spies (eds.): Zum Zeitvertreib. Strategies - Institutions - Readings - Images. Bielefeld: Aisthesis 2005.

Essays

Ilse Aichinger's story Spiegelgeschichte (1949). In: Stefanie Kreuzer (ed.): Klassiker österreichischer Literatur. A 'literary history' in individual text analyses (19th-21st century). Paderborn: Fink 2024 [in preparation].

Marlen Haushofer's novel Die Wand (1963). In: Kreuzer (ed.): Classics of Austrian Literature. [in print]

Klaus Hoffer's two-part novel Bei den Bieresch (1979/83). In: Kreuzer (ed.): Classics of Austrian Literature. [in preparation]

Introduction. In: Kreuzer (ed.): Klassiker österreichischer Literatur. [in preparation]

Poet (madness) and the hereafter (world) reflected cinematographically: Jean Cocteau's Orphée  (F 1950). In: Kirsten von Hagen (ed.): Forms of Madness in the Fantastic - Literature, Film, Art. Munich: AVM 2024. [in print]    

"Je ne suis pas dans le jeu." - Constructions of the ironic in Max Ophüls La Ronde (F 1950). In: Jörg Schweinitz and Selina Hangartner (eds.): Filmische Ironie - Ironie des Films. Marburg: Schüren 2024 (= Zurich Film Studies 37). [in print]

Terézia Mora and/in They always say Terézia Mora (D 2021). In: Cinema Altera. The film-artistic portrait work of Thomas Henke and the joint work of Peggy and Thomas Henke. Berlin: Hatje Cantz 2023. p. 373-389.  

Mrs. Dörrie and the ghosts (D 2022): Filmic interventions with bag and ghost. In: Kreuzer (ed.): Doris Dörrie. S. 131-149.

Foreword to the Grimm Poetics Professorship (pp. 7-10) | Doris Dörrie - an introduction (pp. 11-14) | Introduction by Doris Dörrie and laudatory speech (pp. 17-37) | Introduction to Doris Dörrie's reading: Writing, Life, Films (pp. 75-77) | (Photo) note on socializing after the reading (pp. 119 f.) | Notes on the poetry seminar "Why be in the world?" (p. 121 f.). In: Kreuzer (ed.): Doris Dörrie.

together with Doris Dörrie: Public reading from Die Heldin reist (2022) with film excerpts: Why be on the road? In: Kreuzer (ed.): Doris Dörrie. S. 79-118.

Terézia Mora and/or They always say Terézia Mora (D 2021). In: Kreuzer (ed.): Terézia Mora. S. 101-124. 

Foreword to the Grimm Poetics Professorship (pp. 7-11) | Terézia Mora - an (exemplary) introduction (pp. 13-21) | Introduction to Terézia Mora's poetry lecture (pp. 25-27) | Web conference with Terézia Mora: laudation, award ceremony, film trailer (pp. 57-69)| Notes on the poetics seminar (pp. 71 f.) | On the tradition of the Grimm Poetics Professorship (p. 165) | On Doris Dörrie (pp. 166 f.). In: Kreuzer (ed.): Terézia Mora.   

Terézia Mora and/or in They always say Terézia Mora (D 2021; dir.: Thomas Henke). In: Biographical miniatures. A tribute to Helmut Scheuer. Leipzig: Leipziger Uni-versitätsverlag 2022. p. 87-96.

Filmische Achronie: Entwurf einer Typologie - Before the Rain (MK/F/GB 1994), Reconstruction (DK 2003), Mulholland Dr. (USA/F 2001) and Stay (USA 2005). In: Kreuzer (ed.): FilmZeit - Zeitdimensionen des Film. S. 245-308.

Preliminary remarks on time for and around FilmZeit (pp. 11-14) | Introduction: FilmZeit- Zeitdimensionen des Films (pp. 15-38. In: Kreuzer (ed.): FilmZeit - Zeitdimensionen des Films.

A filmic author(s) on the threshold. Steven Soderbergh's  Kafka (F/USA 1991) between fictionality and factuality, text and film world, film noir and science fiction. In: Torsten Hoffmann and Doren Wohlleben (eds.): Filmed authorship. Appearances of writers in documentaries and biopics. Bielefeld: Transcript 2020. p. 129-150.

Foreword to the Grimm Poetics Professorship (pp. 7-10) | Introduction (pp. 11-15) | Opening of the Grimm Poetics Professorship 2019 and introduction by Felicitas Hoppe (pp. 19-32) | Foreword to the Poetics Seminar (pp. 57-60) | Felicitas Hoppe,  Hoppe (2012) and Felicitas Hoppe says (D/CH 2017) (pp. 85-93). In: Kreuzer (ed.) Felicitas Hoppe.   

Cinematic achrony as/versus real time? An exemplary analysis of Marc Forster's Stay. In: Stephan Brössel and Susanne Kaul (eds.): Echtzeit im Film. Concepts - Effects - Contexts. Paderborn: Fink 2020. p. 89-110.

Cinematic fictions of authenticity and real time. In: Brössel and Kaul (eds.): Echtzeit im Film. S. 245-268.

On the omnipresent context of textualization: Conversations with Klaus Hoffer. In: Stefanie Kreuzer (ed.): Klaus Hoffer. Kasseler Grimm-Poetikprofessor 2018. Würzburg: Königshausen & Neumann 2020 (= Grimm-Poetikprofessur 1). S. 195-229.

Foreword to the Grimm Poetry Professorship (pp.  7-9) | Introduction (pp. 11-14) | Opening of the Grimm Poetry Professorship 2018 and laudatory speech for Klaus Hoffer (pp.  17-26) | Foreword to the poetry seminar (pp. 47-50) | Brief introduction to the novel Bei den Bieresch(1979/83) (pp. 67-70) | On the person of Klaus Hoffer (pp. 231-233) | (Selected) bibliography (pp. 241-248). In: Kreuzer (ed.): Klaus Hoffer.

Filmische Traumdarstellungen im Wandel der kinematographischen Möglichkeiten (1895-1950). In: Marie Guthmüller and Hans-Walter Schmidt-Hannisa (eds.): Das nächtliche Selbst. Dream Knowledge and Dream Art in the Century of Psychology. Vol. II: 1900-1950. Göttingen: Wallstein 2020. p. 256-283.

"Realism in the unreal is a trap at every moment." - 
Jean Cocteau's Orphée (F 1950). In: Stefanie Kreuzer and Uwe Durst (eds.): Das Wunderbare. Dimensions of a Phenomenon in Art and Culture. With the collaboration of Caroline Frank. Paderborn: Fink 2018 (= Dream -  Research - Narrative 3). S. 81-97.

together with Uwe Durst and Caroline Frank: Introduction: Varieties of the marvelous in art and culture. In: Stefanie Kreuzer and Uwe Durst (eds.): Das Wunderbare. Dimensions of a Phenomenon in Art and Culture. With the collaboration of Caroline Frank. Paderborn: Fink 2018. p. 7-26.

Simple(ish) food in movies? Edwards' "Breakfast at Tiffany's" (1961) and Ozu's "The Flavor of Green Tea Over Rice" (1952). In: Andreas Becker (ed.): Yasujiro Ozu and the aesthetics of his time. Darmstadt: Büchner 2018. pp. 153-166.

Film narratology. Who actually narrates the 'view' through the snow globe? In: Oliver Jahraus and Tanja Prokić (eds.): Orson Welles' "Citizen Kane" and film theory. 16 model analyses. Stuttgart: Reclam 2017. p. 83-103.

Narrated dream knowledge in literature and film. In: Patricia Oster and Janett Reinstädler (eds.): Traumwelten. Interferences between text, image, music, film and science. Paderborn: Fink 2017 (= Dream - Research - Narrative 1). S.  47-77.

"And looked deeper and deeper - / Until deep, in the bottom of the sea". On the dreamy 'immersion' in Heinrich Heine's Seegespenst. In: Bernard Dieterle and Hans-Walter Schmidt-Hannisa (eds.): Der Traum im Gedicht. Würzburg: Königshausen & Neumann 2017. pp. 111-125.

[Russian translation of "Erzähltes Traumwissen in Literatur und Film" (see  above):]
'Повествование знания о сне' в литературе и фильме. Франц Кафка Сон (нем.: A dream; 1917) и Пeн-Eк Ратанаруанг Уловка (англ.: Ploy, Т 2008). In: Kommentarii 29/30 (2017).(http://www.commentmag.ru) PP. 348-377.

Goethe and Spiegel(ing) and Murnau's Faust (D 1926). In: Manfred Leber and Sikander Singh (eds.): Goethe and ... Saarbrücken: universaar 2016 (= Saarbrücker literaturwissenschaftliche Ringvorlesungen 5).(http://universaar.uni-saarland.de/monographien/volltexte/2016/148) P. 191-208.

Düsseldorf - Palermo - Heaven: Representations of Italy in the films of Wim Wenders and Tom Tykwer. In: Alessandra Lombardi, Lucia Mor and Nikola Roßbach (eds.): Reiseziel Italien. Modern constructions of cultural knowledge in literature - language - film. Frankfurt am Main: Peter Lang 2014 (= MeLiS Medien - Literaturen - Sprachen in Anglistik/Amerikanistik, Germanistik und Romanistik 16). S. 223-238.

Fantastic delimitations between dreaming and waking: Pen-ek RatanaruangsPloy (Thailand 2008) and Thomas Mann's Der Kleiderschrank (1903). In: Christine Lötscher, Petra Schrackmann, Ingrid Tomkowiak and Aleta-Amirée von Holzen (eds.): Übergänge und Entgrenzungen in der Fantastik. Vienna: Lit 2014 (= Fantastikforschung / Research in the Fantastic 1). S. 201-216.

Reflections as illusionary prospects of the unexpected in visual art, literature and film. From Furtenagel's vanitas mirror motif (1529) to Hofmannsthal's "Reitergeschichte" (1899) and Fincher's Fight Club (USA/D 1999). In: Scenography in Exhibitions and Museums VI: Interspaces - Change and Transitions. Prospects - on the opening of the unexpected. Edited by Gerhard Kilger. Essen: Klartext 2014. p. 184-195.

Cinematic self-reflection as a mirrored cinematic dream: Ingmar Bergman's Persona (S 1966). In: Lars C. Grabbe, Patrick Rupert-Kruse and Norbert M. Schmitz (eds.): Multimodal Images. On the syncretic structure of the cinematic. Darmstadt: Büchner 2013. pp. 188-213.

Dreamlike emotions? (Missing) feelings in fictional dream texts using the example of Franz Kafka's Ein Traum. In: Kristian Donko and Neva Šlibar (eds.): Emotional worlds and emotion discourses in German-language literature. Ljubljana: Univerza v Ljubljana 2012. p. 138-147.

Traumhaftigkeit und Wahnsinn - Tieck's Blonder Eckbert and Lynch's Mulholland Dr.In: Vielheit und Einheit der Germanistik weltweit. Edited by Franciszek Grucza. Proceedings of the XII International Congress of Germanists Warsaw 2010. Vol. 10: Film and Visual Media. Multimedia and transnational communication in the Baroque era. Developments in contemporary German-language literature and media after 1989. Literature-media-culture in the context of German studies. Frankfurt am Main: Peter Lang 2012. p. 365-370.

Constellations of a Postmodern Fantastic. In: Sabine Coelsch-Foisner and Sarah Herbe (eds.): New Directions of the European Fantastic. Heidelberg: Winter 2012. pp. 111-118.

together with Birgit Nübel: "Morgen war Weihnachten" - Zeit (in) der Literatur. In: Uni-Magazin (2012) H. 3/4: Time. Reflections on an enigmatic phenomenon. S. 28-30.

Christopher Nolan's Memento (USA 2002). Narrative experiment between cinematic representation and pathological findings. In: Stefanie Kreuzer (ed.): Experiments in the Arts. Transmedial explorations in literature, theater, film, music and visual arts. Bielefeld: Transcript 2012 (= Cultural and Media Theory). S. 215-252.

Introduction. In: Stefanie Kreuzer (ed.): Experiments in the Arts. Transmedial Explorations in Literature, Theater, Film, Music and Visual Arts. Bielefeld: Transcript 2012 (= Cultural and Media Theory). S. 7-15.

Artistic strategies of authenticity construction - examples from literature, film and visual arts. In: Wolfgang Funk and Lucia Krämer (eds.): Authentizität zwischen Materialität und Konstruktion. Bielefeld: Transcript 2011 (= Kultur- und Medientheorie). S. 179-204.

Intertextuality as Mandatory Collective Creativity? Textual Interconnection in Klaus Hoffer's Novel Bei den Bieresch. In: Gerhard Fischer and Florian Vaßen (eds.): Collective Creativity. Collaborative Work in the Sciences, Literature and the Arts. Amsterdam: Rodopi 2011. p. 267-279.

Shimmering mountain solitude and flickering computer world. On the contrast of the narrated worlds in Christoph Ransmayr's novel Der fliegende Berg (2006) (17. Febr. 2010). In: Trans. Internet-Zeitschrift für Kulturwissenschaften 17 (2010). www.inst.at/trans/17Nr/8-3/8-3_kreuzer.htm (14. June 2010).

Dream(ing) escapes in science fiction films. Terry Gilliam's Brazil (GB 1985) and Michel Gondry's Eternal Sunshine of the Spotless Mind (USA 2004). In: Hans Esselborn (ed.): Cybernetic Order in the Arts. Würzburg: Königshausen & Neumann 2008. pp. 113-130.

Artificial humans and human artificiality. E. T. A. Hoffmann's automata in the context of an SF motif complex. In: Der Deutschunterricht 60 (2008) H. 2: Science Fiction. Edited by Stefanie Kreuzer, Peter Schlobinski and Oliver Siebold. S. 28-40.

Filmic images of memory loss. Amnesia and photography in Tom Tykwer's Winterschläfer (D 1997). In: Achim Barsch, Helmut Scheuer and Georg-Michael Schulz (eds.): Literatur-Kunst-Medien. Festschrift for Peter Seibert on his 60th birthday. Munich: Martin Meidenbauer 2008 (= Beiträge zur Geschichte der deutschsprachigen Literatur; Kontext 8). S. 350-367.

On the genie-aesthetic 'fragrance' and postmodern 'evaporation' of texts, figures and authors. Intertextual references in Patrick Süskind's novel Das Parfum. In: Andreas Blödorn and Christine Hummel (eds.): Psychogramme der Postmoderne. New studies on the work of Patrick Süskind. Trier: WVT 2008 (= Literature - Culture - Language 5). S. 23-38.

On the 'unheard-of' narrative dramaturgy of a realistic novella: Adalbert Stifter's "Brigitta". In: Der Deutschunterricht 59 (2007) H. 6: Realism. Edited by Stefanie Kreuzer and Helmut Scheuer. S. 25-35.

'Märchenhafte Metatexte': Metanarrative forms and functions of fairy tale elements in literature. In: Janine Hauthal, Julijana Nadj, Ansgar Nünning and Henning Peters (eds.): Metaization in literature and other media. Theoretical Foundations - Historical Perspectives - Meta-Genres - Functions. Berlin: de Gruyter 2007 (= spectrum Literaturwissenschaft/spectrum Literature 12). S. 282-302.

Intertextual auto(r)-killing and revival. Hoffer's Bei den Bieresch, Ransmayr's Die letzte Welt and Süskind's Das Parfum (6. Sept. 2006). In: Trans. Internet-Zeitschrift für Kulturwissenschaften 16 (2006). www.inst.at/trans/16Nr/02_1/kreuzer16.htm (14. June 2010).

Tim Burton's genre satire Big Fish (USA 2003). A postmodern-ironic game with wonderful movie worlds. In: Maren Bonacker and Stefanie Kreuzer (eds.): From Middle-earth to the far reaches of space. Fantasy and science fiction in literature and film. Wetzlar: Phantastische Bibliothek 2006. p. 145-172.

Together with Maren Bonacker: Foreword. On real and fictitious distances and how to overcome them. In: Maren Bonacker and Stefanie Kreuzer (eds.): From Middle-earth to the far reaches of space. Fantasy and Science Fiction in Literature and Film. Wetzlar: Phantastische Bibliothek 2006. p. 7-10.

Six toes, three feet and two trembling hands of the one-armed man ... Narrative irritations in Klaus Hoffer's novel Bei den Bieresch. In: Antje Krause-Wahl, Heike Oehlschlägel and Serjoscha Wiemer (eds.): Affekte. With an introduction by Mieke Bal. Bielefeld: Transcript 2006. p. 74-85.

The uncanny reversal of the fairytale into the fantastic. Ludwig Tieck's art fairy tale Der blonde Eckbert. In: Der Deutschunterricht 58 (2006) H. 3: The uncanny. Edited by Joachim Pfeiffer. S. 21-33.

The traversed time in the photo-text works of Hamish Fulton. In: Alexander Karschnia, Oliver Kohns, Stefanie Kreuzer and Christian Spies (eds.): Zum Zeitvertreib. Strategies - Institutions - Readings - Images. Bielefeld: Aisthesis 2005. pp. 271-284.

Together with Alexander Karschnia, Oliver Kohns and Christian Spies: Zum Zeitvertreib - eine Konferenz, ein Thema, ein Buch. In: Alexander Karschnia, Oliver Kohns, Stefanie Kreuzer and Christian Spies (eds.): Zum Zeitvertreib. Strategies - Institutions - Readings - Images. Bielefeld: Aisthesis 2005. p. 9-16.

Photography : Text. On the early visual-poetic works of Jochen Gerz. In: Der Deutschunterricht 57 (2005) H. 5: Reading visual surfaces. Edited by Ulrich Schmitz and Ursula Renner. S. 25-37. 

Handbook article

The marvelous. In: Metzler Handbook of Fairy Tales. Edited by Lothar Blum and Stefan Neuhaus. Stuttgart: Metzler 2023. p. 21-27.

Fessel, rope, cord. In: Ilse Aichinger Dictionary. Edited by Birgit R. Erdle and Annegret Pelz. Göttingen: Wallstein 2021. pp. 103-107.

together with Maren Bonacker: Deutschsprachige Phantastik [1945 to the present]. In: Metzler Handbook of Fantasy. Edited by Hans Richard Brittnacher and Markus May. Stuttgart: Metzler 2013. p. 170-177.

Film script 

together with Thomas Henke and Terézia Mora:  Filmscript: Sie sagen immer Terézia Mora (D 2021). In: Stefanie Kreuzer (ed.): Terézia Mora. Kassel Grimm Poetry Professor 2021, with the collaboration of Caroline Frank. Würzburg: Königshausen & Neumann 2022 (= Grimm Poetry Professorship 3). S. 125-147.