Chapter I
Toward an Aesthetics of Narrative Performance
The Starting Point: Overlapping ‘Performative’ and ‘Narrative Turns’
An Aesthetics of Narrative Performance
Narratological Drama
Antinarrative Acts: Performance Theory
The Aesthetics of Narrative Performance at ‘Location Germany’
Chapter II
Theatrical Narratives: Film ‘Made in Germany’ Around 2000
Camp Reconfigurations: Lola und Bilidikid
Performing Subversion through Narrative: Sonnenallee
Historical Integration: Good Bye, Lenin!
Conclusion
Chapter III
Evoking Presence—in Mediation: Literary Scenarios at the Turn of the Century
Managing New Media Snapshots: Goetz’s Abfall für alle
Posing for Presence: The Voices of Zaimoğlu’s Kanakstas
Presentification-at-a-Distance: Ozdamar’s Seltsame Sterne starren zur Erde
Epic Recording: Zeh’s Eagles and Angels
Conclusion
Chapter IV
Epic Commentary and Affective Presencing: Contemporary Theater
Evoking Community in Onstage Narration: “This is not about sadness”
From Self-Reflexive Testimonial to Housewife Spectacle: I Am My Own Wife
Orientalist Camp: Der Leopard von Singapur
Pablo’s Stories, or Complexity Soap in Telefavela and Plusfiliale
Conclusion
Chapter V
Like God’s Voice? The Return of Authoritative Narration
The Quest for Heavenly Guidance: Zeh’s Spieltrieb
Jesus W. Bush and His Embedded Couch Potatoes: In Bambiland (with The Persians)
Smart(ass), Nerdy, and Google-powered: Earthly Sense-Making in Foer’s Extremely Loud and Incredibly Close
Conclusion
Chapter VI
A New Aesthetics of Proximity: The Turn to Presence
First-Person Spectacle: Schwarze Jungfrauen
Humanist Close-Ups: Der Kick
Phenomenological Bracketing: Yella
Bringing the War Affectively Home: A Hero’s Welcome
Conclusion
In Summary
Gestures of Closure