Due to the cardboard boxes he wears, the main character is much of a camp robot, at least from today’s perspective. Martin‘s Press 1982, 84) A human in robot disguise already appeared in Devil Girl from Mars, a 1954 British film production. Jacobs, Diane: But we need the eggs: the magic of Woody Allen, New York: St. Miles explains the background as follows: “To me, a miracle of science is I go into the hospital for a minor operation, I come out the next day, and my rent isn’t 2000 months overdue… This is what I call a cosmic screwing!” (cf. Cryogenically frozen in aluminium foil in 1973, unbeknownst to himself, the protagonist wakes up 200 years later in a world run by machines and governed by a technocratic regime from which he has to hide, in the guise of a robot, to escape capture. by Margarete Fuchs, Anna-Sophie Jürgens, Jörg Schuster, Bielefeld: transcript 2019 (in press)). (Stoddart, Helen: “Contemporary Circus Literature: Authenticity and Illusion in Sara Gruen’s Water for Elephants and Erin Morgenstern’s The Night Circus”, Manegenkünste: Zirkus als äshetisches Modell, ed. also Stoddart’s latest book chapter on circus, in which she not only discusses the distinction between historical, romantic and realistic circus novels, and literary texts that approach circus allegorically and metaphorically, but also explores how circus-as a post-structuralist allegory for writing-challenges conventional classification and writing modes. In his monograph, Christen undertakes an in-depth analysis of the relationship between cinema and ‘real world’ circus: circus films refer to the metacultural code that the circus provides in its double capacity as a sensuous spectacle and a highly complex mode of cultural (self-)reflexivity. Particularly Christen, Matthias: Der Zirkusfilm: Exotismus, Konformität, Transgression, Marburg: Schüren 2010 Stoddart, Helen: Rings of Desire: Circus History and Representation, Manchester: Manchester UP 2000 and Jürgens, Anna-Sophie: Poetik des Zirkus: Die Ästhetik des Hyperbolischen im Roman, Bielefeld: transcript 2016.
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