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Studies representations of women and death by women to see whether
and how they differ from patriarchal versions. In Western culture,
women are often linked with death, perhaps because they are
traditionally constructed as an unknowable "other." The first two
Women and Death volumes investigate ideas about death and the
feminine as represented in German culture since 1500, focusing,
respectively, on the representation of women as victims and killers
and the idea of the woman warrior, and confirming that women who
kill or die violent or untimely deaths exercisefascination even as
they pose a threat. The traditions of representation traced in the
first two volumes, however, are largely patriarchal. What happens
when it is women who produce the representations? Do they debunk or
reject the dominant discourses of sexual fascination around women
and death? Do they replace them with more sober or "realistic"
representations, with new forms, modes, and language? Or do women
writers and artists, inescapably bound up in patriarchal tradition,
reproduce its paradigms? This third volume in the series
investigates these questions in ten essays written by an
international group of expert scholars. It will be of interest to
scholars and students of German literature and culture, gender
studies, and film studies. Contributors: Judith Aikin, Barbara
Becker-Cantarino, Jill Bepler, Stephanie Bird, Abigail Dunn,
Stephanie Hilger, Elisabeth Krimmer, Aine McMurtry, Simon Richter,
Helen Watanabe-O'Kelly. Clare Bielby is Lecturer in German at the
University of Hull. Anna Richards is Lecturer in German at Birkbeck
College, University of London.
Ingeborg Bachmann (1927-73), one of the most acclaimed
German-language poets of the post-war period, famously turned away
from the lyric during the 1960s. Publicly declaring that she had
stopped writing poetry, Bachmann began work on the prose Todesarten
cycle that would dominate the last decade of her life. During a
period of personal breakdown in the 1960s, however, she privately
continued to write in verse, and the publication of selected drafts
in 2000 threw new light on her compositional methods in this
period. As the most extensive study to date of the poetic drafts,
this monograph leads away from the polemic that surrounded their
publication to establish the fragmentary texts as an experimental
stage of writing that proved formally and thematically significant
for later published prose works. Bridging the genre gap of much
Bachmann scholarship, McMurtry illuminates the development of a
reflexive mode where sophisticated aesthetic strategies enable the
oblique expression of cultural critique. Aine McMurtry is Lecturer
in German at Durham University.
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