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Recent scholarship has broadened definitions of war and shifted
from the narrow focus on battles and power struggles to include
narratives of the homefront and private sphere. To expand
scholarship on textual representations of war means to shed light
on the multiple theaters of war, and on the many voices who
contributed to, were affected by, and/or critiqued German war
efforts. Engaged women writers and artists commented on their
nations' imperial and colonial ambitions and the events of the
tumultuous beginning of the twentieth century. In an
interdisciplinary investigation, this volume explores select
female-authored, German-language texts focusing on German colonial
wars and World War I and the discourses that promoted or critiqued
their premises. They examine how colonial conflicts contributed to
a persistent atmosphere of Kriegsbegeisterung (war enthusiasm) that
eventually culminated in the outbreak of World War I, or a
Kriegskritik (criticism of war) that resisted it. The span from
German colonialism to World War I brings these explosive periods
into relief and challenges readers to think about the intersection
of nationalism, violence and gender and about the historical
continuities and disruptions that shape such events.
Recent scholarship has broadened definitions of war and shifted
from the narrow focus on battles and power struggles to include
narratives of the homefront and private sphere. To expand
scholarship on textual representations of war means to shed light
on the multiple theaters of war, and on the many voices who
contributed to, were affected by, and/or critiqued German war
efforts. Engaged women writers and artists commented on their
nations' imperial and colonial ambitions and the events of the
tumultuous beginning of the twentieth century. In an
interdisciplinary investigation, this volume explores select
female-authored, German-language texts focusing on German colonial
wars and World War I and the discourses that promoted or critiqued
their premises. They examine how colonial conflicts contributed to
a persistent atmosphere of Kriegsbegeisterung (war enthusiasm) that
eventually culminated in the outbreak of World War I, or a
Kriegskritik (criticism of war) that resisted it. The span from
German colonialism to World War I brings these explosive periods
into relief and challenges readers to think about the intersection
of nationalism, violence and gender and about the historical
continuities and disruptions that shape such events.
Investigates the field of German life writing, from Rahel Levin
Varnhagen around 1800 to Carmen Sylva a century later, from
Doeblin, Becher, women's WWII diaries, German-Jewish memoirs, and
East German women's interview literatureto the autofiction of Lena
Gorelik. In recent decades, life writing has exploded in
popularity: memoirs that focus on traumatic experiences now
constitute the largest growth sector in book publishing worldwide.
But life writing is not only highly marketable; it also does
important emotional, cultural, and political work. It is more
available to amateurs and those without the cultural capital or the
self-confidence to embrace more traditional literary forms, and
thus gives voice to marginalized populations. Contested Selves
investigates various forms of German-language life writing,
including memoirs, interviews, letters, diaries, and graphic
novels, shedding light on its democratic potential, on its ability
to personalize history and historicize the personal. The
contributors ask how the various authors construct and negotiate
notions of the self relative to sociopolitical contexts, cultural
traditions, genre expectations, and narrative norms. They also
investigate the nexus of writing, memory, and experience, including
the genre's truth claims vis-a-vis the pliability and unreliability
of human memories. Finally, they explore ethical questions that
arise from intimate life writing and from the representation of
"vulnerable subjects" as well as from the interrelation of material
body, embodied self, and narrative. All forms of life writing
discussed in this volume are invested in a process of making
meaning and in an exchange of experience that allows us to relate
our lives to the lives of others.
This collection, for the first time, explores women’s
self-conceptions and representations of women’s and gender roles
in society in their own Expressionist works. How did women approach
themes commonly considered to be characteristic of the
Expressionist movement, and did they address other themes or
aesthetics and styles not currently represented in the canon? Women
in German Expressionism centers its analysis on gender, together
with difference, ethnicity, intersectionality, and identity, to
approach artworks and texts in more nuanced ways, engaging solidly
established theoretical and sociohistorical approaches that enhance
and update our understanding of the material under investigation.
It moves beyond the masculine, “New Man,” viewpoint so firmly
associated with German Expressionism and examines alternative,
critical, and divergent interpretations of the changing world at
the time. This collection seeks to broaden the theorization,
scholarship, and reception of German Expressionism by—much
belatedly—including works by women, and by shifting or redefining
firmly established concepts and topics carrying only the imprint of
male authors and artists to this day.
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R398
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