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Gender, Collaboration, and Authorship in German Culture challenges
a model of literary production that persists in literary studies:
the so-called Geniekult or the idea of the solitary male author as
genius that emerged around 1800 in German lands. A closer look at
creative practices during this time indicates that collaborative
creative endeavors, specifically joint ventures between women and
men, were an important mode of literary production during this era.
This volume surveys a variety of such collaborations and proves
that male and female spheres of creation were not as distinct as
has been previously thought. It demonstrates that the model of the
male genius that dominated literary studies for centuries was not
inevitable, that viable alternatives to it existed. Finally, it
demands that we rethink definitions of an author and a literary
work in ways that account for the complex modes of creation from
which they arose.
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.
Gender, Collaboration, and Authorship in German Culture challenges
a model of literary production that persists in literary studies:
the so-called Geniekult or the idea of the solitary male author as
genius that emerged around 1800 in German lands. A closer look at
creative practices during this time indicates that collaborative
creative endeavors, specifically joint ventures between women and
men, were an important mode of literary production during this era.
This volume surveys a variety of such collaborations and proves
that male and female spheres of creation were not as distinct as
has been previously thought. It demonstrates that the model of the
male genius that dominated literary studies for centuries was not
inevitable, that viable alternatives to it existed. Finally, it
demands that we rethink definitions of an author and a literary
work in ways that account for the complex modes of creation from
which they arose.
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