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The relative rise or decline of feminist movements across the globe
has been debated by feminist scholars and activists for a long
time. In recent years, however, these debates have gained renewed
momentum. Rapid technological change and increased use of digital
media have raised questions about how digital technologies change,
influence, and shape feminist politics. This book interrogates the
digital interface of transnational protest movements and local
activism in feminist politics. Examining how global feminist
politics is articulated at the nexus of the transnational/national,
we take contemporary German protest culture as a case study for the
manner in which transnational feminist activism intersects with the
national configuration of feminist political work. The book
explores how movements and actions from outside Germany's borders
circulate digitally and resonate differently in new local contexts,
and further, how these border-crossings transform grass-roots
activism as it goes digital. This book was originally published as
a special issue of Feminist Media Studies.
Essays in this volume rethink conventional ways of conceptualizing
female authorship and re-examine the formal, aesthetic, and
thematic terms in which German women's literature has been
conceived. What is the status of women's writing in German today,
in an era when feminism has thoroughly problematized binary
conceptions of sex and gender? Drawing on gender and queer theory,
including the work of Lauren Berlant, Judith Butler, and Michel
Foucault, the essays in this volume rethink conventional ways of
conceptualizing female authorship and re-examine the formal,
aesthetic, and thematic terms in which "women's literature" has
been conceived. With aneye to the literary and feminist legacy of
authors such as Christa Wolf and Ingeborg Bachmann, contributors
treat the works of many of contemporary Germany's most significant
literary voices, including Hatice Akyun, Sibylle Berg,Thea Dorn,
Tanja Duckers, Karen Duve, Jenny Erpenbeck, Julia Franck, Katharina
Hacker, Charlotte Roche, Julia Schoch, and Antje Ravic Strubel --
authors who, through their writing or their roles in the media,
engage with questionsof what it means to be a woman writer in
twenty-first-century Germany. Contributors: Hester Baer, Necia
Chronister, Helga Druxes, Valerie Heffernan, Alexandra Merley Hill,
Lindsay Lawton, Sheridan Marshall, Mihaela Petrescu, Jill Suzanne
Smith, Carrie Smith-Prei, Maria Stehle, Katherine Stone. Hester
Baer is Associate Professor of Germanic Studies at the University
of Maryland. Alexandra Merley Hill is Associate Professor of German
at the University of Portland.
The relative rise or decline of feminist movements across the globe
has been debated by feminist scholars and activists for a long
time. In recent years, however, these debates have gained renewed
momentum. Rapid technological change and increased use of digital
media have raised questions about how digital technologies change,
influence, and shape feminist politics. This book interrogates the
digital interface of transnational protest movements and local
activism in feminist politics. Examining how global feminist
politics is articulated at the nexus of the transnational/national,
we take contemporary German protest culture as a case study for the
manner in which transnational feminist activism intersects with the
national configuration of feminist political work. The book
explores how movements and actions from outside Germany's borders
circulate digitally and resonate differently in new local contexts,
and further, how these border-crossings transform grass-roots
activism as it goes digital. This book was originally published as
a special issue of Feminist Media Studies.
Essays in this volume rethink conventional ways of conceptualizing
female authorship and re-examine the formal, aesthetic, and
thematic terms in which German women's literature has been
conceived. What is the status of women's writing in German today,
in an era when feminism has thoroughly problematized binary
conceptions of sex and gender? Drawing on gender and queer theory,
including the work of Lauren Berlant, Judith Butler, and Michel
Foucault, the essays in this volume rethink conventional ways of
conceptualizing female authorship and re-examine the formal,
aesthetic, and thematic terms in which "women's literature" has
been conceived. With aneye to the literary and feminist legacy of
authors such as Christa Wolf and Ingeborg Bachmann, contributors
treat the works of many of contemporary Germany's most significant
literary voices, including Hatice Akyun, Sibylle Berg,Thea Dorn,
Tanja Duckers, Karen Duve, Jenny Erpenbeck, Julia Franck, Katharina
Hacker, Charlotte Roche, Julia Schoch, and Antje Ravic Strubel --
authors who, through their writing or their roles in the media,
engage with questionsof what it means to be a woman writer in
twenty-first-century Germany. Contributors: Hester Baer, Necia
Chronister, Helga Druxes, Valerie Heffernan, Alexandra Merley Hill,
Lindsay Lawton, Sheridan Marshall, Mihaela Petrescu, Jill Suzanne
Smith, Carrie Smith-Prei, Maria Stehle, Katherine Stone. Hester
Baer is Associate Professor of Germanic Studies at the University
of Maryland. Alexandra Merley Hill is Associate Professor of German
at the University of Portland.
Examines portrayals of plants and landscapes in recent German
novels and films, addressing the contemporary forms of racism,
nationalism, and social and ecological injustice that they expose.
Plants, Places, and Power is a study of plants and landscapes in
and beyond contemporary German-language literature and film.
Stories and images of plants and landscapes in cultural productions
are key sites for exposing the violent legacies of German
colonialism and Nazism and for addressing contemporary forms of
racism, nationalism, social and ecological injustice, and gender
inequity. The novels and films discussed in this book address these
key political issues in contemporary Europe and propose alternative
ways for people to live together on this planet by formulating more
inclusive and sustainable concepts of belonging. The book has two
main objectives: to offer new approaches to contemporary literature
and film from an intersectional, ecological perspective, and to
form a canon. All of the works focused on, from Mo Asumang's
documentary film Roots Germania (2007) through Faraz Shariat's
Futur Drei (2020) and from Yoko Tawada's novel Das nackte Auge
(2004) to Sasa Stanisic's Herkunft (2019), are by female artists,
artists of color, artists who have experienced forced displacement,
and/or queer artists. In five chapters, Maria Stehle reads artworks
in reference to ecological systems, develops forms of eco- and
social criticism based on art, and intertwines ecological and
critical thinking with questions of form, affect, and aesthetics.
Drawing on and responding to the writings of theorists such as
Judith Butler, Sarah Ahmed, Lauren Berlant, and Lisa Lowe, this
book proposes the notion of "precarious intimacies" to navigate a
dilemma: how to recognize, affirm, and value love, touch, and care
while challenging the racialized and gendered politics in which
they are embedded. Twenty-first-century Europe is undergoing
dramatic political and economic transformations that produce new
forms of transnational contact as well as new regimes of exclusion
and economic precarity. These political and economic shifts both
circumscribe and enable new possibilities for intimacy. Many
European films of the last two decades depict experiences of
political and economic vulnerability in narratives of precarious
intimacies. In these films, stories of intimacy, sex, love, and
friendship are embedded in violence and exclusion, but, as Maria
Stehle and Beverly Weber show, the politics of touch and connection
also offers avenues to theorize forms of attention and affection
that challenge exclusive notions of race, citizenship, and
belonging. Precarious Intimacies examines the aesthetic strategies
that respond to this tension and proposes a politics of
interpretation that identifies the potential and possibility of
intimacy.
Drawing on and responding to the writings of theorists such as
Judith Butler, Sarah Ahmed, Lauren Berlant, and Lisa Lowe, this
book proposes the notion of "precarious intimacies" to navigate a
dilemma: how to recognize, affirm, and value love, touch, and care
while challenging the racialized and gendered politics in which
they are embedded. Twenty-first-century Europe is undergoing
dramatic political and economic transformations that produce new
forms of transnational contact as well as new regimes of exclusion
and economic precarity. These political and economic shifts both
circumscribe and enable new possibilities for intimacy. Many
European films of the last two decades depict experiences of
political and economic vulnerability in narratives of precarious
intimacies. In these films, stories of intimacy, sex, love, and
friendship are embedded in violence and exclusion, but, as Maria
Stehle and Beverly Weber show, the politics of touch and connection
also offers avenues to theorize forms of attention and affection
that challenge exclusive notions of race, citizenship, and
belonging. Precarious Intimacies examines the aesthetic strategies
that respond to this tension and proposes a politics of
interpretation that identifies the potential and possibility of
intimacy.
The increased use of digital tools for political activism has
triggered heated debates about the effectiveness of digital
campaigns for political change and feminist causes. While
technology's immediacy and transnational reach have broadened the
potential impact of activism, it has, at the same time, complicated
the goals, materiality, and consumption of feminist actions. In
Awkward Politics, Carrie Smith-Prei and Maria Stehle suggest that
awkwardness offers a means of engaging with twenty-first century
feminist activism by accounting for the uncertainty of popfeminist
moments and movements, its sometimes illegible meanings, affects,
and aesthetics. By investigating transnational media ranging from
popfeminist performance art, music, street activism, blogs, and
hashtags to literature, film, academic theory, and protests, the
authors demonstrate that viewing activist art through the lens of
awkwardness can yield a nuanced critique. By developing awkwardness
into a theoretical tool for intervention, a key concept of feminist
politics, and a moving target, this innovative study dramatically
alters the ways in which we approach activism, its forms,
movements, and effects. It also suggests a broad range of
applicability, from social movements to the academy. Breaking new
ground through the intersections of technology, consumerism, and
the political in popfeminist work, Awkward Politics highlights the
urgency of feminist politics and activism.
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