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Download Contemporary Women's Writing in German: Changing the Subject by Brigid Haines PDF

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By Brigid Haines

Brigid Haines and Margaret Littler draw at the newest advancements in feminist conception to discover modern German girls writers' representations of lady subjectivity. Bridging the distance among severe conception and women's writing in German, this ebook offers in-depth, totally contextualized readings of six key texts.

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Additional resources for Contemporary Women's Writing in German: Changing the Subject (Oxford Studies in Modern European Culture)

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Although both Nadja and Elisabeth are multilingual, independent, and successful in a man’s world, they are both still marginalized in the powerful discourses of their society. The interpreter mediates only other people’s ideas, existing only in the language of others, and the journalist records world events, but in a discourse which cannot 19 20 21 There is a debate, which lies beyond the scope of this study, about the relative importance for Bachmann’s work of Heidegger’s philosophy and of Frankfurt School theory.

Für ihn [Ivan] ist sie eine Episode in seinem Leben, für sie ist er der Transformator, der die Welt verändert, die Welt schön macht. Vielleicht ist 15 16 Gudrun Mauch, ‘Ingeborg Bachmanns Erzählband Simultan’, Modern Austrian Literature, 12/3, 4 (1979), 273 – 304. Friederike Eigler, ‘Bachmann und Bachtin: Zur dialogischen Erzählstruktur von Simultan’, Modern Austrian Literature, 24/3, 4 (1991), 1–16. 24 Ingeborg Bachmann, Simultan (1972) das sehr merkwürdig für Sie, wenn ausgerechnet eine Frau, die immer ihr Geld verdient hat, sich ihr Studium verdient hat, immer gearbeitet hat, immer allein gelebt hat, wenn sie sagt, daß sie von der ganzen Emanzipation nichts hält.

See Beatrice Hanssen, ‘Elfriede Jelinek’s Language of Violence’, New German Critique, 68 (1996), 79 –112 (112). 12 Like her fellow contemporary Austrian writers Peter Handke and Thomas Bernhard, Jelinek has consistently placed herself in opposition to the official myths and traditions of Austrian culture, such as the powerful myth of the pure Austrian Heimat, which deny the reality of Austria’s Nazi past. Die Liebhaberinnen was one of Jelinek’s earliest texts, and its partly experimental form, for example the lack of upper-case letters, betrays the influence of French Surrealism and of avant-garde writers’ groups, the Wiener Gruppe of the 1950s and the Grazer Gruppe of the 1970s, of which she was a prominent member, and continues the aesthetic innovation she undertook in her earliest works, such as Michael: Ein Jugendbuch für die Infantilgesellschaft (1973).

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