By Stefani Engelstein
This quantity illuminates the vexed therapy of violence within the German cultural culture among the most important, and substantially various, violent outbreaks: the French Revolution, and the Holocaust and moment global struggle. The contributions undermine the concept of violence as an intermittent or random customer within the mind's eye and important concept of recent German tradition. in its place, they make a case for violence in its many manifestations as constitutive for contemporary theories of artwork, politics, id, and enterprise. whereas the contributions elucidate developments in theories of violence top as much as the Holocaust, additionally they supply a family tree of the stakes fascinated by ongoing discussions of the valid makes use of of violence, and of country, person, and collective corporation in its perpetration. The chapters have interaction the theorization of violence via research of cultural items, together with literature, museum making plans, movie, and significant conception. This assortment might be of curiosity to students within the fields of Literary and Cultural reviews, serious conception, Philosophy, Gender stories, historical past, Museum reviews, and past
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Extra resources for Contemplating violence : critical studies in modern German culture
10 The painting that Joan Landes analyzes is La Liberté Patronne des Français (c. P. Avery Collection, Miriam & Ira D. Wallach Division of Art, Prints, and Photographs, The New York Public Library, Astor, Lenox and Tilden Foundations). 11 The father/king is killed, usually by his sons and replaced with new models of authority. In Die Familie Seldorf, the generational conflict is displaced by the female protagonist’s desire for her aristocratic lover’s death. Sara neither behaves like the innocent domestic daughter of the family romance, protected from the dirty realm of politics, nor like the allegorized Revolutionary figure of Liberty.
Yet, whereas typical bourgeois tragedies focus on the seduction narrative and are situated in vaguely historicized eighteenth-century bourgeois interior spaces, Die Familie Seldorf is set explicitly during the French Revolution and its exterior spaces of conflict. Huber thereby consciously yet carefully widens her narrative’s political implications. The characters are all actively involved in political activities, and Sara not least. Sara and Theodor are the children of officer Seldorf. Theodor’s friend Roger – grandson of Seldorf’s neighbor Berthier – loves Sara, who does not reciprocate his feelings and is, instead, seduced, betrayed and abandoned by Graf L.
Here: P. 194. 7 Anna Richards: ‘Double-Voiced Discourse’ and Psychological Insight in the Work of Therese Huber. 2 (2004). Pp. 416–429. Here: P. 419. 38 While the above cited arguments are all valid and have prompted meaningful readings of Die Familie Seldorf, the broader question remains why critics implicitly – and perhaps unconsciously – desire to find a progressive, unruly and feminist voice in a late eighteenth-century text by a female author. Does all literature by women have to be feminist or politically progressive in order to be worth scholarly attention?