By Brigid Haines
Brigid Haines and Margaret Littler draw at the most modern advancements in feminist concept to discover modern German ladies writers' representations of woman subjectivity. Bridging the distance among severe conception and women's writing in German, this publication offers in-depth, absolutely contextualized readings of six key texts.
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Additional info for Contemporary Women's Writing in German: Changing the Subject (Oxford Studies in Modern European Culture)
The moment of crisis in the story, when an inexperienced beautician disturbs the illusion of perfection, could be seen as a moment of insight into the constructedness of the image. Nonetheless SchmidBortenschlager contends that Bachmann stops short of challenging the symbolic construction of femininity on the level of the narrative itself. This view will be revisited in the light of the Bakhtinian reading of Bachmann’s narrative technique which follows. From psychoanalysis to performativity Ingeborg Dusar interprets the mirror scenes in ‘Probleme Probleme’ as the site of positive psychic rebellion.
Hsu psychoanalyses the protagonist Miranda for the psychosomatic causes of her myopia in ‘A Favourite Selection at the Beauty Parlour? : Ariadne Press, 1998), 76–91. ), Text Tollhaus für Bachmann-Süchtige? Lesarten zur Kritischen Ausgabe von Ingeborg Bachmanns Todesarten-Projekt (Opladen/Wiesbaden: Westdeutscher Verlag, 1998), 118–29. Only Ingeborg Dusar in Choreographien der Differenz (p. 91) moves beyond the thematic treatment of short sight, pointing to the multiple levels of intertextuality which call for a more complex and allegorical interpretation.
Leo had forced her to get rid of a dog, Nuri, her only companion, because it took a violent dislike to him, and she lives in fear that he will put her in an old people’s home. Franziska takes over responsibility for visiting the old woman in order to relieve her husband of a burden, but is increasingly unable to suppress the knowledge of his professional opportunism and cruelty to his mother. 44 45 46 47 ‘For a moment he takes Miranda in his arms, he touches her hair with his lips and is unable to see or feel anything other than the words “Blood Lane”.