By Helen Watanabe-O'Kelly
A regiment of girls warriors strides around the battlefield of German tradition - at the degree, within the opera residence, at the web page, and in work and prints. those warriors are re-imaginings via males of figures corresponding to the Amazons, the Valkyries, and the biblical killer Judith. they're transgressive and accordingly scary figures who depart their right lady sphere and feature to be made secure through being killed, deflowered, or either. This has produced a few compelling works of Western tradition - Cranach's and Klimt's work of Judith, Schiller's Joan of Arc, Hebbel's Judith, Wagner's Brunnhilde, Fritz Lang's Brunhild. these days, representations of the lady warrior are used as a manner of pondering the lady terrorist. girls writers simply interact with those imaginings on the finish of the nineteenth century, yet from the overdue 18th century on they start to visualize fictional cross-dressers going to warfare in a practical atmosphere and therefore imagine the unthinkable.
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Extra info for Beauty or Beast?: The Woman Warrior in the German Imagination from the Renaissance to the Present
Warrior queens are frequently portrayed as monstrous, sexually voracious, and incestuous, as in the case of Semiramis, and as sexually voracious and prepared to kill their own children in the case of Sophonisbe, two ﬁgures discussed in Chapter 6. Such representations convey serious unease about what would happen if women were rulers rather than subjects, and could choose their own mates rather than having mates assigned to them by those who have power over them in the patriarchal order. Mythical and biblical women warriors, and warriors from the distant historical past, can be cut to a particular size as needed, since their resemblance to actual women is tenuous.
They are femmes fortes, women who exhibit qualities of courage, steadfastness, and leadership, qualities that are connoted male. They sometimes die, like Lohenstein’s revolutionary leader Epicharis, who chokes herself on her 73 See Anne Fleig, Handlungs—Spiel—Ra¨ume. Dramen von Autorinnen im Theater des ausgehenden 18. Jahrhunderts (Wurzburg: Ko¨nigshausen & Neumann, 1999). 74 Engel Christine Westphalen, Charlotte Corday. Trago¨die in 5 Akten mit Cho¨ren (Hamburg: Hoffmann, 1804); Erika Mitterer, Charlotte Corday, Drama in vier Aufzu¨gen, in Dramen, vol.
Thesen zur Geschichte weiblicher Schreibpraxis’, in Die verborgene Frau. Sechs Beitra¨ge zu einer feministischen Literaturwissenschaft (Berlin: Argument, 1983), 83–137. ¨ berlegungen zur Untersuchung von 64 Inge Stephan, ‘‘‘Bilder und immer wieder Bilder . . ’’ U Frauenbildern in ma¨nnlicher Literatur’, in Die verborgene Frau, 15–34. 65 Therese Huber, Die Familie Seldorf (Norderstedt: Zenodot, 2008). org, accessed 10 June 2009. staking out the battlefield 29 political ends, bears arms, and cross-dresses.
Beauty or Beast?: The Woman Warrior in the German Imagination from the Renaissance to the Present by Helen Watanabe-O'Kelly