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By Brigid Haines

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

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

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Dippel dates each of the stories specifically between 1955 and 1970. Siobhan S. Craig explores the historical resonances of the Italian setting of ‘Simultan’ in ‘The Collapse of Language and the Trace of History in Ingeborg Bachmann’s “Simultan” ’, Women in German Yearbook, 16 (2000), 39–60. For the references to Joseph Roth in Bachmann’s work see Irena Omelaniuk, ‘Ingeborg Bachmanns “Drei Wege zum See” ’, Seminar, 19/4 (1983), 246–64; Leo A. Lensing, ‘Joseph Roth and the Voices of Bachmann’s Trottas: Topography, Autobiography, and Literary History in “Drei Wege zum See” ’, Modern Austrian Literature, 18/3, 4 (1985), 53–76; Peter West Nutting, ‘ “Ein Stück wenig realisiertes Österreich”: The Narrative Topography of Ingeborg Bachmann’s “Drei Wege zum See” ’, Modern Austrian Literature, 18/3, 4 (1985), 77–90; David Dollenmeyer, ‘Ingeborg Bachmann Rewrites Joseph Roth’, Modern Austrian Literature, 26/1 (1993), 59–74; Dippel, ‘Österreich’.

30 This is understood in terms of Irigaray’s notion of mimicry, a masquerade of patriarchally defined femininity in order to reveal the mechanisms of its construction. However, Dusar detects a pleasurable intensity in Beatrix’s narcissism at the beauty parlour; when she dismisses the clumsy young apprentice and is transfixed by her own reflection, doll-like and expressionless, it is narrated as a quasi-mystical moment. She sees herself as ‘ein einsames unverstandenes Kunstwerk . . 32 In contrast to this reading, which posits an internal psychic reality underlying the text’s emphasis on surface appearances, Beth Linklater proposes a performative reading of ‘Probleme Probleme’, based on the work of Judith Butler.

Miranda’s focus on surface appearances in ‘Ihr glücklichen Augen’ is unequivocally a form of escapism, however legitimate, rather than a questioning of the existence of ‘depth’. Nevertheless it is indubitable that Bachmann’s conformist protagonists often articulate unintentional social critique. ’39 Much of the central three stories’ critical impact derives from their narrative ambiguity. They call for a view of textuality as a site of competing meanings, as well as an understanding of language as structuring the individual psyche or as a law governing culture.

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