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PREFACE Last fall Maggie McCarthy joined Helga Kraft as co-editor of the Yearbook. Together, they combine the skills of a native German and native English speaker, a "SWIGGIE" or senior WIG member, to borrow a 2005 Cabaret coinage, and the next generation. Our yin/yang energy has fueled some intense summer months as we pulled the current volume together. Maggie would also like to emphasize that many of her editing maxims are a direct legacy from Patricia Herminghouse, her Doktormutter. She's grateful for all the mentoring that supported her own early efforts to produce publishable prose and glad to sustain the momentum with the young scholars whose work appears here. Volume 22 of the Yearbook saw considerable changes in the production process as it transitioned to paperless editing. Manuscript reviewers worked by and large with e-mail attachments, and our instructions for retaining the anonymity of authors and readers were cited in the Chronicle ofHigher Education in an article on editing in the virtual age. Thanks to Adobe® Acrobat® 7.0 Professional, the essays that appear in this volume zinged back and forth this summer between Helga in Berlin, Maggie in North Carolina, editorial assistant Liz Frye in Chicago, and our intrepid formatter Victoria in Michigan. Despite some inevitable glitches, in general we're feeling very modern. The discussion continues about just how virtual the Yearbook should be, but for the moment you can still count on our sprightly colored volumes arriving in your mailbox once a year. This volume features some already familiar characters, like women warriors and machine vamps, but also entirely new kinds of voices, issuing from Turkish filmmaker Seyhan Derin, bicycling feminists of the 1890s, and the handicapped female dwarves of Shahar Rozen's documentary Liebe Perla. Spanning three centuries and media as diverse as literature, film, magazines, and photography, this volume has strong breadth and diversity. A variety of feminist scholarly imperatives underpin all of these essays. Good Germanists of all stripes, of course, have long paid hard attention to the insistent cultural and historical particulars informing real, literary, or filmic lives, and feminist scholars in particular have examined their concrete imprint on female bodies, souls, and psyches. ? Women in German Yearbook 22 The result is not always oppression pure and simple, as Heather Benbow 's essay surmises, given the way Kleist's Penthesilea reacts to Enlightenment discourses of female oral modesty, namely by literally feasting on her lover. Less wantonly, Jeannette Lander's autobiographical protagonist in her novel Überbleibsel struggles as well with issues of eating and control. Orchestrating lavish dinners while bemoaning their effects on her waistline, she performs an age-old female service, but also, as Heike Henderson argues, maintains a power dynamic over her family that feeds her own agency. Mining oppressive circumstances for hidden, double-edged forms of agency has also prompted much feminist scholarship, and Kelly Comfort contributes to this strain in her examination of Frank Wedekind's Lulu and Arthur Schnitzler's Fräulein Else. Although ultimately commodified out of existence, both women out-Madonna Madonna in the process, reveling in the power and pleasure of performance and aesthetic self-fashioning. Beth Muellner examines issues of representational propriety in 1890s photographs of bicycling feminists in pantaloons and the textual captions that tamed their visual shock value. Less visible in the subterranean spaces of Fritz Lang's Metropolis are the links between work, gender, and sexuality that Gabriela Stoicea examines in her essay, including the female workers' part in challenging the status quo. A basic feminist concern to uncover hidden female voices informs Sara Eigen's reading of Liebe Perla. What a female dwarf displayed naked in a film made by Josef Mengele has to say, however, again reveals not only horrific oppression, but also implicitly suggests that some hidden Holocaust artifacts should perhaps be covered up again. Filming the lives of her Turkish mother and grandmother, Seyhan Derin worked around a patriarch intent on keeping their lives shrouded rather than documented. Less challenging and with their own surprising artistic upside were the episodes of the teen soap Good Times I Bad Times that Seyhan has directed on the side. Andrew Piper charts another form of veiled...

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Additional Information

ISSN
2578-5192
Print ISSN
2578-5206
Pages
pp. ix-xi
Launched on MUSE
2010-10-13
Open Access
No
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