The cultural Myth of the suicidal Authoress
Saved in:
| Published in: | Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte |
|---|---|
| Main Author: | |
| Format: | Article |
| Language: | English |
| Published: | 2022 |
| Online Access: | https://doi.org/10.1007/s41245-022-00146-w |
| _version_ |
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| abstract |
Abstract Starting from the observation that women artists who die by suicide are an object of fascination in Western culture, this article posits the existence of a ›cultural myth of the suicidal authoress‹, which it examines via an analysis of three fictional representations of historical women writers who died by suicide or were suspected of having done so: Christa Wolf’s novella Kein Ort. Nirgends, Werner Schroeter’s film Malina – which is interpreted as a portrait of Ingeborg Bachmann – and Karin Struck’s Ingeborg B.: Duell mit dem Spiegelbild. Drawing on the concept of the diva as developed by Elisabeth Bronfen and Barbara Straumann, it argues that the key to the cultural appeal of the figure of the suicidal women artist lies in what is perceived to be her unusual authenticity: her life and work are perceived to be one, and her suicide is interpreted as a guarantee of her authenticity as both a person and an artist. The article also explores possible reasons for the gendered nature of this myth and asks whether literary or filmic representations of suicidal women artists do an injustice to their subjects by identifying them so persistently with their deaths. © The Author(s), under exclusive licence to Springer-Verlag GmbH Deutschland, ein Teil von Springer Nature 2022. Springer Nature oder sein Lizenzgeber hält die ausschließlichen Nutzungsrechte an diesem Artikel kraft eines Verlagsvertrags mit dem/den Autor*in(nen) oder anderen Rechteinhaber*in(nen); die Selbstarchivierung der akzeptierten Manuskriptversion dieses Artikels durch Autor*in(nen) unterliegt ausschließlich den Bedingungen dieses Verlagsvertrags und dem geltenden Recht. |
| abstractGer |
Abstract Starting from the observation that women artists who die by suicide are an object of fascination in Western culture, this article posits the existence of a ›cultural myth of the suicidal authoress‹, which it examines via an analysis of three fictional representations of historical women writers who died by suicide or were suspected of having done so: Christa Wolf’s novella Kein Ort. Nirgends, Werner Schroeter’s film Malina – which is interpreted as a portrait of Ingeborg Bachmann – and Karin Struck’s Ingeborg B.: Duell mit dem Spiegelbild. Drawing on the concept of the diva as developed by Elisabeth Bronfen and Barbara Straumann, it argues that the key to the cultural appeal of the figure of the suicidal women artist lies in what is perceived to be her unusual authenticity: her life and work are perceived to be one, and her suicide is interpreted as a guarantee of her authenticity as both a person and an artist. The article also explores possible reasons for the gendered nature of this myth and asks whether literary or filmic representations of suicidal women artists do an injustice to their subjects by identifying them so persistently with their deaths. © The Author(s), under exclusive licence to Springer-Verlag GmbH Deutschland, ein Teil von Springer Nature 2022. Springer Nature oder sein Lizenzgeber hält die ausschließlichen Nutzungsrechte an diesem Artikel kraft eines Verlagsvertrags mit dem/den Autor*in(nen) oder anderen Rechteinhaber*in(nen); die Selbstarchivierung der akzeptierten Manuskriptversion dieses Artikels durch Autor*in(nen) unterliegt ausschließlich den Bedingungen dieses Verlagsvertrags und dem geltenden Recht. |
| abstract_unstemmed |
Abstract Starting from the observation that women artists who die by suicide are an object of fascination in Western culture, this article posits the existence of a ›cultural myth of the suicidal authoress‹, which it examines via an analysis of three fictional representations of historical women writers who died by suicide or were suspected of having done so: Christa Wolf’s novella Kein Ort. Nirgends, Werner Schroeter’s film Malina – which is interpreted as a portrait of Ingeborg Bachmann – and Karin Struck’s Ingeborg B.: Duell mit dem Spiegelbild. Drawing on the concept of the diva as developed by Elisabeth Bronfen and Barbara Straumann, it argues that the key to the cultural appeal of the figure of the suicidal women artist lies in what is perceived to be her unusual authenticity: her life and work are perceived to be one, and her suicide is interpreted as a guarantee of her authenticity as both a person and an artist. The article also explores possible reasons for the gendered nature of this myth and asks whether literary or filmic representations of suicidal women artists do an injustice to their subjects by identifying them so persistently with their deaths. © The Author(s), under exclusive licence to Springer-Verlag GmbH Deutschland, ein Teil von Springer Nature 2022. Springer Nature oder sein Lizenzgeber hält die ausschließlichen Nutzungsrechte an diesem Artikel kraft eines Verlagsvertrags mit dem/den Autor*in(nen) oder anderen Rechteinhaber*in(nen); die Selbstarchivierung der akzeptierten Manuskriptversion dieses Artikels durch Autor*in(nen) unterliegt ausschließlich den Bedingungen dieses Verlagsvertrags und dem geltenden Recht. |
| allfields |
10.1007/s41245-022-00146-w doi (DE-627)OLC2079518593 (DE-He213)s41245-022-00146-w-p DE-627 ger DE-627 rakwb eng 430 VZ 830 VZ 7,20 24 ssgn AVL DE-30 fid GER DE-30 fid Gallagher, Kaleen verfasserin aut The cultural Myth of the suicidal Authoress 2022 Text txt rdacontent ohne Hilfsmittel zu benutzen n rdamedia Band nc rdacarrier © The Author(s), under exclusive licence to Springer-Verlag GmbH Deutschland, ein Teil von Springer Nature 2022. Springer Nature oder sein Lizenzgeber hält die ausschließlichen Nutzungsrechte an diesem Artikel kraft eines Verlagsvertrags mit dem/den Autor*in(nen) oder anderen Rechteinhaber*in(nen); die Selbstarchivierung der akzeptierten Manuskriptversion dieses Artikels durch Autor*in(nen) unterliegt ausschließlich den Bedingungen dieses Verlagsvertrags und dem geltenden Recht. Abstract Starting from the observation that women artists who die by suicide are an object of fascination in Western culture, this article posits the existence of a ›cultural myth of the suicidal authoress‹, which it examines via an analysis of three fictional representations of historical women writers who died by suicide or were suspected of having done so: Christa Wolf’s novella Kein Ort. Nirgends, Werner Schroeter’s film Malina – which is interpreted as a portrait of Ingeborg Bachmann – and Karin Struck’s Ingeborg B.: Duell mit dem Spiegelbild. Drawing on the concept of the diva as developed by Elisabeth Bronfen and Barbara Straumann, it argues that the key to the cultural appeal of the figure of the suicidal women artist lies in what is perceived to be her unusual authenticity: her life and work are perceived to be one, and her suicide is interpreted as a guarantee of her authenticity as both a person and an artist. The article also explores possible reasons for the gendered nature of this myth and asks whether literary or filmic representations of suicidal women artists do an injustice to their subjects by identifying them so persistently with their deaths. Enthalten in Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte Springer Berlin Heidelberg, 1923 96(2022), 3 vom: 29. Aug., Seite 313-340 (DE-627)129459445 (DE-600)200376-4 (DE-576)014823225 0012-0936 nnns volume:96 year:2022 number:3 day:29 month:08 pages:313-340 https://doi.org/10.1007/s41245-022-00146-w lizenzpflichtig Volltext GBV_USEFLAG_A SYSFLAG_A GBV_OLC FID-AVL FID-GER SSG-OLC-GER SSG-OLC-BUB SSG-OPC-BBI GBV_ILN_20 GBV_ILN_21 GBV_ILN_22 GBV_ILN_24 GBV_ILN_40 GBV_ILN_50 GBV_ILN_61 GBV_ILN_90 GBV_ILN_92 GBV_ILN_104 GBV_ILN_121 GBV_ILN_176 GBV_ILN_227 GBV_ILN_350 GBV_ILN_2004 GBV_ILN_2005 GBV_ILN_2007 GBV_ILN_2012 GBV_ILN_2015 GBV_ILN_2018 GBV_ILN_2031 GBV_ILN_2032 GBV_ILN_2043 GBV_ILN_2046 GBV_ILN_2093 GBV_ILN_2487 GBV_ILN_4028 GBV_ILN_4035 GBV_ILN_4036 GBV_ILN_4037 GBV_ILN_4046 GBV_ILN_4112 GBV_ILN_4126 GBV_ILN_4246 GBV_ILN_4251 GBV_ILN_4253 GBV_ILN_4302 GBV_ILN_4306 GBV_ILN_4316 GBV_ILN_4320 GBV_ILN_4321 GBV_ILN_4346 GBV_ILN_4367 AR 96 2022 3 29 08 313-340 |
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10.1007/s41245-022-00146-w doi (DE-627)OLC2079518593 (DE-He213)s41245-022-00146-w-p DE-627 ger DE-627 rakwb eng 430 VZ 830 VZ 7,20 24 ssgn AVL DE-30 fid GER DE-30 fid Gallagher, Kaleen verfasserin aut The cultural Myth of the suicidal Authoress 2022 Text txt rdacontent ohne Hilfsmittel zu benutzen n rdamedia Band nc rdacarrier © The Author(s), under exclusive licence to Springer-Verlag GmbH Deutschland, ein Teil von Springer Nature 2022. Springer Nature oder sein Lizenzgeber hält die ausschließlichen Nutzungsrechte an diesem Artikel kraft eines Verlagsvertrags mit dem/den Autor*in(nen) oder anderen Rechteinhaber*in(nen); die Selbstarchivierung der akzeptierten Manuskriptversion dieses Artikels durch Autor*in(nen) unterliegt ausschließlich den Bedingungen dieses Verlagsvertrags und dem geltenden Recht. Abstract Starting from the observation that women artists who die by suicide are an object of fascination in Western culture, this article posits the existence of a ›cultural myth of the suicidal authoress‹, which it examines via an analysis of three fictional representations of historical women writers who died by suicide or were suspected of having done so: Christa Wolf’s novella Kein Ort. Nirgends, Werner Schroeter’s film Malina – which is interpreted as a portrait of Ingeborg Bachmann – and Karin Struck’s Ingeborg B.: Duell mit dem Spiegelbild. Drawing on the concept of the diva as developed by Elisabeth Bronfen and Barbara Straumann, it argues that the key to the cultural appeal of the figure of the suicidal women artist lies in what is perceived to be her unusual authenticity: her life and work are perceived to be one, and her suicide is interpreted as a guarantee of her authenticity as both a person and an artist. The article also explores possible reasons for the gendered nature of this myth and asks whether literary or filmic representations of suicidal women artists do an injustice to their subjects by identifying them so persistently with their deaths. Enthalten in Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte Springer Berlin Heidelberg, 1923 96(2022), 3 vom: 29. Aug., Seite 313-340 (DE-627)129459445 (DE-600)200376-4 (DE-576)014823225 0012-0936 nnns volume:96 year:2022 number:3 day:29 month:08 pages:313-340 https://doi.org/10.1007/s41245-022-00146-w lizenzpflichtig Volltext GBV_USEFLAG_A SYSFLAG_A GBV_OLC FID-AVL FID-GER SSG-OLC-GER SSG-OLC-BUB SSG-OPC-BBI GBV_ILN_20 GBV_ILN_21 GBV_ILN_22 GBV_ILN_24 GBV_ILN_40 GBV_ILN_50 GBV_ILN_61 GBV_ILN_90 GBV_ILN_92 GBV_ILN_104 GBV_ILN_121 GBV_ILN_176 GBV_ILN_227 GBV_ILN_350 GBV_ILN_2004 GBV_ILN_2005 GBV_ILN_2007 GBV_ILN_2012 GBV_ILN_2015 GBV_ILN_2018 GBV_ILN_2031 GBV_ILN_2032 GBV_ILN_2043 GBV_ILN_2046 GBV_ILN_2093 GBV_ILN_2487 GBV_ILN_4028 GBV_ILN_4035 GBV_ILN_4036 GBV_ILN_4037 GBV_ILN_4046 GBV_ILN_4112 GBV_ILN_4126 GBV_ILN_4246 GBV_ILN_4251 GBV_ILN_4253 GBV_ILN_4302 GBV_ILN_4306 GBV_ILN_4316 GBV_ILN_4320 GBV_ILN_4321 GBV_ILN_4346 GBV_ILN_4367 AR 96 2022 3 29 08 313-340 |
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10.1007/s41245-022-00146-w doi (DE-627)OLC2079518593 (DE-He213)s41245-022-00146-w-p DE-627 ger DE-627 rakwb eng 430 VZ 830 VZ 7,20 24 ssgn AVL DE-30 fid GER DE-30 fid Gallagher, Kaleen verfasserin aut The cultural Myth of the suicidal Authoress 2022 Text txt rdacontent ohne Hilfsmittel zu benutzen n rdamedia Band nc rdacarrier © The Author(s), under exclusive licence to Springer-Verlag GmbH Deutschland, ein Teil von Springer Nature 2022. Springer Nature oder sein Lizenzgeber hält die ausschließlichen Nutzungsrechte an diesem Artikel kraft eines Verlagsvertrags mit dem/den Autor*in(nen) oder anderen Rechteinhaber*in(nen); die Selbstarchivierung der akzeptierten Manuskriptversion dieses Artikels durch Autor*in(nen) unterliegt ausschließlich den Bedingungen dieses Verlagsvertrags und dem geltenden Recht. Abstract Starting from the observation that women artists who die by suicide are an object of fascination in Western culture, this article posits the existence of a ›cultural myth of the suicidal authoress‹, which it examines via an analysis of three fictional representations of historical women writers who died by suicide or were suspected of having done so: Christa Wolf’s novella Kein Ort. Nirgends, Werner Schroeter’s film Malina – which is interpreted as a portrait of Ingeborg Bachmann – and Karin Struck’s Ingeborg B.: Duell mit dem Spiegelbild. Drawing on the concept of the diva as developed by Elisabeth Bronfen and Barbara Straumann, it argues that the key to the cultural appeal of the figure of the suicidal women artist lies in what is perceived to be her unusual authenticity: her life and work are perceived to be one, and her suicide is interpreted as a guarantee of her authenticity as both a person and an artist. The article also explores possible reasons for the gendered nature of this myth and asks whether literary or filmic representations of suicidal women artists do an injustice to their subjects by identifying them so persistently with their deaths. Enthalten in Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte Springer Berlin Heidelberg, 1923 96(2022), 3 vom: 29. Aug., Seite 313-340 (DE-627)129459445 (DE-600)200376-4 (DE-576)014823225 0012-0936 nnns volume:96 year:2022 number:3 day:29 month:08 pages:313-340 https://doi.org/10.1007/s41245-022-00146-w lizenzpflichtig Volltext GBV_USEFLAG_A SYSFLAG_A GBV_OLC FID-AVL FID-GER SSG-OLC-GER SSG-OLC-BUB SSG-OPC-BBI GBV_ILN_20 GBV_ILN_21 GBV_ILN_22 GBV_ILN_24 GBV_ILN_40 GBV_ILN_50 GBV_ILN_61 GBV_ILN_90 GBV_ILN_92 GBV_ILN_104 GBV_ILN_121 GBV_ILN_176 GBV_ILN_227 GBV_ILN_350 GBV_ILN_2004 GBV_ILN_2005 GBV_ILN_2007 GBV_ILN_2012 GBV_ILN_2015 GBV_ILN_2018 GBV_ILN_2031 GBV_ILN_2032 GBV_ILN_2043 GBV_ILN_2046 GBV_ILN_2093 GBV_ILN_2487 GBV_ILN_4028 GBV_ILN_4035 GBV_ILN_4036 GBV_ILN_4037 GBV_ILN_4046 GBV_ILN_4112 GBV_ILN_4126 GBV_ILN_4246 GBV_ILN_4251 GBV_ILN_4253 GBV_ILN_4302 GBV_ILN_4306 GBV_ILN_4316 GBV_ILN_4320 GBV_ILN_4321 GBV_ILN_4346 GBV_ILN_4367 AR 96 2022 3 29 08 313-340 |
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10.1007/s41245-022-00146-w doi (DE-627)OLC2079518593 (DE-He213)s41245-022-00146-w-p DE-627 ger DE-627 rakwb eng 430 VZ 830 VZ 7,20 24 ssgn AVL DE-30 fid GER DE-30 fid Gallagher, Kaleen verfasserin aut The cultural Myth of the suicidal Authoress 2022 Text txt rdacontent ohne Hilfsmittel zu benutzen n rdamedia Band nc rdacarrier © The Author(s), under exclusive licence to Springer-Verlag GmbH Deutschland, ein Teil von Springer Nature 2022. Springer Nature oder sein Lizenzgeber hält die ausschließlichen Nutzungsrechte an diesem Artikel kraft eines Verlagsvertrags mit dem/den Autor*in(nen) oder anderen Rechteinhaber*in(nen); die Selbstarchivierung der akzeptierten Manuskriptversion dieses Artikels durch Autor*in(nen) unterliegt ausschließlich den Bedingungen dieses Verlagsvertrags und dem geltenden Recht. Abstract Starting from the observation that women artists who die by suicide are an object of fascination in Western culture, this article posits the existence of a ›cultural myth of the suicidal authoress‹, which it examines via an analysis of three fictional representations of historical women writers who died by suicide or were suspected of having done so: Christa Wolf’s novella Kein Ort. Nirgends, Werner Schroeter’s film Malina – which is interpreted as a portrait of Ingeborg Bachmann – and Karin Struck’s Ingeborg B.: Duell mit dem Spiegelbild. Drawing on the concept of the diva as developed by Elisabeth Bronfen and Barbara Straumann, it argues that the key to the cultural appeal of the figure of the suicidal women artist lies in what is perceived to be her unusual authenticity: her life and work are perceived to be one, and her suicide is interpreted as a guarantee of her authenticity as both a person and an artist. The article also explores possible reasons for the gendered nature of this myth and asks whether literary or filmic representations of suicidal women artists do an injustice to their subjects by identifying them so persistently with their deaths. Enthalten in Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte Springer Berlin Heidelberg, 1923 96(2022), 3 vom: 29. Aug., Seite 313-340 (DE-627)129459445 (DE-600)200376-4 (DE-576)014823225 0012-0936 nnns volume:96 year:2022 number:3 day:29 month:08 pages:313-340 https://doi.org/10.1007/s41245-022-00146-w lizenzpflichtig Volltext GBV_USEFLAG_A SYSFLAG_A GBV_OLC FID-AVL FID-GER SSG-OLC-GER SSG-OLC-BUB SSG-OPC-BBI GBV_ILN_20 GBV_ILN_21 GBV_ILN_22 GBV_ILN_24 GBV_ILN_40 GBV_ILN_50 GBV_ILN_61 GBV_ILN_90 GBV_ILN_92 GBV_ILN_104 GBV_ILN_121 GBV_ILN_176 GBV_ILN_227 GBV_ILN_350 GBV_ILN_2004 GBV_ILN_2005 GBV_ILN_2007 GBV_ILN_2012 GBV_ILN_2015 GBV_ILN_2018 GBV_ILN_2031 GBV_ILN_2032 GBV_ILN_2043 GBV_ILN_2046 GBV_ILN_2093 GBV_ILN_2487 GBV_ILN_4028 GBV_ILN_4035 GBV_ILN_4036 GBV_ILN_4037 GBV_ILN_4046 GBV_ILN_4112 GBV_ILN_4126 GBV_ILN_4246 GBV_ILN_4251 GBV_ILN_4253 GBV_ILN_4302 GBV_ILN_4306 GBV_ILN_4316 GBV_ILN_4320 GBV_ILN_4321 GBV_ILN_4346 GBV_ILN_4367 AR 96 2022 3 29 08 313-340 |
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Springer Nature oder sein Lizenzgeber hält die ausschließlichen Nutzungsrechte an diesem Artikel kraft eines Verlagsvertrags mit dem/den Autor*in(nen) oder anderen Rechteinhaber*in(nen); die Selbstarchivierung der akzeptierten Manuskriptversion dieses Artikels durch Autor*in(nen) unterliegt ausschließlich den Bedingungen dieses Verlagsvertrags und dem geltenden Recht.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">Abstract Starting from the observation that women artists who die by suicide are an object of fascination in Western culture, this article posits the existence of a ›cultural myth of the suicidal authoress‹, which it examines via an analysis of three fictional representations of historical women writers who died by suicide or were suspected of having done so: Christa Wolf’s novella Kein Ort. 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2024-03-05T15:53:56.153Z |
| url |
https://doi.org/10.1007/s41245-022-00146-w |