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Acknowledgments | ||
Introduction | 1 | |
1 | Marie von Ebner-Eschenbach and Helene Druskowitz: Experiments in Dramatic Form | 20 |
2 | Elsa Bernstein-Porges, Mathilde Paar, Gertrud Prellwitz, Anna Croissant-Rust: The Gender of Creativity | 50 |
3 | Julie Kuhne, Laura Marholm, Clara Viebig: Performing Subjects | 75 |
4 | Marie Eugenie delle Grazie, Lu Marten, Berta Lask: Political Subjects | 103 |
5 | Else Lasker-Schuler: A Theater of the Self? | 127 |
6 | Marieluise Fleisser: A Theater of the Body | 156 |
Conclusion | 177 | |
Works Cited | 185 | |
Index | 201 |
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Add Women and German Drama: Playwrights and Their Texts, 1860-1945 ( Studies in German Literature, Linguistics and Culture Series), For women, according to the contemporary Austrian dramatist Elfriede Jelinek, writing for the theater is an act of transgression. The idea that drama as a grand public genre resists women writers has become established in recent scholarship. But Jelinek h, Women and German Drama: Playwrights and Their Texts, 1860-1945 ( Studies in German Literature, Linguistics and Culture Series) to the inventory that you are selling on WonderClubX
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Add Women and German Drama: Playwrights and Their Texts, 1860-1945 ( Studies in German Literature, Linguistics and Culture Series), For women, according to the contemporary Austrian dramatist Elfriede Jelinek, writing for the theater is an act of transgression. The idea that drama as a grand public genre resists women writers has become established in recent scholarship. But Jelinek h, Women and German Drama: Playwrights and Their Texts, 1860-1945 ( Studies in German Literature, Linguistics and Culture Series) to your collection on WonderClub |