By Jo Catling
This quantity makes the wide-ranging paintings of German girls writers seen to a much wider viewers. it's the first paintings in English to supply a chronological advent to and evaluate of women's writing in German-speaking nations from the center a long time to the current day. broad courses to additional interpreting and a bibliographical advisor to the paintings of greater than four hundred girls writers shape an essential component of the amount, in an effort to be imperative for college students and students of German literature, and all these attracted to women's and gender stories.
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Extra resources for A History of Women's Writing in Germany, Austria and Switzerland
Greiffenberg’s mother died and then her husband in 1677. The estate had already been sold but on her husband’s death the purchaser refused to pay the two-thirds of the purchase price still owing. Greiffenberg was all but destitute and it was only when she finally got her mother’s inheritance that she was able to move to Nuremberg where she lived from 1680 until her death in 1694. Of all women writers in the early modern period Greiffenberg is the only one to be the subject of sustained research and discussion.
Around five to ten per cent of the total population in sixteenth- and seventeenthcentury Germany is estimated as being literate, though it is not always easy to define what literate means. While this percentage varied from region to region and increased as the period progressed, we can assume that literacy was highest among upper-class men and lowest among lower-class women. In her pioneering study of reading material for German girls in this period, The Maiden’s Mirror, Cornelia Niekus-Moore shows how girls were educated with the sole aim of making them better wives and mothers.
Yet, as the Age of Faith receded, much was overlooked or forgotten. Even today, their views are not always regarded as acceptable. The attempt, from Hildegard onwards, to work out a theology of the feminine which sees certain aspects of the great drama of Creator and Creation as essentially female is still regarded in some circles as verging on heresy or even blasphemy. Nevertheless, its presence as an underground current in German mysticism, literature and thought cannot be questioned. When, at the end of Faust II, Goethe evokes ‘das Ewig-Weibliche’ (the Eternal Feminine) he is again acknowledging that receptivity to the divine Creator expressed in humility, reverence, loving-kindness and service – that is to say, those values which are held to be female prerogatives – is the only sure way of achieving spiritual significance.
A History of Women's Writing in Germany, Austria and Switzerland by Jo Catling