Shedding, Witchcraft, and the Romantic Subject: Feminist Appropriation of the Witch in Sarah Kirsch’s Zaubersprüche (1973)
Against a background of the feminist appropriation of the witch taking place concurrently in second-wave American, French and West German feminism, the paper examines Sarah Kirsch’s appropriation of the witch as a subversive figure in her poetry cycle Zaubersprüche ( Conjurations , 1973). In subvert...
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| Published in: | Neophilologus 2009-10, Vol.93 (4), p.675-689 |
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Shedding, Witchcraft, and the Romantic Subject: Feminist Appropriation of the Witch in Sarah Kirsch’s Zaubersprüche (1973) |
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Article |
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Shen, Qinna |
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1900-1999 Comparative Linguistics Comparative Literature East German literature Feminism feminist women poets French language German language German literature Historical Linguistics Kirsch, Sarah Kirsch, Sarah (1935-2013) Linguistics Philology Poetry Social Sciences Syntax witch Wolf, Christa Writing Zaubersprüche |
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Neophilologus, 2009-10, Vol.93 (4), p.675-689 |
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Against a background of the feminist appropriation of the witch taking place concurrently in second-wave American, French and West German feminism, the paper examines Sarah Kirsch’s appropriation of the witch as a subversive figure in her poetry cycle
Zaubersprüche
(
Conjurations
, 1973). In subverting the traditional image of the witch, Kirsch establishes a new one: that of a feminist witch and a feminist witch-writer. The witch is both the fictive character created by Kirsch, and her own self-designation; in the latter case, writing, especially writing in the experimental fashion, is a form of witchcraft. The paper analyzes the poems using the theoretical concept of magical realism. Although magical realism is mostly associated with post-colonial studies, it proves to be an apposite mode for feminist studies as well. The magical realist modality contradicts the state-sanctioned aesthetic of socialist realism, a fact that makes Kirsch one of the subversive “GDR-Witches.” |
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eng |
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Springer Nature - Connect here FIRST to enable access; ProQuest One Literature |
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ISSN: 0028-2677 |
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0028-2677 1572-8668 1572-8668 |
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Zaubersprüche
(
Conjurations
, 1973). In subverting the traditional image of the witch, Kirsch establishes a new one: that of a feminist witch and a feminist witch-writer. The witch is both the fictive character created by Kirsch, and her own self-designation; in the latter case, writing, especially writing in the experimental fashion, is a form of witchcraft. The paper analyzes the poems using the theoretical concept of magical realism. Although magical realism is mostly associated with post-colonial studies, it proves to be an apposite mode for feminist studies as well. The magical realist modality contradicts the state-sanctioned aesthetic of socialist realism, a fact that makes Kirsch one of the subversive “GDR-Witches.”</description><identifier>ISSN: 0028-2677</identifier><identifier>ISSN: 1572-8668</identifier><identifier>EISSN: 1572-8668</identifier><identifier>DOI: 10.1007/s11061-008-9121-0</identifier><language>eng</language><publisher>Dordrecht: Springer Netherlands</publisher><subject>1900-1999 ; Comparative Linguistics ; Comparative Literature ; East German literature ; Feminism ; feminist women poets ; French language ; German language ; German literature ; Historical Linguistics ; Kirsch, Sarah ; Kirsch, Sarah (1935-2013) ; Linguistics ; Philology ; Poetry ; Social Sciences ; Syntax ; witch ; Wolf, Christa ; Writing ; Zaubersprüche</subject><ispartof>Neophilologus, 2009-10, Vol.93 (4), p.675-689</ispartof><rights>Springer Science+Business Media B.V. 2008</rights><rights>Springer Science+Business Media B.V. 2009</rights><lds50>peer_reviewed</lds50><oa>free_for_read</oa><woscitedreferencessubscribed>false</woscitedreferencessubscribed><cites>FETCH-LOGICAL-c327t-ab8ffb013e3fde49ddf79e6d155e2aa44a162f4306d00d11af646e40dcc7f49f3</cites></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><linktopdf>$$Uhttps://www.proquest.com/docview/196321502/fulltextPDF?pq-origsite=primo$$EPDF$$P50$$Gproquest$$H</linktopdf><linktohtml>$$Uhttps://www.proquest.com/docview/196321502?pq-origsite=primo$$EHTML$$P50$$Gproquest$$H</linktohtml><link.rule.ids>315,787,791,1656,27992,27993,41492,42561,51709,63376,63377,63392,75023</link.rule.ids></links><search><creatorcontrib>Shen, Qinna</creatorcontrib><title>Shedding, Witchcraft, and the Romantic Subject: Feminist Appropriation of the Witch in Sarah Kirsch’s Zaubersprüche (1973)</title><title>Neophilologus</title><addtitle>Neophilologus</addtitle><description>Against a background of the feminist appropriation of the witch taking place concurrently in second-wave American, French and West German feminism, the paper examines Sarah Kirsch’s appropriation of the witch as a subversive figure in her poetry cycle
Zaubersprüche
(
Conjurations
, 1973). In subverting the traditional image of the witch, Kirsch establishes a new one: that of a feminist witch and a feminist witch-writer. The witch is both the fictive character created by Kirsch, and her own self-designation; in the latter case, writing, especially writing in the experimental fashion, is a form of witchcraft. The paper analyzes the poems using the theoretical concept of magical realism. Although magical realism is mostly associated with post-colonial studies, it proves to be an apposite mode for feminist studies as well. 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Zaubersprüche
(
Conjurations
, 1973). In subverting the traditional image of the witch, Kirsch establishes a new one: that of a feminist witch and a feminist witch-writer. The witch is both the fictive character created by Kirsch, and her own self-designation; in the latter case, writing, especially writing in the experimental fashion, is a form of witchcraft. The paper analyzes the poems using the theoretical concept of magical realism. Although magical realism is mostly associated with post-colonial studies, it proves to be an apposite mode for feminist studies as well. The magical realist modality contradicts the state-sanctioned aesthetic of socialist realism, a fact that makes Kirsch one of the subversive “GDR-Witches.”</abstract><cop>Dordrecht</cop><pub>Springer Netherlands</pub><doi>10.1007/s11061-008-9121-0</doi><oa>free_for_read</oa></addata></record> |