Helen Watanabe-O'Kelly – författare

The nineteenth century is notable for its newly proclaimed emperors, from Franz I of Austria and Napoleon I in 1804, through Agustín of Mexico, Pedro I of Brazil, Napoleon III of France, Maximilian of Mexico, and Wilhelm I of Germany, to Victoria, empress of India, in 1876. These monarchs projected an imperial aura through coronations, courts, medals, costumes, portraits, monuments, international exhibitions, festivals, religion, architecture, and town planning. They relied on ancient history for legitimacy while partially espousing modernity. Projecting Imperial Power is the first book to consider together these newly proclaimed emperors in six territories on three continents across the whole of the long nineteenth century.The first emperors' successors—Pedro II of Brazil, Franz Joseph of Austria, and Wilhelm II of Germany—expanded their panoply of power, until Pedro was forced to abdicate in 1889 and the First World War brought the Austrian and German empires to an end. Britain invented an imperial myth for its Indian empire in the twentieth century, but George VI still had to relinquish the title of emperor in 1947.Using a wide range of sources, Projecting Imperial Power explains the imperial ambition behind the cities of Berlin, Paris, Vienna, and New Delhi. It discusses the contested place of the emperors and their empires in national cultural memory by examining how the statues that were erected in huge numbers in the second part of the period are treated today.

A regiment of women warriors strides across the battlefield of German culture - on the stage, in the opera house, on the page, and in paintings and prints. These warriors are re-imaginings by men of figures such as the Amazons, the Valkyries, and the biblical killer Judith. They are transgressive and therefore frightening figures who leave their proper female sphere and have to be made safe by being killed, deflowered, or both. This has produced some compelling works of Western culture - Cranach's and Klimt's paintings of Judith, Schiller's Joan of Arc, Hebbel's Judith, Wagner's Brünnhilde, Fritz Lang's Brünhild. Nowadays, representations of the woman warrior are used as a way of thinking about the woman terrorist. Women writers only engage with these imaginings at the end of the 19th century, but from the late 18th century on they begin to imagine fictional cross-dressers going to war in a realistic setting and thus think the unthinkable. What are the roots of these imaginings? And how are they related to Freud's ideas about women's sexuality?

This book describes German literary history up to the unification of Germany in 1990. Contributors, all leading scholars in their field, take a fresh look at the main authors and movements, and also ask what Germans in a given period were actually reading and writing, what they would have seen at the local theatre or found in the local lending library; it includes, for example, discussions of literature in Latin as well as in German, eighteenth-century letters and popular novels, Nazi literature and radio plays, and modern Swiss and Austrian literature. A prominence is given to writing by women. The book is designed for general readers as well as students and scholars: titles and quotations are translated, and there is an extensive bibliography.

Queens Consort, Cultural Transfer and European Politics examines the roles that queens consort played in dynastic politics and cultural transfer between their natal and marital courts during the sixteenth, seventeenth, and eighteenth centuries. This collection of essays analyses the part that these queens played in European politics, showing how hard and soft power, high politics and cultural influences, cannot be strictly separated. It shows that the root of these consorts’ power lay in their dynastic networks and the extent to which they cultivated them. The consorts studied in this book come from territories such as Austria, Braunschweig, Hanover, Poland, Portugal, Prussia and Saxony and travel to, among other places, Britain, Naples, Russia, Spain and Sweden. The various chapters address different types of cultural manifestation, among them collecting, portraiture, panegyric poetry, libraries, theatre and festivals, learning, genealogical literature and architecture.The volume significantly shifts the direction of scholarship by moving beyond a focus on individual historical women to consider ‘queens consort’ as a category, making it valuable reading for students and scholars of early modern gender and political history.

Queens Consort, Cultural Transfer and European Politics examines the roles that queens consort played in dynastic politics and cultural transfer between their natal and marital courts during the sixteenth, seventeenth, and eighteenth centuries. This collection of essays analyses the part that these queens played in European politics, showing how hard and soft power, high politics and cultural influences, cannot be strictly separated. It shows that the root of these consorts’ power lay in their dynastic networks and the extent to which they cultivated them. The consorts studied in this book come from territories such as Austria, Braunschweig, Hanover, Poland, Portugal, Prussia and Saxony and travel to, among other places, Britain, Naples, Russia, Spain and Sweden. The various chapters address different types of cultural manifestation, among them collecting, portraiture, panegyric poetry, libraries, theatre and festivals, learning, genealogical literature and architecture.The volume significantly shifts the direction of scholarship by moving beyond a focus on individual historical women to consider ‘queens consort’ as a category, making it valuable reading for students and scholars of early modern gender and political history.

Explores both constants and changes in representations of warlike and violent women in German culture over the past six centuries.Warlike women are a recurring phenomenon in German literature and culture since 1500. Amazons, terrorists, warrior women -- this volume of essays by leading scholars from the UK and Germany analyzes ideas and portrayals of these figures in the visual arts, society, media, and scholarship, always against the backdrop of Germany's development as a culture and as a nation. The contributors look for patterns in the historical portrayal of warlike women, askingthe questions: What cultural signals are sent when women are shown occupying men's spaces by dressing as warriors or in men's clothing? What can legitimize the woman who bears arms? From what is the erotic potential of images linking women and violence derived? Have recent feminist thought and political developments changed representations of warlike women?Contributors: Bettina Brandt, Sarah Colvin, Mererid Puw Davies, Peter Davies, ChristineEifler, Ute Frevert, Kathrin Hoffmann-Curtius, Ritchie Robertson, Daria Santini, Ruth Seifert, Helen Watanabe-O'Kelly.Sarah Colvin is Eudo C. Mason Chair of German at the University of Edinburgh. Helen Watanabe-O'Kellyis Professor of German at Oxford University and Fellow and Tutor of Exeter College, Oxford.

Three-volume set investigating how iconic representations of women and death in German literature and culture came about and why they endure.The theme of women and death is pervasive in the German culture of the past five centuries. With the conviction that only an interdisciplinary approach can explore a typology as far-reaching and significant as this, and in accordance with the feminist tenet that images are accountable for norms, the three volumes in this set, all of which are based on the Oxford-based research project Representations of Women and Death in German Literature, Art, and Mediaafter 1500, investigate how iconic representations of women and death came about and why they endure. In the first volume, familiar depictions of female victims of violence and murder are examined alongside the more unsettling spectacle of women as killers, exposing cultural assumptions. The second volume analyzes representations of warlike women - Amazons, terrorists, and warrior women - in the visual arts, society, media, and scholarship against the backdrop of Germany's development as a culture and as a nation. And the third volume asks what happens when it is women who produce the representations of women and death? Do they replace the patriarchal representations with more sober or "realistic" ones, with new forms, modes, and language? Or do women writers and artists, inescapably bound up in patriarchal tradition, reproduce its paradigms?

‘Was ist eine Witwe mehr als … ein aufgewärmtes Essen?’ According to politician and statesman Theodor Gottlieb von Hippel (1741-1796), widows were superfluous beings and second-hand goods, but they were also perceived by theologians and moralists of the nineteenth and early twentieth centuries as a threat due to their sexual experience and supposedly ungovernable lust.This book analyses the overwhelmingly negative portrayal of the widow in nineteenth- and early twentieth-century German fiction. Male writers in the works discussed repeat the theory that, once deprived of their husbands, widows become sexually voracious. Indeed, the widow is often presented as a dangerous sexual predator who is prone to violence. Female authors, however, highlight the invisibility of the widow and portray her as a figure alienated from society and her family because she has internalized the ideas propounded by Hippel. The widow is depicted throughout as a figure to be at best re-educated and at worst to be feared and guarded against.