Katharina Wilson – författare
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2 produkter
2 produkter
Häftad, Engelska, 1998
281 kr
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Selection of the works of Hrotsvit, the first-known woman dramatist, containing legends, dramas, and epics.Hrotsvit of Gandersheim (c.935 - c.975), almost certainly of noble Saxon parentage, was a canoness of the Saxon imperial abbey of Gandersheim, living and working there during its time of greatest material prosperity and cultural and intellectual pre-eminence. Her importance cannot be overestimated: she is the first poet of Saxony; the first known dramatist of Christianity (indeed the first known woman dramatist of any time); and a woman displaying erudition and wit in an essentially patriarchal age, a female author in a literary field dominated by men who insisted on re-evaluating and redrawing the literary depiction of women. Discovered in the late fifteenth century, her extraordinary oeuvre, written in medieval Latin, comprises a wide variety of genres: eight legends, six dramas, and two epics, organised into three books.The present volume contains a selection of Hrotsvit's works in Englishtranslation, together with an interpretative essay, critical introduction, and scholarly apparatus.Professor KATHARINA WILSONteaches at the University of Georgia.
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Hrotsvit was the first dramatist of Christianity, the first female Saxon poet, the first Germanic author to employ the Faust theme, and one of the first Western writers to compose a Christian epic. The essays in Hrotsvit of Gandersheim examine the historical, cultural, legal, and political contexts of Hrotsvit's works, locating her opus within the tenth-century aristocratic and clerical intellectual milieu.This collection contextualizes Hrotsvit's works with respect to heroic, sexual, domestic, behavioural, linguistic, theological, and hierarchical aspects of early medieval and patristic literary traditions. It also explores other literary texts that inform Hrotsvit's works and discusses the performance history and theatricality of Hrotsvit's plays.Hrotsvit's keen awareness of contemporary issues and her determination, within the parameters of monastic-aristocratic ideological constraints, to provide her readers with a rich variety of exemplary female heroes and acts of personal courage, offer twenty-first-century readers a powerful model of responsibility and agency.