Susanne Kord – författare

Kord and Krimmer investigate the most common male types - cops, killers, fathers, cowboys, superheroes, spies, soldiers, rogues, lovers, and losers - by tracing changing concepts of masculinity in popular Hollywood blockbusters from 1992 to 2008 - the Clinton and Bush eras - against a backdrop of contemporary political events, social developments, and popular American myths. Their in-depth analysis of over sixty films, from The Matrix and Iron Man to Pirates of the Caribbean and The Lord of the Rings, shows that movies, far from being mere entertainment, respond directly to today's social and political realities, from consumerism to "family values" to the War on Terror.

Today, a multiplicity of feminist approaches has become an integral part of the fields of German literary and cultural studies. This comprehensive reference provides a much needed synthesis of the contribution women have made to German literature and culture. In entries for more than 500 topics, the volume surveys literary periods, epochs, and genres; critical approaches and theories; important authors and works; female stereotypes; laws and historical developments; literary concepts and themes; and organizations and archives relevant to women and women's studies. Each entry offers a concise identification of the term, a discussion of its significance, and a bibliography of works for further reading.Today, a multiplicity of feminist approaches has become an integral part of the fields of German literary and cultural studies. While biographical works on women writers exist, this is the first reference to synthesize the wealth of feminist scholarship in German studies. While existing reference works focus exclusively on women authors, this volume contains numerous topical entries and covers the role of women in German literature and culture from the Middle Ages to the present day.Included are alphabetically arranged entries on more than 500 topics. While some entries are provided for important women writers and other individuals, the bulk of the volume provides information on literary periods, epochs, and genres; critical approaches and theories; female stereotypes; laws and historical developments; literary concepts and themes; and organizations and archives relevant to women and women's studies. Each entry includes a brief identification of the subject, a discussion of feminist thought on the topic, and a brief bibliography. Entries are written by numerous contributors and reflect a range of critical/theoretical approaches.

The way deviant women - murderesses, witches, vampires - are perceived and represented reveals much about what a society considers the norm for acceptable female behaviour. Drawing on extensive archival records and published texts, Susanne Kord investigates the stories of eight famous murderesses in Germany as they were told in legal, psychological, philosophical and literary writings. Kord interrogates the role of representation in legal judgment and the way the emancipation of women was perceived to be linked to their crimes. She demonstrates how perceptions of normal and criminal women permeated not only legal thought but also seemingly unrelated cultural spheres - from poetry, philosophy and physiognomy to early psychological profiling. A major work of German cultural history, this highly original book raises thought-provoking questions about eighteenth- and nineteenth-century gender norms in ways that continue to resonate today.

Hollywood Divas, Indie Queens, and TV Heroines offers an entertaining and critical look at the representation of women in recent movies. Written in a refreshingly accessible style, the book analyzes over thirty box-office hits. The authors explore the screen personae of top stars such as Julia Roberts, Sandra Bullock, Meg Ryan, and RenZe Zellweger, as well as independent movie queens like Parker Posey and TV heroines like Sarah Michelle Gellar of Buffy the Vampire Slayer. A must-read book for all film buffs who are tired of the mixed gender messages of mainstream culture.

Elsa Bernstein lived at the center of Munich's cultural life from the 1890s into the next century. Her literary salon was frequented by such authors as Rainer Maria Rilke, Theodor Fontane, Henrik Ibsen, and Thomas Mann. Her plays, written under the pseudonym Ernst Rosmer, are noteworthy for their unconventional female figures, uninhibited language, taboo subjects, and realistic detail. Susanne Kord, the editor and translator of Dammerung, discusses the reception of Bernstein's works, at first enthusiastic, then increasingly sexist and the theme, in Dammerung, of the culturally sanctioned oppression of women.In this naturalist drama, a woman eye surgeon treats the daughter of a man who is prejudiced against educated women. Her successful treatment wins the father's affection for her, and they fall in love. She is ready to give up medicine for wedded bliss, her wish is to become "very happily stupid but finds misery instead.

The way deviant women - murderesses, witches, vampires - are perceived and represented reveals much about what a society considers the norm for acceptable female behaviour. Drawing on extensive archival records and published texts, Susanne Kord investigates the stories of eight famous murderesses in Germany as they were told in legal, psychological, philosophical and literary writings. Kord interrogates the role of representation in legal judgment and the way the emancipation of women was perceived to be linked to their crimes. She demonstrates how perceptions of normal and criminal women permeated not only legal thought but also seemingly unrelated cultural spheres - from poetry, philosophy and physiognomy to early psychological profiling. A major work of German cultural history, this highly original book raises thought-provoking questions about eighteenth- and nineteenth-century gender norms in ways that continue to resonate today.

What does it mean to be a man in today's society? Kord and Krimmer investigate the most common male archetypes - cops, killers, cowboys, superheroes, soldiers, lovers, and losers - by tracing changing concepts of masculinity in popular Hollywood blockbusters from 1992 to 2008 against a backdrop of politics, social developments, and American myths.

Kord and Krimmer investigate the most common male types - cops, killers, fathers, cowboys, superheroes, spies, soldiers, rogues, lovers, and losers - by tracing changing concepts of masculinity in popular Hollywood blockbusters from 1992 to 2008 - the Clinton and Bush eras - against a backdrop of contemporary political events, social developments, and popular American myths. Their in-depth analysis of over sixty films, from The Matrix and Iron Man to Pirates of the Caribbean and The Lord of the Rings, shows that movies, far from being mere entertainment, respond directly to today's social and political realities, from consumerism to "family values" to the War on Terror.

First comparative study of an unlikely group of authors: 18th-century women peasants.This is the first comparative study of a highly unlikely group of authors: eighteenth-century women peasants in England, Scotland, and Germany, women who, as a rule, received little or no formal education and lived by manual labor, many of them in dire poverty. Among them are the English washerwoman Mary Collier, the English domestic servants Elizabeth Hands and Molly Leapor, the German cowherd Anna Louisa Karsch, the Scottish diarywoman Janet Little, theScottish domestic servant Christian Milne, and the English milkmaid Ann Cromartie Yearsley. Their literature is here linked with one of the major eighteenth-century aesthetic trends in all three countries, the Natural Genius craze, which culminated in highland primitivism in Scotland and England, and in the Sturm und Drang in Germany. Kord's analysis of the peasant women's works and the bourgeois response enables us to find new answers to questionsthat have centrally influenced our thinking about what makes art Art. Kord's book provides a fresh look at some of this fascinating literature, and at the roles and attitudes of the lower classes and of women in the Art world of the day. It also advances a revolutionary thesis: that the eighteenth-century bourgeoisie established itself as the dominant cultural class not primarily, as is commonly held, in opposition to aristocratic culture, but more importantly through its dissociation from and suppression of lower-class art forms. Susanne Kord is Professor and Head of the Department of German at University College London. Her book Little Detours: The Letters and Plays of Luise Gottsched was published by Camden House in 2000. Click here to read an interview with Susanne Kord (Word document 25KB)

The Cabin in the Woods (2012), directed by Drew Goddard and co-authored by Goddard and Joss Whedon of Buffy-fame, was famously described by co-author Whedon as his ‘loving hate letter’ to horror. Interviews with Whedon reveal that his struggles with modern cinematic horror are not merely emotional, but intensely philosophical. This book is the first to read Cabin as a philosophical metatext that asks what horror offers audiences and why audiences accept. Like any good philosophy, the film offers no answers but raises questions: what ‘choices’ are possible in a pre-determined universe? How do we, the audience, see the victims of violence, and with what ethical consequences? And finally, the most fraught question of all: why do we keep looking?

The Cabin in the Woods (2012), directed by Drew Goddard and co-authored by Goddard and Joss Whedon of Buffy-fame, was famously described by co-author Whedon as his ‘loving hate letter’ to horror. Interviews with Whedon reveal that his struggles with modern cinematic horror are not merely emotional, but intensely philosophical. This book is the first to read Cabin as a philosophical metatext that asks what horror offers audiences and why audiences accept. Like any good philosophy, the film offers no answers but raises questions: what ‘choices’ are possible in a pre-determined universe? How do we, the audience, see the victims of violence, and with what ethical consequences? And finally, the most fraught question of all: why do we keep looking?

Terry Gilliam’s 12 Monkeys (1995) was a commercial and critical success, but it is Gilliam’s least understood film, even on the basic plot level. Aside from recognizable debts to specific films such as La Jetée (1962) and Dr. Strangelove (1964), 12 Monkeys plays with a number of genres: apocalypse and postapocalypse movies, sci-fi, nuclear noir, and what is becoming known as “geek dystopia.” This volume in the Constellations series examines Gilliam’s film—and briefly the TV series based on it—in the context of post-apocalypse movies and with an eye to the film’s major themes, including mental illness, conspiracy theories, the impossibility of human closeness, and the nature of reality. It is the first to read 12 Monkeys’s portrayal of time travel in light of Einstein’s ideas about time and to ask what answers these ideas suggest to the film’s most basic philosophical predicament: the problem of free will versus determinism.