WOMEN IN GERMtiN - Coalition of Women in German

WOMEN IN GERMtiN - Coalition of Women in German

WOMEN IN GERMtiN
Number 13
Subscription fee: $2.00 per year
November 1, 1977
($1.00 if unemployed)
This year, for the second time, our Women in German Conference/Retreat in Oxford,
Ohio was a great success, giving us the much needed opportunity not only to share
information and exchange ideas among a group of equals, but also to sing and dance
together and to get to know each other on the personal level. We saw a lot of new
faces from all parts of the country--some women came from as far away as Hawaii and
Oklahoma. In fact, some people had only read about us in the PMLA, took a chance
by attending--and loved it! This makes it clear that it is not only our newsletter
which serves as a connection for Women in German, but also the more established
journals. The word is spreading fast! The papers, presentations, and discussions
at the conference were stimulating, and there was great enthusiasm about interdisciplinary approaches and branching out into such different fields as history and
sociology.
A great number of us felt, however, that we have outgrown the format of our conference.
We have held traditional conferences for two years now, with short informal presentations and panel discussions. But for many, the best part of the conference has always
been the atmosphere and the more informal discussions developing at the retreat. We
have decided, therefore, to change the format of future conferences in order to
encourage greater participation and to involve as many people as possible.-Next year's
conference will be in the form of a two-day workshop with several Arbeitsgruppen:
details appear later in this issue.
For the first time this year, the papers delivered at the Women in German Conference
were distributed in printed form as proceedings. Copes are still available for all
of you, and be sure to get your libraries to order copies, too. They can be ordered
from: Kay Goodman, Dept. of German, Russian and East Asian Languages, Miami Univ.,
Oxford, Ohio 45056 ($2 for individuals, $4 for institutions).
Last but not least, on behalf of ourselves and all conference'participants we would
like to take this opportunity to publicly thank the Miami University women who
organized the conference/retreat with so much care and enthusiasm!
RETREfiT fiND SYMPOSIU:M
At the second annual Women in German Conference/Retreat, we discussed various ways of
restructuring the third conference (1978) in order to encourage greater involvement
on the part of all participants. It seemed to us that Arbeitsgruppen could facilitate collective work by breaking up the conventional formalities of academic conferences, encouraging greater involvement, and eliminating the typical split between
"active" paper-givers and a "passive" audience. Far from decreasing academic work,
the formation of Arbeitsgruppen has the potential of opening up new avenues and
methods of reaearch. Collective work requires one to consider closely the results of
others' research aud to atteapt to synthesize it with one's own work in order to
bring forth a product that it greater than the sum of its parts. Since we are
2
scattered throughAout the country, the ways and means of working together may well
appear difficult at this point; but we are determined to make a go of it and are
confident that the results will be quite worthwhile.
If you are interested in working with one or more of the Arbeitsgruppen, you should
contact the individuals listed below, who have volunteered to function as coordinators. The groups will establish their own agendas, but it should be kept in mind
that we are working toward a project for next year's conference which will benefit
all of us. These suggestions are being made because we would like the next conference to stimulate a free exchange of the kinds of ideas, thoughts, problems, and
solutions which are usually blocked at formal academic conferences. We don't have
enough time and energy to "dance around the golden calf" of academic pretense, and
we must focus upon our most urgent concerns.
Therefore,women, work collectively:
Arbeitsgruppen were agreed upon:
1.
c/o Women in German, German Dept.
Univ. of Wisconsin, Madison, Wis. 53763
Detti Ledschowski
60637
German Dept., Miami University
Oxford, Ohio 45056
Contemporary Women's Culture
German Dept.
University of Wisc., Madison, Wis. 53706
EvelYn Beck
4.
Dept. of German
University of Chicago, Chicago, Ill.
Women Authors in the 19th Century
eo
Elke Fred~iksen
Dept. of Germanic and Slavic Lang. and Lit.
Univ. of Maryland, College Park, Md. 20742
Kay Goodman
3.
The following
Sexism in the German Language
Pat Russian
2.
Frauen Gemeinsam Sind Stark!
The Women's Question and Aesthetics
Sara Lennox
15 Columbus Ave.
North Hampton, Ma. 01060
Pat Herminghouse
Dept. of German, Box 1104
Washington University, St. Louis, MO. 63130
Since many of us will see each other at the MLA in Chicago, it has been suggested
that we could start with the concrete organization right there. Jeanette Clausen
(Purdue Univ., Fort Wayne, 2101 Coliseum Blvd. E., Fort Wayne, Ind. 46805) and
Androne Willeke (147 Ritchie Ave., Cincinnati, Ohio 45221) volunteered as general
co-ordinators for next year's conference which will again be held in O~ford, Ohio
on the third weekend of September.
***********************
3
Friday evenings's discussion centered around Volker Schlondorff's film Strohfeuer
(~ Free Woman") which was released in 1972; script by Margarete von Trotta and
Volker Schlondorff; photography by Sven Nykvist (Ingmar Bergmann's cameraman!).
Although "A Free Woman" has been called by one critic "the first masterpiece of
the women's liberation movement" and a really "fine film" in which "form and content
are one" the heated discussion at the retreat opened up more questions than it
settled.' In order to keep the debate alive and to solicit response from those of
you who could not make it to the retreat, we have provided some pro's and con's. If
you are interested in ordering the film, write to: New Yorker Films, 43 West 6lst
Street, NY, NY 10023; or call 212-247-6110. The film costs $125 for restricted
rental.
Strohfeuer - Pro
The film Strohfeuer by Volker Schlondorff is a striking portrayal of a woman trying
to become a functional member of a male-dominant society. It has been criticized for
showing women as lacking in real consciousness and definitive goals. Because
Elizabeth is not portrayed as a strong feminist either theoretically or practically.
it has been teared that her submission to the patriarchy will be seen .s confirm-
ing the status quo. Not so.
Like B~echt, the director uses a seemingly weak character not only to criticize
society or individuals, but, by pointing out these weaknesses, to show the audience
that things ought to be different. The attitudes that Elisabeth faces are rigid,
but it is made clear that these attitudes can and should be changed. Society is
shown as alterable in spite of the resistance that social change inevitably meets.
a tour of an art museum, Elisabeth and her unmarried, pregnant friend are shown
the historical role of women in art--either passive childbearers or objects of lust.
This scene encapsulates the whole thrust of the movie. We are presented with the
historical facts as a negative situation~ but together with Elisabeth are incited
to search for alternatives. Elisabeth's subsequent failures, however, prevent the
viewers from fully identifying with her and motivate them to another, more successful course of action. In contrast to traditional film, this film does not depend
upon emotional identification which forces the audience to accept the character's
decisions as unalterable.
On
The film is subtitled "A Sad Comedy". Although the classical definition of comedrending with wedding bells--is certainly fulfilled, the director's irony gives an
unusual twist to the Hollywood-style, "happy ending" variety of marriage. Elisabeth's
marriage is clearly the burial of her own struggle for life. The viewers realize she
is making a mistake, and their inability t> prevent her "death" in matrimony compels
them to reconsider the state of their own lives and to question whether they, too,
might not have alternatives.
By taking the male point of view, the camera actually accentuates Elisabeth's
entrapment and isolation as a woman. The long, scrutinizing shots of her legs and
figure are a painful statement on the everyday objectification of women. The camera's
habitual elimination of Elisabeth's head from the frame, as in the opening scene, is
reminiscent of the "Nana" image she is accused of resembling at the very moment she
attempts to overcome it. Her short dresses themselves seem to be yet another
societal trap for her. Unlike her male counterparts, she is constantly being judged
by the men around her, and even by the camera, on the basis of her body rather than
on what she says or does. But in one of the final scenes of the film, her future
husband stuffs a washcloth in Elisabeth's mouth to silence her; the camera zooms in
on her frightened face before picking up the narrative again.
4
The director, like Brecht, uses his art to instruct as well as to criticize.
Gesellschaftsanklage which excludes the possibility of an alternative is not
enough. This film is enough.
Amy Bley
Kay Burns
Strohfeuer - Contra
Schon die etwas hitzige Discussion, die die VorfUhrung des Filmes anregte, und
die Verschiedenheiten der Meinungen Uber dessen Aussage erheben ernste Zweifel an
seiner Brauchbarkeit als didaktisches MOment im Hinblick auf die Frauenemanzipation.
1m Rahmen einer Scheidungs~geschichte wird das neu begonnene Leben einer nun "freien"
Frau geschildert. Dabei werden zwar ihre Schwierigkeiten und Frustrationen in einer
in jeder Hinsicht feindlichen Mannerwelt "realistisch", ja, recht spannend auf die
Leinwand gemalt, doch nie analy;tisch erfaBt. Wir erfahren nicht einmal die
naheren GrUnde der von ihr in Gang gesetzten Scheidung. Der Weg ihrer angeblichen
Freiheit fUhrt vom Bruch mit einer unglUcklichen Ehe zu einer neuen Bindung.
Allerdings mit dem Unterschied, daB Elisabeth der sexuellen Rolle, die die Gesellschaft ihr frUher aufzwang, nun freiwillig, beinahe lustern, zustimmt. Ironischerweise beschreiben gerade die wie vom Himmel gefallenen Worte eines "welterfahrenen",
brUderlichen Kunsthistorikers die Situation der Frau am pragnantesten und erhellen
den historischen ProzeB der gangingen Unterdrttckungsmechanismen. Doch selber stellt
sich Elisabeth solche Fragen nie, und ihre bUrgerlichen Wertvorstellungen werden
weiterhin weder kritisch analysiert, noch in Zusammenhang mit ihrer gesellschaftlichen
UnterdrUckung.gebracht.
Der Film tragt folglich zur Stereotypisierung der Frau bei--namlich als Sexobjekt,
wie es uns die KamerafUhrung nie vergessen lHSt, als dummes Ganschen und als
emotionelles Wesen, das letzten Endes auf die Hilfe eines "verstandnisvollen, reifen"
Mannes angewiesen ist, der zur rechten Zeit alles wieder gut macht. Sogar die Frau,
der es gelungen ist, unabhangig zu werden, wird in der Person der kalt berechnenden
Anwaltin verstOmmelt und anderen Frauen gegenUber negativ kontrastiert.
Was dem Film Uberhaupt fehlt, ist eine optimistische Perspektive, ohne die jedes
emanzipatorische MOment in der Gesellschaft schon im Keime erstickt wird.
Sollte der Film vielleicht dazu dienen, uns zu provozieren? Dann bleibt die Frage,
ob Provokation und dramatisch offene Form als geeignete Mittel zur Aufklarung dienen?
Oder ob nicht vielmehr die Gefahr besteht, daB der/die naivere Zuschauer/in zu
schweren MiSdeutungen gelangt, indem die gezeigte Situation dieser Frau als tragisches
Schicksal kritiklos hingenommen wird? Und ob nicht daraus auch die Kapitulation
gegenUber eigenen Emanzipationsbestrebungen resultieren konnte?
Yvette Brazell
Sunday morning, we shared information on a number of issues. Among others Elke
Frederilsen talked about her summer research in the 2 Germanies and the bibliography
she had collected on women's topics. Since there was so much information in such a
short time, we thought it helpful to provide you with the complete list. Here it is:
5
LITERATURE
Christa Wolf, Kindheitsmuster. Neuwied. Luchterhand, 1977.
(Aufbau-Verlag Berlin und Weimar, 1976)
Brigitte Schwaiger, Wie kommt ~as Salz ins Meer. Zsolnay, 1977.
Search for identity, woman protesting against stereotyped
roles.
Renate Schostack, Zwei Arten ~lieben. Man~hen. Piper, 1977.
Received the Ingeborg Bachmann Prize th1s year.
Journal Nr~ - Aufstlndische Kultur. Ed. by Verena Stefan & Kathrin
Mosler. 1976. Report on the meeting of writing women
in 1976. Interviews with Irmtraud Morgner, Karin Struck,
Christa Reinig. Essays on Marie-Luise Fleisser and
her relationship with Brecht, Anna Seghers and others.
Emma.
June 1977 ed. Report on an exhibition which opened in
Freiburg on the theme ~Frauen in der deutschsprachigen
Literatur nach 1945." Summary of opening speech by Ingeborg
Drewitz which tried to show in general terms what German
women writers try to express in literature after 1945
in contrast to men.
Kursbuch ~1, devoted to women. Berlin. Kursbuch Verlag, 1977.
Ed. Y Karl Markus Michel and Harald Wieser. A collection
of articles on such topics as "Emanzipation macht Angst,"
"Unter lauter MAnnern," or "Troubadora und Meisterin," which
discusses the social position of women in the 14th and
l.s+,fenturies.
Ursula Kreche1, Nach Mainz. Darmstadt. Luchterhand Verlag, 1977.
West German feminist, author of the play Erica (1974).
Collection of poetry which discusses the dependence of
women on men and the secret hope of revolt for women.
Sarah Kirsch. Rftckenwind.
Brandt, 1977.
Gedichte.
Ebenhausen:
Langewiesche-
FEMINISM AND WOMEN'S MOVEMENT
Frauenjahrbuch-1§. Mfinchen. Verlag Frauenoffensive, 1976.
by the yearbook group of the Munich Women's Center.
Sections concern everyday feminism, new information on
Para. 218 and on the old and new divorce laws, lost women's
books, new books, records etc.
---~d.
Inge Frick, Helmut Kommer, Antje Kunstmann, Siegfried Lang, Frauen
befreien siQh. Manchenl Frauenbuchverlag, 1976. pictorraY-history of women's work and women's movement in Germany
.
. from its beginnings to the newer movement and its
problems.
6
Jutta Menschik, Feminismus. K6lnl Pahl-Rugenstein Verlag,
1977. Discussion from radical to conservative feminism.
applications through history and in various phases and
parts of life, i.e., childhood, housework, etc.
Gives
Marie-Louise Janssen-Jurrei t, Sexismus. U'ber die Abtreibung der Frauenfrage
Mdnchenl Carl Hanser Verlag, 1976. The author uses an
historical-theoretical approach. She sees sexism in all
aspects of life and finds a solution only in separation
from men.
Erica Fischer, Brigitte Lehmann, Kathleen Stoffl, Gewalt
gegen Frauen. K6ln. Verlag Kiepenheuer & Witsch, 1977.
Written by three Austrian women. The ideas grew out of
an international meeting in Brussels, where women discussed
violence mn the family, rape, etc. Practical approach.
WOMEN AND FAMILY
Scheidungsratgeber, Jan. 1977. Ed. by Hamburg women lawyers for
women's groups. Examines the new divorce law in Germany
(effective July 1977) in contrast to the old law.
Ursula Erler, Matter in der BRD.
(Neuauflage) •
Mdnchen. Frauenverlag, 1976
Ursula Erler. ZerstBrung und Selbstzer~tBrung der_Frau.
Emanzipationskampf der Geschlechter auf Kosten des Kindes.
Stuttgart. Seewalt Verlag, 1977.
Ursula Scheu, Wir werden nicht als M~dchen geboren -- wir
werden dazu_gemacht. Frankfurt amtMainl Fischer --Taschenbuch Verlag, 1977. Discusses how women are taught
feminine roles through early childhood training in today's
society.
Gabriele Deutsch-Herl, Tagesmdtter - Tageskinder. K~lnl
Verlag Kiepenheuer & Witsch, 1977. Discusses the theoretical
aspects of day care mother-models. Gives practical,
concrete advice for parents who wish to use day care centers as
well as for day care workers.
Maria-Antonietta Macciocchi, Jungfrauen, ~tter und ein Fahrer.
Berlin. Verlag KJaus Wagenbach, 1976. DiscussIons on-the
role of women in fascism.
POLITICS
Lieselotte Berger, Lenelotte von Bothmer, Helga Schuchardt,
Frau~~ns Parlament?
Reinbek bei Hamburg. Rowohlt
Taschenbuch Verlag, 1976. Not feminist inclined, but gives
views of J women (CDU, SPD, FDP) on the situation of women
in politics in the FRG. Good charts.
Elke Frederiksen
University of Maryland
7
MEETING)
MLA
Wig sessions at the coming MLA will be held on the 29th of December in Room 414
of the Conrad Hilton from 1:00 - 2:15 and from 2:45 to 4:00 pm.
Paper Abstracts:
Women and Literary Circles in the Nineteenth Century II.
Lou Andreas-Salome: An Ambivalent Feminist and Her Association with the "Freie BUhne"
Interesting parallels may be found between the attitude of the German Naturalists
toward the emancipation of women and that of one of the most visible contemporary
examples of it, Lou Andreas-Salome. Like the Naturalists, Lou proclaimed woman's
need for individual freedom and self-fu~illment, and she realized this in her
own personal and professional life. As an individual, then, she carried into
practice the theory of freedom and emancipation for women which was widely touted by
the Naturalists but almost never transformed into sympathetic artistic expression
in their works, or p.Cracticed in their personal lives. A similar contradiction
is found in Lou's critical and literary works and theoretical studies on women
however. She shared her contemporaries' dislike and distrust of the stereotyped
emancipated woman (cold, unfemin\~, sterile), and this can be seen in her reviews
of some Naturalist dramas and partic~larly in her studies on women ~ the end of
the century. She also had doubts about woman's creative abilities and shared to
some extent her time's contempt for women and affirmation of man's dominance in
personal and social relationships. The ambivalence within her feminist theory may
be documented in her early literary and critical works, including her study of
Henrik Ibsens Frauengcstalten ~!89l). In the contradiction between feminist theory
and practice, Lou proves herself to be, like her Naturalist contemporaries, a
product of her times and of her intellectual, upper-middle class milieu.
Linda Schelbitzki Pickle
Westminister College, MO.
Der Anneke Salon - ein "Libertiner" Kreis
Die ersten Salons entstanden zur Zeit der Renaissance in Italien und breiteten sich
spater auch in Deutschland aus. Unter der Oberhoheit einer Frau wurde verfeinerte
Geselligkeit gepflegt, die mit intellektuellen, vor allem literarischen Gesprachen
verbunden war. Die Glanzzeit der Salons war von einer priviligierten Schicht
getragen. In der Spatzeit werden Salons auch in wirtschaftlich bescheideneren
Kreisen popular. So:ein Salon entstand bei Mathilde Anneke in KOln.
Zuerst in MUnster als "Libertiner" Kreis verfemt, versammelten sich die revolutionaren
Geister dann im Anneke Salon zu KOln. Lassalle, MOritz HeB, Willich, Gottschalk
trafen sich mit Freiligrath, Hoffmann von Fallersleben, Simrock oder Kinkel.
Mathilde verfaBte verschiedene Kampfschriften, z.B. Das Weib im Conflict mit den
sozialen Verhaltnissen, trat fUr die Befreiung Deutschlands und die Gleichberechtigung
der Frauen ein. Sie gab eine revolutionare· Tageszeitung heraus, die sie fUr eine
Zeit auch als Frauenzeitung fUhrte.
8
Der Anneke Salon unterschied sich von seinen viel berUhmteren Vorlaufern durch die
Bescheidenheit des iuBeren Rahmens, vor allem aber durch einen auf Aktion gerichteten Geist, der eine Veranderung der Gesellschaft herbeizufuhren bestrebt war.
Der Salon harte auf zu bestehen, als Mathilde Anneke ihrem Mann auf das Schlachtfeld
der Revoution von 1849 folgte.
Salons stellen ein Kapitel in der Geschichte der Frauenbewegung dar. In der Glanzzeit,
die von einer privilegierten Schicht getragen war, ist es ein friedliches Kapitel.
Es beweist, daB sich der Verstand der Frau mit dem des Mannes zu messen vermag. In
der Spatzeit der Salons wird der Anneke Salon zum Beispiel fur die Entwicklung eines
militanten Geistes, der sich von nun an unter den Frauen aller Volksschichten zu regen
beginnt.
Maria Wagner
Woman: the Other.
Laura Marholm's View and the Friedrichshagen Writer's Colony
Literary concepts from abroad fell upon receptive ears in the congenial intellectual
environment of the Friedrichshagen (Berlin) writers' colony. The circle, also known
as Young Germany, consisted of authors, critics, and publishers such as the Brothers
Hart, Wille, Bolsche, and Holz. Its program sought to blend creative artistic
thought with the needs of the masses projected by the social issues of early 1890's.
Hence the residency in Friedrichshagen of a representative of Young Sweden, author
Ola Hansson, and his wife, Laura Marholm, was most welcomed. Marholm, in her own
right and author and critic, and of Baltic German extraction, enthusiastically
discussed one of the great issues of the day, feminism.
Marholm delighted through her stimulating talks the Friedrichshagen circle and the
colony's frequent guests such as Dauthendey, Dehmel, Carl and Gerhart Hauptmann,
Przybyzewski and others. Eventually her views found wider acceptance through
published articles, novels and books. Esteeming the ideas of Nietzsche and those of
her husband, Marholm went on to proclaim her insight into the nature of woman: emancipation for woman begins with the realization that she is totally other than man,
and that independence is rooted in psychophysiological self-understanding.
Marholm's doctrine, conflicting with popular notions based on Ibsen's concept of the
emancipated woman, challenged the superficial woman's rights movements, whose ideal
woman, in tbsenian fashion, was recreated in the masculine image. Marholm also
fought against the portrayal of woman as a monster, as created by Strindberg. That
such aberrant women ceased as characterizations in subsequent German literature is
a tribute to the receptive intellects of members of Young Germany and their followers
willing to accept a more convincing approach.
David R. Hume
Univ. of Louisville
"Dem Reich der Freiheit werb' ich Burgerinnen!": The Heady Rise and Fall of Louise
Otto's Frauenzeitting
Louise Otto's Frauenzeitung is a rarely-seen, fascinating example of the first
stirrings of a bourgeois German women's movement. Its short life span (it was published regularly from April, 1849 until 1852) does not detract from the power of its
9
message, for it became a rallying point for both the political and social advancement of German women. The paper provides a brief history of the journal as well as
an analysis of certain major issues raised in its pages: the improvement of educational and employment opportunities, the role of the German Catholic movement,
the importance of the changes wrought by the 1848 revolution.
The basic source is an almost complete copy of the journal itself, collected over
a period of years from libraries and archives in the Ferderal Republic and the GDR.
Ruth-Ellen Boetcher Joeres
University of Minnesota
AATG/ACTFL
Remember that there will be two Women in German sessions at the AATG/ACTFL meeting
in San Francisco, one on pedagogy and one on literature.
Affirmative Action in the Teaching of German: Erasing Stereotypes
Thursday, Nov. 24 4:00 - 6:00 pm
Embarcadero A, intermediate level
This session, co-chaired by Marjorie Tussing and Jeanette Clausen, will present
successful approaches to dealing with sex-ste~typing in teaching materials for
language, literature, and culture courses. It is planned to include audience
participation; handouts for ea.ch ,presentation and a bibliography will be distributed.
The program will include the following presentations: "Und Frau Meyer ist natUrlich
in der KUche" (first-year materials), Ruth Sanders and Audrone Willeke of Miami
University; "Sex-Stereotypes in the Teaching of Culture: The Documentary Film",
Barbel Becker-Cantarino of the University of Texas at Austin; "Men and Women in
the Art of the Third Reich: Documents of Subjugation", Richard Johnson of Indiana
University-Purdue University at Fort Wayne; "Erasing Stereotypes in Teaching Literature", Elena Offstein of the University of Santa Clara.
In addition, we have invited two speakers whose perspectives on sexism in teaching
materials should be of interest to everyone. Constance Putnam, publishing representative from Houghton Mifflin, will be present to answer questions about the publisher's role in the production of textbooks. Wolff von Schmidt of the University
of Utah, co-author of First-Year German, will talk about the revisions that this
textbook, which was critiqued at the 1976 AATG Women in German session, is now
undergoing.
In all, it promises to be a lively and worthwhile program, so please plan to attend,
and tell your friends.
Women in German will have a session at the ACTFL/AATG Annual Meeting in San Francisco
on "Women and German Literature." The session will be held on Friday, November 25,
1977, 8:45-10:00 am at the Hyatt Regency Hotel. The coordinators, Elizabeth Strodach
(University of Cincinnati) and Marlene Heinemann (Indiana University), have selected
10
papers dealing with new and neglected German female writers as well as images of
women in German literature of the past and present. The papers and their authors
are as follows:
1.
"Die bleibende Rolle der Rahel Sanzara," Diana Orendi-Hinze, (John
Carroll University)
2.
"GDR Women Writers of the 70's!' Karen Achberger, (University of
Oregon)
3.
"Women, Sexual Variance, and Inversion in German Literature," Sally
Tubach, (University of California, Berkeley)
A business meeting for Women in German will also be held at the Annual Meeting;
time and location will be announced during this session. All members and friends
of Women in German are urged to attend.
lETTER~
We appreciate letters like this and thought we would share them with you •
• • • I would love to have the button which came out recently, with the clenched
fist in the feminine symbol. Not only do I find it very witty and well-conceived,
but also does it signal an approach which I totally share •
Susanne Zautap
¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥
What Historians are Reading:
Franklin Kopitzsch, hrsg., Aufklarung und BUrgertum in Deutschland.
MUnchen, 1976. Nymphenburger Texte zur Wissenschaft 24.
Henri Brunschwig. Enli htenment and Romanticism in Ei hteenth Centu
Prussia. Univ. of Chicago Press, 1974 paper later). French 1947.
Both are juicy guides to social history of the 18th century!
Love,
Deborah
This newsletter was prepared by: Evelyn Torton Beck, YVette Brazell, Nadia Donchenko,
Angelika Haag-Schalter, Viktoria Harwig, Biddy Martin, Marsha Meyer Jim Steakley,
Gabriele Strauch and Christa Stutius.
'
~'U9CRIPTION~
Enclosed, please ~iBd my 82 ($1) for a year's subscription to Women
GerDIN!_ Send your check to: Women in German German De t -U~~
versityof Wisconsin, Madison, Wisconsin 53706'
p . , ni-
a
NAME ______________----______________________________
ADRESS,______________________