Shifting Understandings of Lesbianism in Imperial and Weimar Germany Meghan C

Total Page:16

File Type:pdf, Size:1020Kb

Shifting Understandings of Lesbianism in Imperial and Weimar Germany Meghan C Scholarly Undergraduate Research Journal at Clark Volume 2 Article 4 April 2016 Shifting Understandings of Lesbianism in Imperial and Weimar Germany Meghan C. Paradis Clark University Follow this and additional works at: https://commons.clarku.edu/surj Part of the Comparative Literature Commons, Cultural History Commons, European History Commons, German Literature Commons, History of Gender Commons, Intellectual History Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, Women's History Commons, and the Women's Studies Commons Recommended Citation Paradis, Meghan C. (2016) "Shifting Understandings of Lesbianism in Imperial and Weimar Germany," Scholarly Undergraduate Research Journal at Clark: Vol. 2 , Article 4. Available at: https://commons.clarku.edu/surj/vol2/iss1/4 This Review is brought to you for free and open access by the Scholarly Collections & Academic Work at Clark Digital Commons. It has been accepted for inclusion in Scholarly Undergraduate Research Journal at Clark by an authorized editor of Clark Digital Commons. For more information, please contact [email protected], [email protected]. REVIEW SHIFTING UNDERSTANDINGS OF LESBIANISM IN IMPERIAL AND WEIMAR GERMANY Meghan Paradis ‘17 | History & German Major ABSTRACT Tis paper seeks to understand how, and why, understandings of lesbianism shifed in Germany over the course of the late nineteenth and early twentieth centuries. Trough close readings of both popular cultural productions and medical and psychological texts produced within the context of Imperial and Weimar Germany, this paper explores the changing nature of understandings of homosexuality in women. It argues that, over the course of the late nineteenth and early twentieth centuries, the dominant conceptualization of lesbianism History transformed from an understanding of lesbians that was rooted in biology and viewed lesbians as physically masculine “gender inverts,” to one that was grounded in psychology, and imagined lesbians as inherently traumatized, mother-fxated, and suicidal. Tis paper suggests that this shif was facilitated by the increasing infuence of psychologists like Sigmund Freud, and greater German preoccupation with trauma and suicide following World War I, and highlights the importance of historical context in shaping self-understanding. As a state that began standings of female homosexu- come to power. Weimar-era writ- anew not once, but twice, in the ality shifed dramatically, with ers began to question some of the early nineteenth and twentieth psychology replacing biology as assumptions of their predecessor century, Germany was in a con- the primary way of understand- and base their understanding of tinuous process of reinventing ing lesbianism. While in the late lesbianism in psychology. Lesbian itself and forming national nineteenth century, a lesbian women were increasingly viewed self-understandings. Tis cul- would explain herself to others as as woman who were mistreated ture of redefnition facilitated a neither fully biologically male nor by their mothers as children and reexamining of values and beliefs female, by the 1920s she would were unable to recover from this previously taken for granted, in- understand herself as a woman, abuse. Emerging over a backdrop cluding the association of homo- but a psychologically incomplete of Weimar concerns about sui- sexuality with moral depravity. or damaged one. cide, this conceptualization of the Within this context, heterosexual My analysis will begin feminine mother-fxated lesbian doctors and scholars, in addition chronologically with thinkers of also became inextricably tied to to gay and lesbian writers, be- Imperial Germany, a period that suicide. came deeply invested in under- begins with Germany’s unifca- Tis paper will frst very standing what it meant to be gay tion and establishment as a state briefy look at understandings of or lesbian. Tis paper will focus in 1871, and ends in 1914 with lesbianism in theory and culture on the more popular academic the start of World War I. In this prior to World War I. It will then and cultural works that dealt spe- period, German sexologists, in discuss the ubiquitous nature cifcally with lesbians, who have addition to prominent lesbian of suicide in Weimar culture received relately scant attention writers and thinkers, understood and the new understanding of compared even with gay men. lesbians primarily as “gender lesbianism within this context by Tese understand- inverts” whose existence could Weimar thinkers. It will conclude ings did not remain static, but be explained primarily through with a discussion of this Weimar rather changed over time and biology or medicine. Te Wei- conceptualization of the lesbian were greatly infuenced by their mar era begins in 1918 with the in major cultural productions, respective historical contexts. In end of World War I and the namely Mädchen in Uniform and particular, over the course of the establishment of a democratic Der Skorpion. Imperial and Weimar eras, both government in Germany, and mainstream and lesbian under- ends in 1933 when the Nazis 26 SHIFTING UNDERSTANDINGS OF LESBIANISM IN IMPERIAL AND WEIMAR GERMANYVICTIMS: Meghan Paradis I. IMPERIAL UNDERSTANDINGS Psychology only comes of the characters when her lover OF LESBIANISM into play when he notes the feel- temporarily leaves her for a man, In his infuential 1886 tome, ings of depression, loneliness, which is, as with Kraf-Ebing’s Psychopathia Sexualis, Richard or dissatisfaction that bring his case studies, a sadness brought von Kraf-Ebing devotes a chapter patients to him. In his work, on society’s condemnation of to lesbianism titled, “Congenital despair or trauma is not a cause homosexuality, not homosexual- Sexual Inversion in Women.” for homosexuality, or inherently ity itself. For Kraf-Ebing, lesbianism, connected to it, but rather the Te next year, Anna or “Uranism In Women,” is an result of a lack of understanding Rühling gave her speech, “What inborn (“congenital”) condition, of homosexuality. For example, Interest Does the Women’s Move- which is caused by biological he writes of Mrs. X, “She sufered ment Have in the Homosexuality factors.i Although he acknowl- from nervousness because she Question?” to the annual meeting edges situations or circumstances could not always realize these of the Scientifc Humanitarian that he believes might induce desires.”iv Tere is only one men- Committee, and echoed much History homosexual behavior in so- tion of an attempt at self-harm the same notions about the called “normal” women, namely that he deems as a “notewor- homosexual woman’s gender in- impotent husbands, prostitution, thy” aspect of his patient’s version.ix In her plea for feminists and being kept from men, he childhood, which he otherwise to take an interest in lesbians like describes these contexts as excep- describes as being of “nothing of herself, Rühling bases much of tions to the rule. According to importance.”v His patient, a “Mrs. her argument on lesbian’s desires Kraf-Ebing, most lesbians are M,” drank poisoned cofee at the being “inborn” and therefore, congenitally homosexual, and age of ten, because she “fancies according to Rühling, inextri- have stereotypically masculine her mother did not love her” cably connected to a masculine features and masculine expres- and hoped to make herself sick presentation.x She argues that “in sion, thus constituting a “third in order to draw her attention.vi people with primarily masculine sex.” As such, he devotes much But Kraf-Ebing moves quickly characteristics, the sex drive is of his analysis to emphasizing forward without dwelling on the naturally directed towards wom- the physical and social gender incident and he does not return en,” and delineates the various nonconformity in homosexual to this incident, or the patient’s “masculine” qualities of lesbians women. mother again. and how these qualities would aid In his case studies, Kraf- Almost twenty years the movement.xi Ebing draws attention to the later, Aimee Duc, a lesbian writer, Te possibility of a women’s feelings of having been has one of her lesbian characters conventionally feminine lesbian homosexual their entire lives and describe herself as a “Kraf- is acknowledged just once, and indicates when they have physi- Ebing type” in her popular 1903 her existence is explained as self- cal characteristics he considers novel, Are Tese Women?, thus deception- she is only pretending masculine, which they almost endorsing Kraf-Ebing’s under- to be feminine to avoid “being always do. For example, he notes standing of the lesbian. vii Her detected” as a homosexual, and at the end of his study of a “Miss characters view themselves as is thus taking part in a “bitter N.” that she has “masculine “humans who are neither men comedy”.xii In their natural states, features, deep voice, manly gait… nor women,” and dream of writ- all lesbians for Rühling have small breasts, cropped her hair ing doctoral dissertations about experienced an “inborn drive to short, and made the impression “the scientifc positive proof of a love” women their entire lives, of a man in women’s clothes.”ii third sex.”viii Some of the women as a result of their “masculine He emphasizes that the “female are described as being very mas- characteristics.”xiii Tere is no homosexual” neglects behaviors culine, and the implication seems mention either of the mother or expected of women, such as playing to be that as educated women childhood trauma. with dolls, appreciating art, and they are inherently
Recommended publications
  • Literature and Film of the Weimar Republic (In English Translation) OLLI@Berkeley, Spring 2019 Mondays, April 1—29, 2019 (5 Weeks), 10:00 A.M
    Instructor: Marion Gerlind, PhD (510) 430-2673 • [email protected] Literature and Film of the Weimar Republic (in English translation) OLLI@Berkeley, Spring 2019 Mondays, April 1—29, 2019 (5 weeks), 10:00 a.m. — 12:30 p.m. University Hall 41B, Berkeley, CA 94720 In this interactive seminar we shall read and reflect on literature as well as watch and discuss films of the Weimar Republic (1919–33), one of the most creative periods in German history, following the traumatic Word War I and revolutionary times. Many of the critical issues and challenges during these short 14 years are still relevant today. The Weimar Republic was not only Germany’s first democracy, but also a center of cultural experimentation, producing cutting-edge art. We’ll explore some of the most popular works: Bertolt Brecht and Kurt Weill’s musical play, The Threepenny Opera, Joseph von Sternberg’s original film The Blue Angel, Irmgard Keun’s bestseller The Artificial Silk Girl, Leontine Sagan’s classic film Girls in Uniform, Erich Maria Remarque’s antiwar novel All Quiet on the Western Front, as well as compelling poetry by Else Lasker-Schüler, Gertrud Kolmar, and Mascha Kaléko. Format This course will be conducted in English (films with English subtitles). Your active participation and preparation is highly encouraged! I recommend that you read the literature in preparation for our sessions. I shall provide weekly study questions, introduce (con)texts in short lectures and facilitate our discussions. You will have the opportunity to discuss the literature/films in small and large groups. We’ll consider authors’ biographies in the socio-historical background of their work.
    [Show full text]
  • Lesbians (On Screen) Were Not Meant to Survive
    Lesbians (On Screen) Were not Meant to Survive Federica Fabbiani, Independent Scholar, Italy The European Conference on Media, Communication & Film 2017 Official Conference Proceedings Abstract My paper focuses on the evolution of the image of the lesbian on the screen. We all well know what can be the role of cinema in the structuring of the personal and collective imaginary and hence the importance of visual communication tools to share and spread lesbian stories "even" with a happy ending. If, in the first filmic productions, lesbians inevitably made a bad end, lately they are also able to live ‘happily ever after’. I do too believe that “cinema is the ultimate pervert art. It doesn't give you what you desire - it tells you how to desire” (Slavoy Žižek, 2006), that is to say that the lesbian spectator had for too long to operate a semantic reversal to overcome a performance deficit and to desire in the first instance only to be someone else, normal and normalized. And here it comes during the 2000s a commercial lesbian cinematography, addressed at a wider audience, which well interpret the actual trend, that most pleases the young audience (considering reliable likes and tweets on social networks) towards normality. It is still difficult to define precisely these trends: what would queer scholars say about this linear path toward a way of life that dares only to return to normality? No more eccentric, not abject, perhaps not even more lesbians, but 'only' women. Is this pseudo-normality (with fewer rights, protections, privileges) the new invisibility? Keywords: Lesbianism, Lesbian cinema, Queer cinema, LGBT, Lesbian iafor The International Academic Forum www.iafor.org Introduction I would try to trace how the representation of lesbians on screen has developed over time.
    [Show full text]
  • 10 Wittman & Liebenberg Finalx
    138 MÄDCHEN IN UNIFORM – GENDER, POWER AND SEXUALITY IN TIMES OF MILITARISATION Gerda-Elisabeth Wittmann North-West University, Potchefstroom Campus Ian Liebenberg Faculty of Military Science, Stellenbosch University Abstract The film Mädchen in Uniform (1931), a love story between a teacher and student in Germany, is widely recognised as the first pro-lesbian film. Banned by the National Socialists, it opened the way for pro-lesbian film production and was followed by films such as Acht Mädels im Boot (1932), Anna and Elisabeth (1933) and Ich für dich, du für mich (Me for You, You for Me, 1934). These films strongly contrasted with documentaries and popular films of the Third Reich that portrayed a new and heroic German nation growing from the ashes of defeat following the uneasy Peace of Versailles. The film Aimée & Jaguar (1999) revisited the theme of lesbian love during the National Socialist regime. Based on a true story, the film is a narrative of the love between a German and a Jewish woman. Despite controversy, the film won numerous prizes in Germany. This article investigates the portrayal of gender and power in Mädchen in Uniform and Aimée & Jaguar. It seeks to explain how lesbian women and the love between them were portrayed in a time of male domination, militarism and what was seen as hetero-normality. This contribution examines gender-related power struggles and the political climate in Germany at the time of the Weimar Republic and the build-up to National-Socialist militarism. Introduction This article deals with a case study of filmic art that illustrates the tensions between the somatic search for freedom and the constraints of a society that longed Scientia Militaria, South African for law, order, authority, and, if needs be, Journal of Military Studies, Vol military force.
    [Show full text]
  • Muchachas-De-Uniforme.Pdf
    Sábado 9 marzo 20 h. DÍA INTERNACIONAL DE LA MUJER Sala Máxima del Espacio V Centenario Proyección Especial (Antigua Facultad de Medicina en Av. de Madrid) Entrada libre hasta completar aforo MUCHACHAS DE UNIFORME (1931) Alemania 83 min. Título Orig.- Mädchen in Uniform. Director.- Leontine Sagan & Carl Froelich. Argumento.- Las obras teatrales “Ritter Nérestan” (“Caballero Nérestan”, 1930) y “Gestern und Heuten” (“Ayer y hoy”, 1931) de Christa Winsloe. Guión.- Christa Winsloe y Friedrich Dammann. Fotografía.- Reimar Kuntze y Franz Weihmayr (1.20:1 – B/N). Montaje.- Oswald Hafenrichter. Música.- Hanson Milde-Meissner. Productor.- Carl Froelich y Friedrich Pflughaupt. Producción.- Deutsche Film- Gemeinschaft / Bild und Ton GmbH. Intérpretes.- Hertha Thiele (Manuela von Meinhardis), Dorothea Wieck (señorita von Bernburg), Hedwig Schlichter (señorita von Kesten), Ellen Schwanneke (Ilse von Westhagen), Emilia Unda (la directora), Erika Biebrach (Lilli von Kattner), Lene Berdoit (señorita von Gaerschner), Margory Bodker (señorita Evans), Erika Mann (señorita von Atems), Gertrud de Lalsky (tía de Manuela). Versión original en alemán con subtítulos en español Película nº 1 de la filmografía de Leontine Sagan (de 3 como directora) Premio del Público en el Festival de Venecia Música de sala: Berlin Cabaret songs Ute Lemper 3 En los primeros años de la historia cinematográfica alemana, la atracción entre mujeres en las películas mudas aparece sólo someramente, al margen y en la forma de Hosenrollen (muje- res con pantalones).1 En un momento de necesidad
    [Show full text]
  • The Early Generations of University Women in Fiction
    This is a repository copy of Through Science to Selfhood? The Early Generations of University Women in Fiction.. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/97686/ Version: Accepted Version Article: Bland, C. (2016) Through Science to Selfhood? The Early Generations of University Women in Fiction. Oxford German Studies, 45 (1). pp. 45-61. ISSN 0078-7191 https://doi.org/10.1080/00787191.2015.1128650 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Through science to selfhood? The early generations of university women in fiction. Caroline Bland, University of Sheffield Abstract: The figure of the female student epitomized, for many German-speaking writers around 1900, the intellectual and social freedom supposedly enjoyed by the New Woman.
    [Show full text]
  • Rezension Über: Jennifer Drake Askey, Good Girls, Good Germans. Girls' Education
    Zitierhinweis Jacobi, Juliane: Rezension über: Jennifer Drake Askey, Good Girls, Good Germans. Girls’ Education and Emotional Nationalism in Wilhelminian Germany, New York: Camden House, 2013, in: German Historical Institute London Bulletin, Vol. XXXVI (2014), 2, S. 69-74, DOI: 10.15463/rec.1189742239, heruntergeladen über recensio.net First published: http://www.ghil.ac.uk/index.php?eID=tx_nawsecuredl=0 copyright Dieser Beitrag kann vom Nutzer zu eigenen nicht-kommerziellen Zwecken heruntergeladen und/oder ausgedruckt werden. Darüber hinaus gehende Nutzungen sind ohne weitere Genehmigung der Rechteinhaber nur im Rahmen der gesetzlichen Schrankenbestimmungen (§§ 44a-63a UrhG) zulässig. JENNIFER DRAKE ASKEY , Good Girls, Good Germans: Girls’ Edu - cation and Emotional Nationalism in Wilhelminian Germany , Studies in German Literature, Linguistics, and Culture (New York: Camden House, 2013), x + 201 pp. ISBN 978 1 57113 562 9. £55.00 The national education of young people in Imperial Germany has been widely studied. The author of the book under review here adds a new aspect to the theme: the emotional education of the daughters of the upper middle class (she herself speaks of the ‘middle class’ throughout) by reading relevant, nationally oriented literature, both inside and outside school. Referring to studies by Silvia Bovenschen, 1 Ute Frevert, 2 and Ruth-Ellen Boetcher Joeres, 3 Askey reports that the impact of misogynistic nineteenth-century German-language litera - ture on women has been sufficiently investigated, while middle-class girls remain largely invisible. What it meant for these future women to be exposed to this misogynistic literature is the subject of the four chapters comprising this book. The book starts with an outline of the development of secondary schooling for girls after the foundation of Imperial Germany, provid - ing the institutional framework within which the daughters of Prussia’s wealthy classes were imbued with a basic patriarchal un - derstanding of the world.
    [Show full text]
  • Space and Gender in Post-War German Film
    The Misogyny of the Trümmerfilm - Space and Gender in Post-War German film A thesis submitted to the University of Reading For the degree of Doctor of Philosophy Department of Modern Languages and European Studies Richard M. McKenzie January 2017 1 | Page Acknowledgements I would like to express my thanks to my supervisors Dr Ute Wölfel and Prof. John Sandford for their support, guidance and supervision whilst my thesis was developing and being written. It has been a pleasure to discuss the complexities of the Trümmerfilm with you both over multiple coffees during the last few years. I am also grateful for the financial support provided by the Reading University Modern Foreign Languages Department at the beginning of my PhD study. My thanks must also go to Kathryn, Sophie and Isabelle McKenzie, with my parents and sister, for their forbearance whilst I concentrated on my thesis. In addition to my supervisors and family, I would like to record my thanks to my friends; Prof. Paul Francis, Dr Peter Lowman, Dr Daniela La Penna, Dr Simon Mortimer, Dr J.L. Moys and D.M. Pursglove for their vital encouragement at different points over the last few years. Finally, I would like to acknowledge the debt that I owe to two people. Firstly, Herr Wilfred Muscheid of the Frankfurt International School who introduced me to the intricacies of the German language ultimately making my PhD study possible. Secondly, I would like to acknowledge the influence of the late Prof. Lindsey Hughes, lecturer in the former Reading University Russian Department, who, with her departmental colleagues, taught me many of the basic academic tools and determination that I have needed to complete my PhD.
    [Show full text]
  • Of Cinema Through European Film History ••••••••••• the Centenary of Cinema
    the centenary Wo~;~~;r~th of cinema through European film history ••••••••••• the centenary of cinema ISBN : 92·827·6375·7 CC·AG·96·001·EN·C The TVomen of Europe Dossiers issue no. 43 ((The Centenary of Cinema: TVomen5 path through European film history" is available in the official lan­ guages of the European Union. The production of the dossier was overseen by Jackie BUET, director of the International TVomen 5 Film Festival in Creteil, France, in collaboration with: Elisabeth JENNY editor We wish to thank our contributors: Karin BRUNS and Silke HABIGER (Deutschland) Femme Totale Frauenfilmfestival Jean-Fran~ois CAMUS (France) Festival d'Annecy Rosilia COELHO (Portugal) IPACA (Instituto Portugues da arte cinematografica) Helen DE WITT (Great Britain) Cine Nova Maryline FELLOUS (France) Correspondentforformer USSR countries Renee GAGNON (Portugal) Uni-Portugal Gabriella GUZZI (Italia) Centro Problemi Donna Monique and Guy HENNEBELLE (France) Film critics Heike HURST (France) Professor of.film review Gianna MURA (France) Correspondent for Italy Paola PAOLI (Italia) Laboratorio Immagine Donna Daniel SAUVAGET (France) Film critic Ana SOLA (Espana) DRAG MAGic Moira SULLIVAN (Sverige) Correspondentfor Sweden and .film critic Dorothee ULRICH (France) Goethe Institut Ginette VINCENDEAU (Great Britain) Journalist and film teacher Director of publication/Editor-in-chief: Veronique Houdart-Biazy, Head of Section, Information for J;Vc,men, Directorate-General X- Information, Communication, Culture and Audiovisual Media Postal address: Rue de la Loi 200, B-1 049 Brussels Contact address: Rue de Treves 120, B-1 040 Brussels Tel (32 2) 299 91 24 - Fax (32 2) 299 38 91 Production: Temporary Association BLS-CREW-SPE, rue du Marteau 8, B-121 0 Brussels 0 Printed with vegetable-based ink on unbleached, recycled paper.
    [Show full text]
  • Między Stłumieniem a Autentycznością. Metafora Don Carlosa W Filmie Leontine Sagan Dziewczęta W Mundurkach
    Daria Mazur Między stłumieniem a autentycznością. Metafora Don Carlosa w filmie Leontine Sagan Dziewczęta w mundurkach ABSTRACT. Mazur Daria, Między stłumieniem a autentycznością. Metafora Don Carlosa w filmie Leontine Sagan Dziewczęta w mundurkach [Between Suppression and Authenticity. The Metaphor of Don Carlos in Leontine Sagan’s Movie Mädchen in Uniform]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 143–166. ISSN 1644-6763. DOI 10.14746/pt.2019.32.7. The article is a comprehensive analysis of the intertextual references to Frederick Schiller’s tragedy Don Carlos in Leontine Sagan’s movie Girls in Uniform (Mädchen in Uniform, 1931). The author considers the complex circumstances of the cooperation between the director and the artistic director, Carl Froelich, during the production. Moreover, she also presents the literary basis for the movie, namely the tragedy by Christy Winsloe (Gestern und Heute – Yesterday and Today). On this basis, the author analyses the multilevel presence of two phenomena in the movie: sup- pression and authenticity, which are related to the metaphor of Don Carlos and the plot of love between two women. The contexts for the analysis are inspired by research in the anthropology of romanticism, psychoanalysis, the psychology of sexual identity, and research on the works of Frederick Schiller. KEYWORDS: Weimar Republic Cinema, intertextuality, homotextuality, suppression, authenticity, woman director Nakręcone w 1931 roku Dziewczęta w mundurkach (Mädchen in Uni- form) są balansującym
    [Show full text]
  • We Do Not Want to Die: Word to Oreste Palella (Expanded Dreyer in Progress, I)
    We do not want to die: Word to Oreste Palella (Expanded Dreyer in progress, I) 79 Oreste Palella, Messina, the Mafia alla “polentoni”, emphasize the goodness of sbarra director, it came to the character the merger between the cold rationalism of Marshal power [in Se dotta e abban - of the north and the heat of the south. donata , 1964] after being preached, he They will be three love stories to affirm says, to that of Vincenzo Ascalone [...]. the need to compose, between north And as a director? “I have not had the and south, the new Italian family. » boom but have never been a mediocre. Giacomo Gambetti, Sedotta e Being an actor in fifty years is an expe - abbandonata di Pietro Germi , rience that inspired me so many things, Cappelli, Bologna, 1964 and that will serve me well as a film - maker. [...] Indirectly the Germi movie was helped also to my Mafia alla sbar - CATERINA DA SIENA ra . In fact, after In nome della Legge , Director: Oreste Palella; story: Fernan - after Il cam mino della speranza it is do Leonardi; screenplay: F. Leonar di, O. born the problem of seeing Sicily; I Palella; cinematography: Alfredo Lupo; could not imitate it, I could not make it music: Leopoldo Perez Bonsignore, last; nor lush, all beautiful like in Jessica G.C. Carignani; cast: Regana De Liguo - [Jean Negulesco, 1962], for which I ro, Rina De Liguoro, Teresa Ma riani, directed the second unit.” [...] Oreste Ugo Sasso, Guido Gentilini; produc - Palella directed the first film in 1946, tion : L. Perez Bonsignore per Cigno Caterina da Siena , under the name of Film; country: Italia, 1947; format: “Orestes” (“because, he explains, was a 35mm, b/n; length: 92’.
    [Show full text]
  • Lesbian Broadway: American Theatre and Culture, 1920-1945
    Lesbian Broadway: American Theatre and Culture, 1920-1945 by Meghan Brodie Gualtieri This thesis/dissertation document has been electronically approved by the following individuals: Gainor,J Ellen (Chairperson) Bathrick,David (Minor Member) Villarejo,Amy (Minor Member) LESBIAN BROADWAY: AMERICAN THEATRE AND CULTURE, 1920-1945 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Meghan Brodie Gualtieri August 2010 © 2010 Meghan Brodie Gualtieri LESBIAN BROADWAY: AMERICAN THEATRE AND CULTURE, 1920-1945 Meghan Brodie Gualtieri, Ph.D. Cornell University 2010 Lesbian Broadway: American Theatre and Culture, 1920-1945 is a project of reclamation that begins to document a history of lesbianism on Broadway. Using drama about lesbianism as its vehicle, this study investigates white, middle-class, female homosexuality in the United States from 1920 to 1945 and explores the convergence of Broadway drama, lesbianism, feminism, sexology, eugenics, and American popular culture. While the methodologies employed here vary by chapter, the project as a whole reflects a cultural excavation and analysis of lesbian dramas in their appropriate socio-historical contexts and suggests new critical approaches for studying this neglected collection of plays. Chapter One re-visits the feminist possibilities of realism, specifically lesbian realist drama of the 1920s and 30s, in order to reconsider how genre, feminist criticism, and historical context can inform socio-sexual readings of lesbian drama. Building on this foundation, Chapter Two explores a series of lesbian characters on Broadway that undermines and frequently reverses dominant sexological assumptions about the nature of and threats posed by lesbianism.
    [Show full text]
  • Revista Der Querschnitt
    REVISTA DER QUERSCHNITT 1924 Der Querschnitt, a. 4, no 2/3, Verão. Berlim: Galeria Simon e Flechtheim Capa: litografia por Picasso. 1o encarte entre pp. 100-101 – Fotografia, retrato, s.d. Legenda: “Raymond Radiguet”. Necrológio 1903-1923. – Reprodução de obra, pintura, 1897. Legenda: “Henri Rousseau. La bohémienne endormie [A cigana adormecida]”. Foto: Galeria Simon (seleção e clichê), Antuérpia. – Reprodução de obra, pintura, 1897. Legenda: “Pierre-Auguste Renoir. Am Meer [No mar]”. Foto: Barnes Foundation, Filadélfia (clichê de Paul Guillaume). – Fotografia, mobília, s.d. Legenda: “Pierre Roussel. [Pequena cômoda à Luís XV]”. 1723-178 Foto: Flatow & Priemer, Berlim. – Reprodução de obra, pintura, s.d. Legenda: “WandbiLd in der ViLLa Item bei Pompei. [MuraL na Villa Item em Pompeia]”, (helênico). Foto: Extraída de Ernst Pfhul. MaLerei und Zeichnung der Griechen [‟Pintura e desenho dos gregosˮ], s.d, F. Bruckmann A. G., Munique. – Fotografia, teatro, s.d. Legenda: “Marc Chagall. BühnenbiLd zu Agenten im jüdischen Kammertheater SchoLom Aleichum in Moskau. [Cenografia para Agenten [Agentes] no teatro de câmara judaico SchoLom Aleichum, Moscou]”. Foto: – – Fotografia, teatro, s.d. Legenda: “Bühnenbild zu Carl Sternheim Nebbich, Kammerspiele Rosen, Berlin. [Cenografia para Nebbich [Que pena], conhecida como Mops, de Carl Sternheim, Kammerspiele Rosen, Berlim]”. Foto: Zander & Labisch. 2o encarte entre pp. 116-117 2 – Reprodução de obra, pintura, s.d. Legenda: “Édouard Manet. Le père Lathuile [O pai Lathuile]”. Pastel. Foto: Galeria Flechtheim, Berlim. – Fotografia, automóvel, s.d. Legenda: “Sechssitziger Reise Phaëton. [Phäton de seis Lugares]”. Foto: Clichê Szawe. – Reprodução de obra, fototipia, s.d. Legenda: “Egon Schiele. StiLLeben [Natureza morta]”. Aquarela. Foto: Associação Wurble, Viena. – Fotografia, cinema, s.d.
    [Show full text]