8 8 HELDEN – HEROISIERUNGEN – HEROISMEN Carolin Hauck – Monika Mommertz – Andreas Schlüter – Thomas Seedorf (Eds.) Tracing the Heroic Through Gender Tracing the Heroic Tracing Through Gender Through BAND 8 Carolin Hauck – Monika Mommertz – Hauck – Monika Carolin SeedorfThomas (Eds.) – Schlüter Andreas ISBN 978-3-95650-402-0 https://doi.org/10.5771/9783956504037, am 29.09.2021, 20:09:05 Open Access - http://www.nomos-elibrary.de/agb Tracing the Heroic Through Gender Edited by Carolin Hauck – Monika Mommertz – Andreas Schlüter – Thomas Seedorf https://doi.org/10.5771/9783956504037, am 29.09.2021, 20:09:05 Open Access - http://www.nomos-elibrary.de/agb HELDEN – HEROISIERUNGEN – HEROISMEN Herausgegeben von Ronald G. Asch, Barbara Korte, Ralf von den Hoff im Auftrag des DFG-Sonderforschungsbereichs 948 an der Universität Freiburg Band 8 ERGON VERLAG https://doi.org/10.5771/9783956504037, am 29.09.2021, 20:09:05 Open Access - http://www.nomos-elibrary.de/agb Tracing the Heroic Through Gender Edited by Carolin Hauck – Monika Mommertz – Andreas Schlüter – Thomas Seedorf ERGON VERLAG https://doi.org/10.5771/9783956504037, am 29.09.2021, 20:09:05 Open Access - http://www.nomos-elibrary.de/agb Gefördert durch die Deutsche Forschungsgemeinschaft Cover: Mezzo Soprano Giuditta Pasta (1798–1865) in the title role of Gioachino Rossini’s opera Tancredi (1822), Lithograph by Cäcilie Brand, n.d. © Herzog August Bibliothek Wolfenbüttel: Portr. II 4023 (A 15982) Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © Ergon – ein Verlag in der Nomos Verlagsgesellschaft, Baden-Baden 2018 Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb des Urheberrechtsgesetzes bedarf der Zustimmung des Verlages. Das gilt insbe- sondere für Vervielfältigungen jeder Art, Übersetzungen, Mikroverfilmungen und für Einspeicherungen in elektronische Systeme. Gedruckt auf alterungsbeständigem Papier. Umschlaggestaltung: Jan von Hugo Satz: Thomas Breier www.ergon-verlag.de ISBN 978-3-95650-402-0 (Print) ISBN 978-3-95650-403-7 (ePDF) ISSN 2365-886X https://doi.org/10.5771/9783956504037, am 29.09.2021, 20:09:05 Open Access - http://www.nomos-elibrary.de/agb Table of Contents Preface ...................................................................................................................... 7 Anke Charton “I canti esaltino il suo valore”: Gendering the Operatic Sound of the Heroic ........................................................ 9 Birgit Mikus Untangling the Heroic from the Sacrifice: Malwida von Meysenbug’s Attempt to Appropriate a Common Female Topos in and for her Political Novel Phädra (1885) ................ 25 Eva Struhal Heroes and Anti-Heroes: Reformulating the Heroic at the Accademia degli Apatisti in Seventeenth-Century Florence .......................................................................... 39 Barbara Becker-Cantarino The Dramatic Hero in the Gendered Imaginary of Early Modern Germany: Judith and Holofernes ........................................................................................... 59 Christiane Hansen Gendering Fear: Heroic Figurations and Fearful Imagination in Restoration Drama ............................................................................................. 75 Helen Watanabe-O’Kelly From Viragos to Valkyries: Transformations of the Heroic Warrior Woman in German Literature from the Seventeenth to the Nineteenth Century .................................................................................... 93 Madeleine Brook Creating and Subverting German Models of Galanterie? Heroes and Heroines in Texts by Christian Friedrich Hunold and Maria Aurora von Königsmarck .................................................................... 107 Laura Mª Lojo-Rodríguez Victorian Male Heroes and Romance in Elizabeth Bowen’s Short Fiction .................................................................... 125 https://doi.org/10.5771/9783956504037, am 29.09.2021, 20:09:05 Open Access - http://www.nomos-elibrary.de/agb 6 TABLE OF CONTENTS Petra Polláková A Melancholy Look from Fearless Eyes: Metamorphoses of a ‘Dangerous’ Heroine of the Romantic Period......................................................................................... 137 Melanie Unseld When Heroes Sigh: Sentimental Heroism in Opera Culture Around 1800 ........................................ 157 Anne-Marie Metzger The Reigning Woman as a Heroic Monarch? Maria Theresa Traced as Sovereign, Wife, and Mother ....................................... 177 The Authors ......................................................................................................... 201 Index ..................................................................................................................... 205 https://doi.org/10.5771/9783956504037, am 29.09.2021, 20:09:05 Open Access - http://www.nomos-elibrary.de/agb Preface The contributions assembled in this volume grew out of papers that were pre- sented by scholars from numerous disciplines in the humanities and social sci- ences at the international conference “Tracing the Heroic Through Gender”, hosted by the Collaborative Research Center 948 “Heroes – Heroizations – Hero- isms” in February 2015 at the University of Freiburg. With varying historical and thematic foci, they explore the potential and the possible applications of the cat- egory of gender within heroism research. In nearly all societies, the heroic is manifoldly gendered. The connection be- tween heroes/heroines and gender lends itself to diverse transdisciplinary research approaches, not least because of the broad historical dimensions involved and the current relevance of the topic. Nevertheless, gender is excluded as a category of analysis in many studies informed by general heroism research and theory that explore the heroic in concrete historical and socio-cultural contexts. At most, the masculinity of the hero seems to be of interest. The present volume attempts to confront persisting shortcomings in heroism research, using various approaches and topics from humanities disciplines to investigate both masculine and femi- nine types of the hero and the victim as well as the interrelationship between them. The premise of the volume is that gender can serve as a central category for ana- lyzing the heroic once the predominance of one gender over another becomes evident in a process of heroization. The point is to take seriously the relational character of the category of gender, thereby attenuating the current ‘division of labor’ between gender studies and heroism research with regard to the topic of heroism. The editors would like to thank the participants of the conference “Tracing the Heroic Through Gender”, both for their papers and for many vigorous and grip- ping discussions. We would like to extend special thanks to those participants who expanded their conference papers, in some cases substantially revising them for publication here. Furthermore, we owe a debt of gratitude to the Collaborative Research Center 948’s head office which did the lion’s share of the editing, espe- cially Sebastian Meurer, Andreas Friedrich, and their excellent student assistants Daniel Hefflebower, Philipp Multhaupt, Chris Reding, Julia Rosenfeld, and Bren- dan Ryan. Thanks are also due to Hans-Jürgen Dietrich and Thomas Breier at Er- gon Verlag for their support and patience. Finally, we would like to thank the Ger- man Research Foundation (DFG) and Ralf von den Hoff on behalf of the Collaborative Research Center for supporting and funding the publication. For the editors, Carolin Hauck and Thomas Seedorf Freiburg, December 2017 https://doi.org/10.5771/9783956504037, am 29.09.2021, 20:09:05 Open Access - http://www.nomos-elibrary.de/agb https://doi.org/10.5771/9783956504037, am 29.09.2021, 20:09:05 Open Access - http://www.nomos-elibrary.de/agb “I canti esaltino il suo valore”1 Gendering the Operatic Sound of the Heroic Anke Charton In April 1826, singer Giuditta Pasta signed a contract with the King’s Theatre in London, then under the management of John Ebers. Pasta, who at this point was one of the most celebrated singers of her generation, had previously appeared in London to great success, a fact evidenced by the conditions of the contract granting her not just her pick of roles2 and the right to refuse any she found un- suitable to her voice, but also the right to choose the colleagues who would ap- pear on stage alongside her.3 Most remarkable, though, is Pasta’s standing among the theatre employees, as declared in the opening article of the contract: Art. 1. That Madame Pasta will be hired in the function of Prima Donna Assoluta and of Musico assoluto, to sing and act in the opera seria at the King’s Theatre in London for three and a half months, from April 15 to July 31, 1826.4 More than any specific Fach – Giuditta Pasta, as a soprano sfogato,5 sang a wide se- lection of stylistically differing parts – this first sentence stakes a gender-crossing 1 Gioachino Rossini, Tancredi: Dramma per musica, Turin 1815, p. 39 (Act II, scene 8). 2 All English translations, unless otherwise indicated, are my own. “5. Madame Pasta ne sera obligée de chanter pendant la durée de son engagement que dans les opéras suivants: Tancredi, Romeo, Otello, Semiramide, Rosa bianca e rossa, Nina, et Medea; Mr. J. Ebers s’engage