By Jo Catling
This quantity makes the wide-ranging paintings of German ladies writers obvious to a much broader viewers. it's the first paintings in English to supply a chronological advent to and assessment of women's writing in German-speaking nations from the center a while to the current day. wide courses to additional studying and a bibliographical advisor to the paintings of greater than four hundred girls writers shape an essential component of the quantity, with a purpose to be vital for college students and students of German literature, and all these attracted to women's and gender reports.
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Additional resources for A History of Women's Writing in Germany, Austria and Switzerland
Yet, as the Age of Faith receded, much was overlooked or forgotten. Even today, their views are not always regarded as acceptable. The attempt, from Hildegard onwards, to work out a theology of the feminine which sees certain aspects of the great drama of Creator and Creation as essentially female is still regarded in some circles as verging on heresy or even blasphemy. Nevertheless, its presence as an underground current in German mysticism, literature and thought cannot be questioned. When, at the end of Faust II, Goethe evokes ‘das Ewig-Weibliche’ (the Eternal Feminine) he is again acknowledging that receptivity to the divine Creator expressed in humility, reverence, loving-kindness and service – that is to say, those values which are held to be female prerogatives – is the only sure way of achieving spiritual significance.
Many of Hoyers’s shorter poems are in fact hymn texts, with an indication of the melody or with actual musical notation accompanying them. Clearly these were to be used by a congregation as part of their worship and are characterized by a clarity and simplicity of diction, a heartfelt piety and a regularity of form reminiscent of Luther himself. She indeed saw herself as standing in direct descent from Luther, both in her criticism of clerical abuse and in her composition of hymns for actual liturgical use.
She read works on ancient and modern history, law, politics, astronomy, alchemy, theology and philosophy as well as the European literature of her day. Her Protestantism meant that she and her family had to make long journeys to attend services at important religious festivals, usually to Western Hungary. After the death of her younger sister and only sibling, Greiffenberg had what she considered an important mystical revelation at Easter 1651 in Pressburg (Bratislava). This revelation, which she referred to thereafter as her ‘Deoglori-Licht’ (the light of God’s glory), marked her birth as a writer.
A History of Women's Writing in Germany, Austria and Switzerland by Jo Catling