1995, ISBN: 3d6997d401b5727e0cf85def35d3dde8

[PU: Princeton University Press, Princeton, 1995.], Jacket, 8vo, 213pp, b/w illus. In a book that confronts our society's obsession with sexual violence, Maria Tatar seeks the meaning beh… Altro …

[PU: Princeton University Press, Princeton, 1995.], Jacket, 8vo, 213pp, b/w illus. In a book that confronts our society's obsession with sexual violence, Maria Tatar seeks the meaning behind one of the most disturbing images of twentieth-century Western culture: the violated female corpse. This image is so prevalent in painting, literature, film, and, most recently, in mass media, that we rarely question what is at stake in its representation. Tatar, however, challenges us to consider what is taking place, both artistically and socially, in the construction and circulation of scenes depicting sexual murder. In examining images of sexual murder ("lustmord"), she produces a riveting study of how art and murder have intersected in the sexual politics of culture from Weimar Germany to the present. Tatar focuses attention on the politically turbulent Weimar Republic, often viewed as the birthplace of a transgressive avant-garde modernism, where representations of female sexual mutilation abound. Here a revealing episode in the gender politics of cultural production unfolds as male artists and writers, working in a society consumed by fear of outside threats, envision women as enemies that can be contained and mastered through transcendent artistic expression. Not only does Tatar show that male artists openly identified with real-life sexual murderers - George Grosz posed as Jack the Ripper in a photograph where his model and future wife was the target of his knife - but she also reveals the ways in which victims were disavowed and erased. Tatar first analyzes actual cases of sexual murder that aroused wide public interest in Weimar Germany. She then considers how the representation of murdered women in visual and literary works functions as a strategy for managing social and sexual anxieties, and shows how violence against women can be linked to the war trauma, to urban pathologies, and to the politics of cultural production and biological reproduction. This study of rape, sex murders and other extreme sex crimes including case histories of Fritz Haarmann, Peter Kurten and others and their portrayal in the art, literature and cinema of the time including Otto Dix, George Grosz, Alfred Doblin, Fritz Lang and others along with notes and index.<

1995, ISBN: 3d6997d401b5727e0cf85def35d3dde8

[PU: Princeton University Press, Princeton, 1995.], Jacket, 8vo, 213pp, b/w illus. In a book that confronts our society's obsession with sexual violence, Maria Tatar seeks the meaning beh… Altro …

[PU: Princeton University Press, Princeton, 1995.], Jacket, 8vo, 213pp, b/w illus. In a book that confronts our society's obsession with sexual violence, Maria Tatar seeks the meaning behind one of the most disturbing images of twentieth-century Western culture: the violated female corpse. This image is so prevalent in painting, literature, film, and, most recently, in mass media, that we rarely question what is at stake in its representation. Tatar, however, challenges us to consider what is taking place, both artistically and socially, in the construction and circulation of scenes depicting sexual murder. In examining images of sexual murder ("lustmord"), she produces a riveting study of how art and murder have intersected in the sexual politics of culture from Weimar Germany to the present. Tatar focuses attention on the politically turbulent Weimar Republic, often viewed as the birthplace of a transgressive avant-garde modernism, where representations of female sexual mutilation abound. Here a revealing episode in the gender politics of cultural production unfolds as male artists and writers, working in a society consumed by fear of outside threats, envision women as enemies that can be contained and mastered through transcendent artistic expression. Not only does Tatar show that male artists openly identified with real-life sexual murderers - George Grosz posed as Jack the Ripper in a photograph where his model and future wife was the target of his knife - but she also reveals the ways in which victims were disavowed and erased. Tatar first analyzes actual cases of sexual murder that aroused wide public interest in Weimar Germany. She then considers how the representation of murdered women in visual and literary works functions as a strategy for managing social and sexual anxieties, and shows how violence against women can be linked to the war trauma, to urban pathologies, and to the politics of cultural production and biological reproduction. This study of rape, sex murders and other extreme sex crimes including case histories of Fritz Haarmann, Peter Kurten and others and their portrayal in the art, literature and cinema of the time including Otto Dix, George Grosz, Alfred Doblin, Fritz Lang and others along with notes and index.<

1995, ISBN: 3d6997d401b5727e0cf85def35d3dde8

[PU: Princeton University Press (1995), Princeton], WEIMAR GERMANY LITERARY CRITICISM GENDER OTTO DIX FRITX LANG LUSTMORD SEXUAL VIOLENCE ART SERIAL MURDERS GEORGE GROSZ CRIME ALFRED DOEB… Altro …

[PU: Princeton University Press (1995), Princeton], WEIMAR GERMANY LITERARY CRITICISM GENDER OTTO DIX FRITX LANG LUSTMORD SEXUAL VIOLENCE ART SERIAL MURDERS GEORGE GROSZ CRIME ALFRED DOEBLIN FILM GERMAN SOCIAL HISTORY NOISBN, Literary Criticism|General, History|Social History, Performing Arts|Film, Travel|Europe|Germany, orig.cloth Minor rubbing. Some faint spots to spine. VG. Textual photo illustrations 24x15cm, xii, 213 pp Contents: Sexual Murder: Weimar Germany & Its Cultural Legacy: Morbid Curiosity: Why 'Lustmord'?; "Ask Mother": The Construction of Sexual Murder; Crime, Contagion & Containment: Sexual Murder in the Weimar Republic; Case Studies: Fighting for Life: Figurations of War, Women, & the City in the Work of Otto Dix; Life in the Combat Zone: Military & Sexual Anxieties in the Work of George Grosz; The Corpse Vanishes: Gender, Violence, & Agency in Alexander Döblin's 'Berlin Alexanderplatz'; The Killer as Victim: Fritz Lang; Reinventions: Murder in the Name of Art. Minor rubbing. Some faint spots to spine. VG.<