Gender, Collaboration, and Authorship in German Culture : Literary Joint Ventures, 1750-1850

__Gender, Collaboration, and Authorship in German Culture__challenges a model of literary production that persists in literary studies: the so-called __Geniekult__ or the idea of the solitary male author as genius that emerged around 1800 in German lands. A closer look at creative practices during this time indicates that collaborative creative endeavors, specifically joint ventures between women and men, were an important mode of literary production during this era. This volume surveys a variety of such collaborations and proves that male and female spheres of creation were not as distinct as has been previously thought. It demonstrates that the model of the male genius that dominated literary studies for centuries was not inevitable, that viable alternatives to it existed. Finally, it demands that we rethink definitions of an author and a literary work in ways that account for the complex modes of creation from which they arose. Cover 1 Contents 8 Notes on Contributors 10 Acknowledgments 14 Introduction Laura Deiulio and John B. Lyon 16 1 The Gottscheds: Conjugal Authorship as a Disjointed Venture Margaretmary Daley 36 2 A Dynamic Interplay: Cooperation between Sophie von La Roche, Christoph Martin Wieland, and Goethe on Their Way to Authorship Monika Nenon 60 3 “Collaborating with Spirits”: Cagliostro, Elisa von der Recke, and the Phantoms of Unmündigkeit Michelle Stott James and Rob McFarland 90 4 A Freedom Apart: Feminine Bildung in Sophie Mereau’s “Marie” and Amanda und Eduard Tom Spencer and Jennifer Jenson 120 5 Scenes from a Marriage: Friedrich and Dorothea Schlegel, Collaboration as Symphilosophy and After Adrian Daub 140 6 Holy Hermaphrodite: The Collaboration between Caroline and Friedrich de la Motte Fouqué Eleanor ter Horst 170 7 Concepts of Collaboration: Märchenomas, the Woman Writer, and the Brothers Grimm Julie L. J. Koehler 196 8 A Meeting of Minds? The Dialogue between Voices Female and Male in the Poems of the West–Eastern Divan Charlotte Lee 224 9 The Correspondence of Rahel Levin Varnhagen and Ludwig Robert: Epistolary Writing as a Space for Symphilosophieren Laura Deiulio 242 10 Reflexive Authorship in Bettina Brentano-von Arnim’s Die Günderode: Narrative Disunity, Hölderlin, and Günderrode Karen R. Daubert 268 11 “Where Words Are Not Enough”: Audience and Authorship in the Marriage Diaries of Robert and Clara Schumann Brian Tucker 288 12 Therese Robinson’s Die Auswanderer (1852) as Goethe’s Future Novel of America Judith E. Martin 310 Index 335 "Gender, Collaboration, and Authorship in German Culture challenges a model of literary production that persists in literary studies: the so-called Geniekult or the idea of the solitary male author as genius that emerged around 1800 in German lands. A closer look at creative practices during this time indicates that collaborative creative endeavors, specifically joint ventures between women and men, were an important mode of literary production during this era. This volume surveys a variety of such collaborations and proves that male and female spheres of creation were not as distinct as has been previously thought. It demonstrates that the model of the male genius that dominated literary studies for centuries was not inevitable, that viable alternatives to it existed. Finally, it demands that we rethink definitions of an author and a literary work in ways that account for the complex modes of creation from which they arose."--Bloomsbury Publishing. "Gender, Collaboration, and Authorship in German Culture challenges a model of literary production that persists in literary studies: the so-called Geniekult or the idea of the solitary male author as genius that emerged around 1800 in German lands. A closer look at creative practices during this time indicates that collaborative creative endeavors, specifically joint ventures between women and men, were an important mode of literary production during this era. This volume surveys a variety of such collaborations and proves that male and female spheres of creation were not as distinct as has been previously thought. It demonstrates that the model of the male genius that dominated literary studies for centuries was not inevitable, that viable alternatives to it existed. Finally, it demands that we rethink definitions of an author and a literary work in ways that account for the complex modes of creation from which they arose"-- Provided by publisher