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Customer's code. ID card image Upload Image. Bank card image Upload Image. Register account. Incorporated memory and violent mourning: Kriemhild as an archetypal killing woman Bettina Bildhauer, St. Kriemhild in the legend of the Nibelungen is one of the archetypal violent women and murderous mothers in German cultural memory. This paper shall argue that she can be considered a projection of human fears of killing neglected but as strong as those of death , but in the Nibelungenlied c.

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This is not a purely medieval conception of violence and memory, as will be shown with brief reference to Fritz Lang's film version of the legend. Although female characters are far more likely to kill themselves or be killed by others on the tragic stage, murder was considered "the womanly deed" E. Ion Yet in only about a quarter of surviving tragedies do women plan or execute a murder, and in even fewer cases do they actually carry out their crimes, in part because ancient Greeks considered them incapable of physically overwhelming men.


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Their victims are almost always relatives, in some way connected to the households of their husbands or fathers if unmarried , or, occasionally, to their natal homes, while their weapon of choice is typically poison. Their actions defend some aspect of the oikos —motherhood, marriage, or the continuity of the paternal line—that has been violated or devalued by the male.

Although tragic fantasies of female violence portray women as powerful agents of male destiny, I will argue that this agency is often compromised.

Die großen Kriminalfälle Der Frauenmörder Heinrich Pommerenke

Murderous wives like Deinaira and Medea are represented as unable to control eros or regulate their passions while others, like Clytemnestra, serve as vehicles for divine retribution. In all these instances, tragic representations of female violence reflect cultural anxiety about marriage, motherhood, and the conflicting loyalties of women within the male-governed oikos. The paper will provide an overview over witch beliefs in the eighteenth century. It will analyze a specific witch trial and show how it incorporated the Enlightenment discourse, among others, in its own denial of witch beliefs and re-definition of its own judicial language.

The second part of the paper will show up similarities between the discourse of this trial and that employed in physiognomic analysis. This paper examines how contemporaries constructed narratives about murdering-women, in particular, those women who killed and dismembered their husbands.

Onleihe. Der Frauenmörder

I demonstrate that the reasons for these transformations can be located in specific political circumstances as well as in new fashions in reading tastes and publishing styles. Of the war criminals put on trial at the end of the Second World War, the women concentration camp guards became the focus of particular attention. Using analytical concepts from feminist sociolinguistics and discourse analysis, the paper will examine how KZ-Aufseherinnen were characterised as gendered perpetrators in witness statements and evidence given in war crimes trials, as well as memoirs of concentration camp survivors and contemporary newspaper reports.

The analysis will explore how the authors of the texts reversed the victim-perpetrator dynamics, drawing upon dominant discourses and ideologies on gendered behaviour. Those describing KZ-Aufseherinnen and their actions employed a range of strategies including metaphor, word play, vulgarisms, and engaged in objectification and depersonalisation of their subjects.


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  • The standard repertoire of German opera contains several women who are killers but almost none who are murderers. The distinction is telling. The music involved will be understood as a primary, not a secondary, source of meaning: as a means of producing, not merely of expressing, the significance of these acts of violence and of the women who set them in motion. The pertinent musical details are not arcane, nor, given their need to address opera audiences directly and effectively, could they be; no music-analytic expertise is necessary to describe or grasp them.