front cover of Articulating Difference
Articulating Difference
Sex and Language in the German Nineteenth Century
Sophie Salvo
University of Chicago Press, 2024
Enriches contemporary debates about gender and language by probing the histories of the philosophy and sciences of language.
 
Drawing on a wide range of texts, from understudied ethnographic and scientific works to canonical literature and philosophy, Sophie Salvo uncovers the prehistories of the inextricability of gender and language. Taking German discourses on language as her focus, she argues that we are not the inventors but, rather, the inheritors and adaptors of the notion of gender and language’s interrelation. Particularly during the long nineteenth century, ideas about sexual differences shaped how language was understood, classified, and analyzed. As Salvo explains, philosophers asserted the patriarchal origins of language, linguists investigated “women’s languages” and grammatical gender, and literary Modernists imagined “feminine” sign systems, and in doing so they not only deemed sex a necessary category of language but also produced a plethora of gendered tropes and fictions, which they used both to support their claims and delimit their disciplines.
 
Articulating Difference charts new territory, revealing how gendered conceptions of language make possible the misogynistic logic of exclusion that underlies arguments claiming, for example, that women cannot be great orators or writers. While Salvo focuses on how male scholars aligned language study with masculinity, she also uncovers how women responded by highlighting the contributions of understudied nineteenth-century works on language that women wrote even as they were excluded from academic opportunities.
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front cover of Fugitive Objects
Fugitive Objects
Sculpture and Literature in the German Nineteenth Century
Catriona MacLeod
Northwestern University Press, 2014

Winner of the 2014 Jean-Pierre Barricelli Prize for Best Book on Romanticism

In Fugitive Objects, Catriona MacLeod examines the question of why sculpture is both intensively discussed and yet rendered immaterial in German literature. She focuses on three forms of disappearance: sculpture’s vanishing as a legitimate art form at the beginning of the nineteenth century in German aesthetics, statues’ migration from the domain of high art into mass reproduction and popular culture, and sculpture’s dislodging and relocation into literary discourse. Through original readings of Clemens Brentano, Achim von Arnim, Adalbert Stifter, Leopold von Sacher-Masoch, and others, MacLeod reveals that if sculpture has disappeared from much of nineteenth-century German literature and aesthetics, it is a vanishing act that paradoxically relocates the statue back onto another cultural pedestal, attesting to the powerful force of the medium.

 
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