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Lustmord: Sexual Murder in Weimar Germany [Englisch] [Taschenbuch]

Maria M. Tatar
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Kurzbeschreibung

5. Mai 1997
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. In exploring the complex relationship between victim and agent in cases of sexual murder, Tatar explains how the roles came to be destabilized and reversed, turning the perpetrator of criminal deeds into a defenseless victim of seductive evil. Throughout the West today, the creation of similar ideological constructions still occurs in societies that have only recently begun to validate the voices of its victims. Maria Tatar's book opens up an important discussion for readers seeking to understand the forces behind sexual violence and its portrayal in the cultural media throughout this century.

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Produktinformation

  • Taschenbuch: 228 Seiten
  • Verlag: Princeton Univ Pr; Auflage: Reprint (5. Mai 1997)
  • Sprache: Englisch
  • ISBN-10: 0691015902
  • ISBN-13: 978-0691015903
  • Größe und/oder Gewicht: 23,5 x 15,4 x 1,7 cm
  • Durchschnittliche Kundenbewertung: 4.5 von 5 Sternen  Alle Rezensionen anzeigen (2 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 405.888 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

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Produktbeschreibungen

Pressestimmen

"A compelling chronicle of Weimar Germany's disturbing and pervasive fascination with the sexually motivated murder of women, Lustmord breaks new ground in our understanding of German art and culture during this turbulent period between the two world wars... Tatar has written a brilliant book of art and cultural criticism, a book that scholars and theorists of the Weimar period will have to contend with for some years to come."--Patrice Petro, Art in America "Tatar's book is particularly relevant today, amid the heated debates over violence, even as the images become more brutal and sensational, and the camera more voyeuristic and merciless."--Barbara Kosta, The Women's Review of Books "A profound and provocative contribution to our understanding of sexual combat and the aestheticization of violence in modern culture."--Leslie Kitchen, The Bloomsbury Review "Lustmord is an unsettling study, rich both in documentation and speculation, that will change the way we look at Weimar as well as contemporary art... All this in prose that is all the more enviable for its precision, lucidity, and pithiness."--William Collins Donahue, German Politics and Society "Not for the first time--though seldom so brilliantly as in Tatar's slender book--fascism and modernism are conjoined; they correspond; they are letters from the same camp..."--John Leonard, The Nation "Tatar investigates the chilling motives behind representations that aestheticize violence, and that turn the mutilated female body into an object of fascination... Above all, she explores the complex relationship between gender roles, sexuality, violence and representation... Tatar's book is particularly relevant today, amid the heated debates over violence, even as the images become more brutal and sensational, and the camera more voyeuristic and merciless. The story of sexual murder is all too common--and not just during the brief period of the Weimar Republic. It's precisely the commonplace nature of such brutal and misogynistic crimes that Maria Tatar seeks to expose."--Barbara Kosta, The Women's Review of Books "This volume is intriguing, puzzling, illuminating, and depressing."--Andrew Lees, The Historian "A remarkable book. [It] is both a study of German avant-garde and modernist art and a sustained reflection on the relationships between gender, crime, violence and representation... Lustmord breaks new ground in our understanding of German art and culture during this turbulent period between the two world wars... A brilliant book of art and cultural criticism... "--Patrice Petro, Art in America "A brilliant and energetic exploration of a subject that has gone for too long ignored, a profound and provocative contribution to our understanding of sexual combat and the aestheticization of violence in modern culture."--Leslie Kitchen, The Bloomsbury Review

Synopsis

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. In exploring the complex relationship between victim and agent in cases of sexual murder, Tatar explains how the roles came to be destabilized and reversed, turning the perpetrator of criminal deeds into a defenseless victim of seductive evil. Throughout the West today, the creation of similar ideological constructions still occurs in societies that have only recently begun to validate the voices of its victims.

Maria Tatar's book opens up an important discussion for readers seeking to understand the forces behind sexual violence and its portrayal in the cultural media throughout this century.


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Kundenrezensionen

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4.5 von 5 Sternen
4.5 von 5 Sternen
Die hilfreichsten Kundenrezensionen
4.0 von 5 Sternen Odd, yet interesting 12. Oktober 1997
Von Ein Kunde
Format:Taschenbuch
This book is first and foremost of great interest to students of the arts, illustrating the social climate in which German artists between the World Wars worked and its effect on their art. Additionally, it should also interest hard core true crime buffs. There are plenty of interesting tidbits about Peter Kurten and Fritz Haarman, two of Germany's most twisted citizens, and it is fascinating to see how their crimes influenced German attitudes, reflected in the violent art that the region produced. One could draw parallels to modern American society's current attitudes towards serial killers, but that's another book entirely.
War diese Rezension für Sie hilfreich?
5.0 von 5 Sternen Excellent Journey into the Minds of Men 23. März 1999
Von Pat Brown
Format:Taschenbuch
Fascinating book that looks at the art of Germany after World War 1 and discusses the implication of the sexually violent images that increased dramatically at that point in history. This is a sociological look at the connection between the culture of the times and the idiosyncrasies that produced such a mindset. Pat Brown/Director/Investigative Criminal Profiler/The Sexual Homicide Exchange, Inc.
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Amazon.com: 4.0 von 5 Sternen  5 Rezensionen
2 von 3 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Odd, yet interesting 12. Oktober 1997
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format:Taschenbuch
This book is first and foremost of great interest to students of the arts, illustrating the social climate in which German artists between the World Wars worked and its effect on their art. Additionally, it should also interest hard core true crime buffs. There are plenty of interesting tidbits about Peter Kurten and Fritz Haarman, two of Germany's most twisted citizens, and it is fascinating to see how their crimes influenced German attitudes, reflected in the violent art that the region produced. One could draw parallels to modern American society's current attitudes towards serial killers, but that's another book entirely.
3 von 5 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Excellent Journey into the Minds of Men 23. März 1999
Von Pat Brown - Veröffentlicht auf Amazon.com
Format:Taschenbuch
Fascinating book that looks at the art of Germany after World War 1 and discusses the implication of the sexually violent images that increased dramatically at that point in history. This is a sociological look at the connection between the culture of the times and the idiosyncrasies that produced such a mindset. Pat Brown/Director/Investigative Criminal Profiler/The Sexual Homicide Exchange, Inc.
3 von 5 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen cogent analysis of violence in an out of control culture 15. September 2000
Von George Hawkes - Veröffentlicht auf Amazon.com
Format:Taschenbuch
I picked this book up at a used bookstore on a whim and found it rivetting. It is an incredible read becuase the author doesn't try to sensationalize the material. She has found some incredible material and makes it relevant to what is going on today. Some of the pictures are really upsetting but I think the author wants to make a point about what we accept as art.
1 von 3 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Interesting and vivid look at sexualized violence in Weimar Germany 26. Dezember 2005
Von Julia Starkey - Veröffentlicht auf Amazon.com
Format:Taschenbuch
This is a fascinating book that deals with sex and violence during the Weimar republic in Germany (1919-1933). This is not a book for the lay person, it's an academic study. I found it extremely interesting, and at times disturbing. It's primarily an academic text, however I found it interesting and accessible even though this historical period is not one that I've studied.
13 von 33 Kunden fanden die folgende Rezension hilfreich
2.0 von 5 Sternen Great morbid pictures, tedious writing... 4. August 2000
Von B. G. Shultz - Veröffentlicht auf Amazon.com
Format:Taschenbuch
I bought this book hoping that it would plunge me into the decadent, violent world of Weimar Germany but I was EXTREMELY disappointed. First of all, there's actually very little about Kurten and Haarmann, so do not buy this if you're a fan of true crime books. They are discussed only briefly before Tatar launches into a poor psychological exploration of Otto Dix and George Grosz, two of Germany's most disturbing artists of this century (or any other, for that matter). Tatar tries to draw lots of obscure parallels between the horrors of WWI and violence against women in Weimar society, seemingly forgetting that violence was affecting EVERYBODY at the time, not just women. Germany was a homicidal mess after WWI- women were not the only victims, although Tatar would have us believe so. She then turns around and seems to praise the artistic merits of Dix and Grosz. Her arguments are inconclusive and frankly, the book is about as entertaining as someone else's bath water.
The only redeeming quality (for which I gave this book two stars) is that Tatar included numerous sketches and paintings (albeit in black and white)by Dix and Grosz, whose works are not especially easy to locate. Some of these illustrations, one of which depicts a butcher selling pieces of dismembered women in his shop, are enough to disturb even the most fortified of minds. The pictures themselves give the reader at least a hint of what Weimar society must have been like; Maria Tatar's rambling text just induces sleep.
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