Cosima von bonin biography books pdf

To learn more, view our Privacy Policy. To browse Academia. This thesis examines the woman singer and her song as a literary motif in French and German prose fiction between and In the form of selected case studies, I establish how, for some authors of this period, the singer constituted an important cipher for female artistic empowerment.

Although substantial research on the cross-fertilization between music and literature exists, this specific motif has so far received very little attention in Comparative Literature studies. Additionally, literary critics have not previously explored the potential of the woman singer beyond the stereotypes associated with woman and song.

By outlining the sociocultural background of singers at the time in chapter 2, and the theoretical context of idealized female song in chapter 3,1 first show the strong ideological dimension of the singer as a character of ambivalence.

Themes of inclusion and exclusion run throughout von Bonin’s work.

I then investigate how I iterature responded to this theme, and how key authors developed the character as a reflection on aesthetic ideals pertaining to female musicality, and as a potentially subversive, empowered figure of female song performance. In chapter 41 examine the importance of early singer archetypes created by Goethe and Madame de Stadl, both of whose visions of musically inspired artistic genius paved the way for subsequent literary treatments of the singer and her increasing professionalism and artistic agency.

In Chapter 51 show to what extent marginalized authors like Caroline Fischer wrote explicitly against the clichd of the musical feminine ideal, proposing different views on female agency through art, whereas in chapter 71 demonstrate how women authors of the July Monarchy period, such as Taunay, Sand, Ulliac and Desbordes-Valmore, wrote strong narratives revolving around the life and genius of the prima donna singer.

On the other hand, in chapter 61 show that, although couching their narratives in seemingly more traditional, patriarchal imagery, male authors like Hoffmann, Balzac: and Berlioz implicitly criticized the idealism associated with both music and woman and looked for narrative ways to portray the woman singer as an artist who maintains autonomy and integrity.

My conclusion emphasizes that through their unique treatment of the woman singer, authors contributed to a complex, continuous discourse on woman and music which went beyond the stereotypical nature of cultural and aesthetic paradigms of female song.

Cosima von Bonin in an unusually epic density, starting with her large canvas paintings and spanning from textile sculptures and estranged reconstructions to voluminous installations.

P6rigucux; Musdc du Pdrigord. See also Plato's Protagoras d, p. Irrngard Roebling Pfaffenweiler: Centauras,