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Zneužita ženská síla. Poznámky k textům Laury Marholmové a Ellen Keyové v časopise Die Zeit a některým souvislostem s českým prostředím

100%

Heczková L.

Střed. Časopis pro mezioborová studia Střední Evropy 19. a 20. století. / Centre. Journal for Interdisciplinary Studies of Central Europe in the 19th and 20th Centuries.

2010

vol. 2

issue 1

74 – 85

The text with a rather ambivalent title “The misuse of Female Power” deals with two Norse modernists, Laura Marholm and Ellen Key, who published in the weekly Die Zeit since 1895. Their concepts of a woman, emphasizing the woman’s erotic character, were in opposition to the legal, educational and social feminism. Laura Marholm met Hermann Bahr, the editor in Die Zeit, in the second half of the 1880’s in Berlin and even thought their attitudes were transforming during the 1890’s, Bahr’s standpoint in terms of the women’s issue was a product of the Laura Marholm’s doctrine, whom he viewed as the authentic voice of psychology of a woman. The opinion on a woman held by Ellen Key did not differ much from that of Laura Marholm, however the fundamental difference between them was the concept of the basic instinct of a woman determining her behaviour and conduct as well as her opportunities to establish herself in public sphere and employment. Marholm advocated erotic determinism of a woman’s dependence on a man, while Key emphasized motherhood as the basic instinct. Key fascinated modernists in Austria, Germany as well in Bohemia by her redemptive individualistic philosophy based on evolutionism and positivism and by her emotional style and utterance. (Šalda’s concept of “female psychical mother tongue” is based on Key’s work in many aspects). As far as the weekly Die Zeit is concerned, Key published both articles on women’s issue as well as other pedagogical and philosophical texts. The present article also partially follows the conflict of emancipatory feminism with the modernist differential concept of a woman, using the example of a scandal caused by a brochure Die Frauen und das Studium der Medicin by Eduard Albert, a Czech physician in Vienna, in which Albert used both contemporary anthropological theories (C. Lombroso) and Laura Marholm’s arguments against women in medicine.

Symboliczne wcielenia Oskara Kokoschki - Tristan

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Długosz M.

Roczniki Humanistyczne

2013

vol. 61

issue 4: Historia Sztuki

159-203

From the very beginning of his artistic career Oskar Kokoschka systematically used historical, literary and mythological persons, whose figures, being recognizable in culture, facilitated the expression of his own psychological states and life experiences. The young painter, familiar with the classic works of literature, was also fascinated by music. One of his most vivid musical memories mentioned in an interview after more than half a century, was connected with his visits at the Vienna opera horse where he hare heard concerts directed by Gustav Mahler. A an especially enduring memory was that of the performance of R. Wagner’s drama Tristan und Isolde. From that time on the story of the mythical couple of lovers dominated the artist’s imagination, and after his meeting with Gustav's widow, Alma Mahler, he was able to assume a personified figure involving all the three people. As a result Kokoschka and Alma's love affair was supposed to develop according to the historical and mythical scenario of the medieval, and originally Celtic, saga. The artist first played the role of a life-guardsman seeking the favor of the patron of the Vienna cultural elite, and also seeking the hand of the inaccessible „queen” left by the dead director, „the old king”. Having won her acceptance the painter was able to be in her good graces for some time as her lover. However, a tragic turnabout, and at the same time the end of the relation, was inevitably inscribed in the process, in which the „young pretender” Kokoschka, having entered the role of the king, next had to give way to the next candidate. Stages of this symbolic process can be seen in Kokoschka’s letters as well as in his literary and visual works from the period of his relationship with Alma Mahler in the years 1912-1915, when one compares the facts from the protagonists’ lives with, among others, the medieval versions of the Tristan legend and its version composed by Wagner.

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1 Roczniki Humanistyczne

1 Střed. Časopis pro mezioborová studia Střední Evropy 19. a 20. století. / Centre. Journal for Interdisciplinary Studies of Central Europe in the 19th and 20th Centuries.

1 2013

1 2010

1 Długosz M.

1 Heczková L.

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Zneužita ženská síla. Poznámky k textům Laury Marholmové a Ellen Keyové v časopise Die Zeit a některým souvislostem s českým prostředím

Symboliczne wcielenia Oskara Kokoschki - Tristan