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Earlier, old writers let young women run into ruin. Today, young writers write about old, faltering men. Is this emancipation now?

Women's figures: the man on the siding

Earlier, old writers let young women run into ruin. Today, young writers write about old, faltering men. Is this emancipation now?

Women's figures: the man on the siding
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  • Page 1 — man on siding
  • Page 2 — literature as compensation or replacement gratification
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    The history of literature is paved with bodies of beautiful young women. The principle to which y fall victim is relatively catchy. It is enough to look at three of most famous female figures derLiteratur to understand it. There would be about Flaubert Madame Bovary (1856). We remember: Emma marries verwitwetenLandarzt Charles Bovary, in order to almost suffocate relatively soon in event and inspirational life in province, which unfortunately is not even refreshed by her husband. That an affair and finally a zweiteihr a little change, who would wonder about it? The Strafefolgt on foot. The end of story is known: debt, despair, finally swallows Emma arsenic.

    Only slightly different is Fontane's Effi Briest (1894), which is Elternals by her seventeen-year-old with boring, much older baron of Innstettenverheiratet, and is henceforth allowed to sour in wasteland. Only bright eye: Major Campras. This pleasure is also not unpunished. Effi dies terminally ill with not even thirty years, broken by husband, by DenEltern only mercifully accepted, when her death is already sealed. On Diekritische self-interrogation of Effi's mor, wher she may as a parent early marriage bear a complicity in fate of her daughter, Far Briest can only shrug his shoulders, his answer has brought it zumgeflügelten word. "Ah Luise, let... This is too far a field."

    The comfort of wicked

    Tolstoy's Anna Karenina is also part of series of DieserFrauengestalten who have to make ir desire and die for it. AnnaKarenina, also married, throws himself in front of a train after her affair has led count Vronsky to unsightly faults.

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    Now let's say: Anna Karenina, Effi Briest and EmmaBovary oppose social conventions of ir time and be of course punished. It is striking, however, that this punishment in literature of this time seems to be Geschehenkann only by death of figures. More remarkable, however, is something else: DieseRomane were all written by men. Theodor Fontane was almost 75 years old when Effi Briest first appeared alsFortsetzungsroman in German Rundschau. Anna Karenina (1877-78) was born when Tolstoy was in his mid-40s. And even though Flaubert's advent of Madame Bovary was only in thirties, so re were well-behaved men, Dieaugenscheinlich had a great fascination for young women, who did not sittlichund according to Norm, and who was equally irritated, These women aufsVerhängnisvollste to fail. Educational intent? RealistischesAbbild of society? In parts sure, but also a piece of weitzumindest comfort at wicked.

    Older men watch as younger women enter Verderbenlaufen. If, exceptionally and only for a moment, you leave ästischenKriterien aside and look at gender dynamics behind it, it is quite a disaster. Man amuses himself first and punishes Fraudann. The historical context, at best, provides for relief: After all, prominence of se three literary women's figures Bisheute outlasted. This does not mean that se novels should verdammtwerden in future. They are just in some respects significant.

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