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Wegen weit verbreiteter Unfruchtbarkeit werden die Frauen in Gilead in drei Klassen eingeteilt: Ehefrauen von Führungskräften, Dienerinnen und Mägde, die Führungskräften zur Fortpflanzung zugewiesen werden. Ofred, eine dieser zu Gebärmaschinen entwürdigten Frauen, erzählt ihre Geschichte.Abiturthemen: Utopia and Dystopia; Science and Technology und Literary Visions of the FutureNutzen Sie für diese Lektüre unsere passende Handreichung für den Unterricht. Filtern Sie dazu nach der Produktart „Handreichung“. Ebenfalls erhältlich: Interpretationshilfen zum Titel.

The life of Empress Frederick, Daughter of Queen Victoria, Wife of Crown Prince of Prussia, Mother of Kaiser Wilhelm.AN UNCOMMON WOMAN is an enthralling biography of Princess Vicky - the Empress Frederick of Germany, the eldest daughter of Queen Victoria, the wife of Prussia's Crown Prince, and the mother of Kaiser Wilhelm II. It is also an epic story of wars and revolutions, the rise and fall of royal families, and the creation of modern Germany.Drawing on a vast amount of original family documents, Pakula offers an absorbing portrait of a brilliant and determined woman.

At a time when women were expected to stick to their household duties, according to Peter Matheson, Argula von Grumbach burst through every barrier. Matheson offers here a biography of the Reformation's first woman writer. Argula von Grumbach's first pamphlet in 1523 was reprinted all over Germany. Thousands of copies of her eight pamphlets appeared. Through her writing, von Grumbach defied her Bavarian princes (and her husband), denounced censorship, argued for an educated church and society, and developed her own understanding of faith and Scripture. She even intervened in the Imperial Diets at Nuremberg and Augsburg.Drawing for the first time on her correspondence, the author shows how von Grumbach paid dearly for her outspokenness but remained undaunted. Though some saw her as a she-devil and others as a harbinger of a new age, Matheson shows von Grumbach as a woman engaged in the life of the villages where she lived, as one motivated by the dreams she had for her children.In a time of sweeping change and risking everything for the light and truth she was given, Argula von Grumbach showed what the vision and determination of one person could achieve.

Renate Wind has composed a well-researched and searching biography of Dorothee Soelle (19292003), who became a true religious provocateur and one of the most prolific and widely read theologians of the postwar period.Born in Germany and educated at the University of Cologne, Soelle turned from literary studies to theology, concentrating on rethinking Christian convictions in light of World War II and the Holocaust. A poet and activist as well as theologian, after her arrival at Union Theological Seminary in 1974, where she assumed the post previously held by Paul Tillich, Soelle became a leading voice for the liberation of women and against militarism, especially the Vietnam War. Her person, work, travels, and the times themselves combined to make her a pioneer and leader in the most exciting developments of the period: political theology, feminist theology, and liberation theology. Among her influential works were Christ the Representative (1967), Suffering (1975), To Work and to Love (1984), Theology for Skeptics (1994), and The Silent Cry (2001).Winds short and insightful biography is informed by extensive interviews with Soelles friends and family, especially her husband, Fulbert Steffensky, by use of the familys archives, and by Winds extensive knowledge of contemporary theology, political history, and the contemporary church.

Essays and speeches from 1889-1933, long unavailable in the U.S., on women's equality, labor, peace, socialism. Ed. by Philip S. Foner; Foreword by Angela Y. Davis. Index. Notes. Illustrations.

Striking the right balance between personal insight and political analysis, this biography traces Rosa Luxemburg's development from a humble Polish girl with a keen interest in herding geese to the most important leader of the German Communist Party.

Kaum ein Buch wurde jemals mit besserer Absicht veröffentlicht als "Kleine Frauen." Gerade weil es nicht "predigt", hat es seinen Weg in die Herzen von Millionen von Lesern gefunden. Ehrliche, kleine Mädchen, die danach streben, gut zu sein und ihre Bürden fröhlich zu tragen, schätzen dieses Buch seit Generationen; es hat ihnen einen besseren Blick für die kleinen Dinge des Lebens gegeben, die so sehr für das wahre Glück zählen; aber die glänzendsten Juwelen in diesem Buch sind die Strahlen der Mutterliebe, die durch es hindurchleuchten. Die Mädchen der Familie March lieben ihre Mutter, machen sie zu ihrer Vertrauten und wenden sich bei jeder Prüfung ihres Lebens an sie; sie ist Gefährtin, Freundin und Lehrerin, und so manches Mädchen und so manche Mutter hat schon ihre Lehren aus den schönen Beispielen gezogen, die diese "Kleinen Frauen" ihnen gegeben haben. Louisa May Alcott hat viele bewegende Geschichten geschrieben, aber "Kleine Frauen" steht an erster Stelle - im Regal und in den Herzen ihrer Bewunderer.

"In her time, Maria Theresa (1717-1780) was the most powerful woman in the world. She ruled the Habsburg Empire from 1740-1780, an era when empires dominated Europe. She was the sovereign of a vast empire, ruling Austria, Hungary, Croatia, Bohemia, Transylvania, Flanders, and other Habsburg territories, and by marriage she was, among other titles, the Holy Roman Empress. Maria Theresa began her reign at the age of 23 after her father, Emperor Charles VI, died. Immediately after his death, her right to inherit the throne was challenged by most of the sovereign rulers of Europe. Despite setbacks such as the loss of Silesia, her richest province, to her life-long enemy Frederick II of Prussia, Maria Theresa proved to be a highly effective ruler. She initiated financial and educational reforms, promoted commerce, and reorganized the army, all of which strengthened Austria's resources. She was a key figure in the power politics of eighteenth-century Europe and she brought unity to the Habsburg Monarchy and was considered one of its most capable leaders. Maria Theresa and her husband Francis I also had sixteen children, most famously Marie Antoinette. Stollberg-Rilinger's biography challenges many of the myths that surround Maria Theresa's reign, such as that she came to the throne completely naèive and unprepared. Stollberg-Rilinger shows that from early childhood on, Maria Theresa carefully observed what went on in court and how her father acted as a monarch dealing with sovereigns across Europe. She clears away the gendered misconceptions surrounding Maria Theresa's life and, through fresh, critical readings of the source material, reveals the historical reality. She also refutes anachronistic narratives that assume a false continuity between Maria Theresa's time and later periods. Unlike previous biographers, Stollberg-Rilinger is able to paint a detailed portrait of Maria Theresa as Empress, "king," and reformer, and as a mother and master manipulator, by reconstructing the world in which the Austrian Empress lived and reigned"--

Marsha Meskimmon furnishes a fresh perspective on the art of women in the Weimar Republic and in the process reclaims the lost history of a number of artists who have not received adequate attention--not only because they were women but also because they continued to align themselves with the modes of realistic representation the Expressionists regarded as reactionary. Reconsidering the traditional definitions of German modernism and its central issues of race politics, eugenics, and the city, Meskimmon explores the structures that marginalized the work of little known artists such as Lotte Laserstein, Jeanne Mammen, Gerta Overbeck and Grete Jurgens. She shows how these women's personal and professional experiences in the 1920s and 1930s relate to the visual imagery produced at that time. She also examines representations of different female roles--prostitute, mother, housewife, the "New Woman" and "garonne"--that attracted the attention of these artists. Situating her exploration on a strong theoretical base, she ranges deftly over mass visual culture--from film to poster art and advertising--to create a vivid portrait of women living and creating in Weimar Germany. Marsha Meskimmon furnishes a fresh perspective on the art of women in the Weimar Republic and in the process reclaims the lost history of a number of artists who have not received adequate attention--not only because they were women but also because they continued to align themselves with the modes of realistic representation the Expressionists regarded as reactionary. Reconsidering the traditional definitions of German modernism and its central issues of race politics, eugenics, and the city, Meskimmon explores the structures that marginalized the work of little known artists such as Lotte Laserstein, Jeanne Mammen, Gerta Overbeck and Grete Jurgens. She shows how these women's personal and professional experiences in the 1920s and 1930s relate to the visual imagery produced at that time. She also examines representations of different female roles--prostitute, mother, housewife, the "New Woman" and "garonne"--that attracted the attention of these artists. Situating her exploration on a strong theoretical base, she ranges deftly over mass visual culture--from film to poster art and advertising--to create a vivid portrait of women living and creating in Weimar Germany.