Dora Osborne
Biographic Data
| ID | 3593997 |
|---|---|
| NAME | Dora Osborne |
| GIVEN NAMES | Dora |
| FAMILY NAME | Osborne |
| SIGNATURE | OSBORNE D |
| AFFILIATIONS | University of St Andrews |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Introduction
Undoing the Human in the Films of Maren Ade
Under the pressures of neoliberal society, Maren Ade’s protagonists struggle to form and maintain human relationships, leaving them alienated and alone. Kitsch animal ornaments and potted plants seem to offer compensatory companionship to these lonely individuals, but this article argues that non-human others are used by Ade in more complex ways to decentre the normative idea of the human underpinning the social and economic order. It draws on po…
Too Soon and Too Late
Christian Petzold's Phoenix (2014) is set in the immediate aftermath of World War II but dedicated to Fritz Bauer, the man credited with initiating the Frankfurt Auschwitz trials almost two decades later. In light of other recent films about Bauer, this article argues that Petzold's dedication indicates the director's interest in "archive work" as a fundamental task of "working through" the Nazi past (performed emblematically by Bauer). It consid…
Irgendwie Wird Es Gehen’
This article argues that Vor dem Fest , Saša Stanišić’s second novel, represents a continuation of the author's attempt, begun in his 2006 debut, Wie der Soldat das Grammofon repariert , to write about ‘sad things, positively’. Set in Germany, however, it also engages critically with the particular ethical and cultural‐political challenges that writing about traumatic pasts has posed in this context. Through his protagonists, many of whom are eng…
Encountering the Archive in Katja Petrowskaja’s Vielleicht Esther
In Vielleicht Esther (2014), the literary debut by Ukrainian-born Katja Petrowskaja, the narrator attempts to trace her family history. She realizes that she can no longer rely on the memories of her relatives, but rather, as part of what Marianne Hirsch calls the “generation of postmemory,” is dependent on the material that remains. She encounters various archive spaces and resources, but these fail to provide easy access to her family’s past. T…
Diese heiklen Formen”
This article considers Durs Grünbein's use of porcelain in his 2005 collection, Porzellan. Poem vom Untergang meiner Stadt as a symbol for both Dresden's Baroque splendor and its destruction in the firestorm of February 1945. Moving between beautiful, intact artifacts and their shattered remains, Grünbein scrutinizes and critiques the postwar memorialization of his hometown. But there is, the poet admits, “secret eroticism” in his collection of D…
Mal d'archive
In Archive Fever, Derrida opens a critical perspective on the status of the trace as that which remains with his reading of Gradiva, the Pompeian fantasy woman who is supposed to have left her singular toe-print in the ash of Vesuvius. This article returns to the figure of Gradiva as emblem for the non-coincidence of origin and trace, in order to outline the (increasingly troubling) archival aspects of Gunter Demnig's Stolperstein-project, a larg…
Black Flakes
By setting his narratives in remote or fictional times and places, the contemporary Austrian author Christoph Ransmayr seems to distance himself from recent local history.As Wolfgang Müller-Funk notes
Blind Spots
Encountering the Archive in Katja Petrowskaja’s Vielleicht Esther
In Vielleicht Esther (2014), the literary debut by Ukrainian-born Katja Petrowskaja, the narrator attempts to trace her family history. She realizes that she can no longer rely on the memories of her relatives, but rather, as part of what Marianne Hirsch calls the “generation of postmemory,” is dependent on the material that remains. She encounters various archive spaces and resources, but these fail to provide easy access to her family’s past. T…
Blind Spots
Black Flakes
By setting his narratives in remote or fictional times and places, the contemporary Austrian author Christoph Ransmayr seems to distance himself from recent local history.As Wolfgang Müller-Funk notes
Diese heiklen Formen”
This article considers Durs Grünbein's use of porcelain in his 2005 collection, Porzellan. Poem vom Untergang meiner Stadt as a symbol for both Dresden's Baroque splendor and its destruction in the firestorm of February 1945. Moving between beautiful, intact artifacts and their shattered remains, Grünbein scrutinizes and critiques the postwar memorialization of his hometown. But there is, the poet admits, “secret eroticism” in his collection of D…
Mal d'archive
In Archive Fever, Derrida opens a critical perspective on the status of the trace as that which remains with his reading of Gradiva, the Pompeian fantasy woman who is supposed to have left her singular toe-print in the ash of Vesuvius. This article returns to the figure of Gradiva as emblem for the non-coincidence of origin and trace, in order to outline the (increasingly troubling) archival aspects of Gunter Demnig's Stolperstein-project, a larg…
Encountering the Archive in Katja Petrowskaja’s Vielleicht Esther
In Vielleicht Esther (2014), the literary debut by Ukrainian-born Katja Petrowskaja, the narrator attempts to trace her family history. She realizes that she can no longer rely on the memories of her relatives, but rather, as part of what Marianne Hirsch calls the “generation of postmemory,” is dependent on the material that remains. She encounters various archive spaces and resources, but these fail to provide easy access to her family’s past. T…
Irgendwie Wird Es Gehen’
This article argues that Vor dem Fest , Saša Stanišić’s second novel, represents a continuation of the author's attempt, begun in his 2006 debut, Wie der Soldat das Grammofon repariert , to write about ‘sad things, positively’. Set in Germany, however, it also engages critically with the particular ethical and cultural‐political challenges that writing about traumatic pasts has posed in this context. Through his protagonists, many of whom are eng…
Too Soon and Too Late
Christian Petzold's Phoenix (2014) is set in the immediate aftermath of World War II but dedicated to Fritz Bauer, the man credited with initiating the Frankfurt Auschwitz trials almost two decades later. In light of other recent films about Bauer, this article argues that Petzold's dedication indicates the director's interest in "archive work" as a fundamental task of "working through" the Nazi past (performed emblematically by Bauer). It consid…
Undoing the Human in the Films of Maren Ade
Under the pressures of neoliberal society, Maren Ade’s protagonists struggle to form and maintain human relationships, leaving them alienated and alone. Kitsch animal ornaments and potted plants seem to offer compensatory companionship to these lonely individuals, but this article argues that non-human others are used by Ade in more complex ways to decentre the normative idea of the human underpinning the social and economic order. It draws on po…
Introduction
Art (8 works) · Philosophy (7 works) · Philosophy (7 works) · Literature and Cultural Memory (6 works) · Literature (5 works) · German History and Society (4 works) · History (4 works) · History (4 works) · Art history (3 works) · German Colonialism and Identity Studies (3 works)