Georgina Paul
Biographic Data
| ID | 3634938 |
|---|---|
| NAME | Georgina Paul |
| GIVEN NAMES | Georgina |
| FAMILY NAME | Paul |
| SIGNATURE | PAUL G |
| AFFILIATIONS | St Hilda's College, University of Oxford, Oxford OX4 1DY, UK |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1997 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 1 |
"Writing as a "Sie
The German poet Barbara Köhler's 2007 poem-cycle Niemands Frau [Nobody's Wife] is more than a feminist response to Homer's Odyssey. In shifting the focus from the escapades of the hero Odysseus to the web of women characters that populates Homer's epic poem – Nausicaa, Circe, the Sirens, Helen, Ino Leucothea, the shades of the dead women whom Odysseus meets in Hades, and “Nobody’s wife” Penelope – Köhler also undertakes a grammatical shift: from …
The Terrorist in the Theatre
This essay considers the 2006 Thalia Theater production of Elfriede Jelinek's Ulrike Maria Stuart, directed by Nicolas Stemann, as a realisation of Jelinek's ‘theatre of subversion’, taken in Elizabeth Boa's terms as a head-on attack on the ‘authoritarian practices and institutions in bourgeois society’ which ‘calls into question the ideals and beliefs of the liberal middle class’ (Boa, writing on Wedekind, in The Sexual Circus). Following a disc…
Ismene at the Crossroads
This essay departs from Harold Bloom's male‐oriented theorisation of poetic influence as the ‘battle between strong equals, [...] Laius and Oedipus at the crossroads’ ( The Anxiety of Influence , 1973) to proceed both to a generalised consideration of the position of the woman poet vis‐à‐vis the male‐authored poetic tradition and, further, to more specific observations of relations of poetic influence in evidence in the work of contemporary women…
Multiple Refractions, or Winning Movement out of Myth
Barbara Köhler's poem cycle ‘Elektra. Spiegelungen’ (written 1984–5, first published 1991) is the response of the female poet to Heiner Müller's Die Hamletmaschine (1977). The paper examines the relation between Müller's Ophelia/Elektra, who swears revenge while being bound into a wheelchair in the course of the final scene, and Köhler's multiple figure (‘die gestalt nähert sich wird körper verdoppelt verviel‐/facht eins in allen bildern neigt si…
The Martyr and the Sovereign
The Martyr and the Sovereign:Scenes from a Contemporary Tragic Drama, Read through Walter Benjamin and Carl Schmitt Sigrid Weigel (bio) Translated by Georgina Paul (bio) In the site of a theater auditorium chosen by chechen terrorists as the location for their hostage-taking in Moscow, the significance of spectacular dramatization for the current politics of suicide attacks was symbolically condensed: the politics of violence as bloody theater. U…
The Symptomatology of a Universalized Concept of Trauma
Sigrid Weigel, Georgina Paul, The Symptomatology of a Universalized Concept of Trauma: On the Failing of Freud's Reading of Tasso in the Trauma of History, New German Critique, No. 90, Taboo, Trauma, Holocaust (Autumn, 2003), pp. 85-94
Entgegenkommen. Dialogues with Barbara Kohler
Schwierigkeiten mit der Dialektik
Schwierigkeiten mit der Dialektik
Multiple Refractions, or Winning Movement out of Myth
Barbara Köhler's poem cycle ‘Elektra. Spiegelungen’ (written 1984–5, first published 1991) is the response of the female poet to Heiner Müller's Die Hamletmaschine (1977). The paper examines the relation between Müller's Ophelia/Elektra, who swears revenge while being bound into a wheelchair in the course of the final scene, and Köhler's multiple figure (‘die gestalt nähert sich wird körper verdoppelt verviel‐/facht eins in allen bildern neigt si…
The Martyr and the Sovereign
The Martyr and the Sovereign:Scenes from a Contemporary Tragic Drama, Read through Walter Benjamin and Carl Schmitt Sigrid Weigel (bio) Translated by Georgina Paul (bio) In the site of a theater auditorium chosen by chechen terrorists as the location for their hostage-taking in Moscow, the significance of spectacular dramatization for the current politics of suicide attacks was symbolically condensed: the politics of violence as bloody theater. U…
Schwierigkeiten mit der Dialektik
Entgegenkommen. Dialogues with Barbara Kohler
The Symptomatology of a Universalized Concept of Trauma
Sigrid Weigel, Georgina Paul, The Symptomatology of a Universalized Concept of Trauma: On the Failing of Freud's Reading of Tasso in the Trauma of History, New German Critique, No. 90, Taboo, Trauma, Holocaust (Autumn, 2003), pp. 85-94
Multiple Refractions, or Winning Movement out of Myth
Barbara Köhler's poem cycle ‘Elektra. Spiegelungen’ (written 1984–5, first published 1991) is the response of the female poet to Heiner Müller's Die Hamletmaschine (1977). The paper examines the relation between Müller's Ophelia/Elektra, who swears revenge while being bound into a wheelchair in the course of the final scene, and Köhler's multiple figure (‘die gestalt nähert sich wird körper verdoppelt verviel‐/facht eins in allen bildern neigt si…
The Martyr and the Sovereign
The Martyr and the Sovereign:Scenes from a Contemporary Tragic Drama, Read through Walter Benjamin and Carl Schmitt Sigrid Weigel (bio) Translated by Georgina Paul (bio) In the site of a theater auditorium chosen by chechen terrorists as the location for their hostage-taking in Moscow, the significance of spectacular dramatization for the current politics of suicide attacks was symbolically condensed: the politics of violence as bloody theater. U…
Ismene at the Crossroads
This essay departs from Harold Bloom's male‐oriented theorisation of poetic influence as the ‘battle between strong equals, [...] Laius and Oedipus at the crossroads’ ( The Anxiety of Influence , 1973) to proceed both to a generalised consideration of the position of the woman poet vis‐à‐vis the male‐authored poetic tradition and, further, to more specific observations of relations of poetic influence in evidence in the work of contemporary women…
The Terrorist in the Theatre
This essay considers the 2006 Thalia Theater production of Elfriede Jelinek's Ulrike Maria Stuart, directed by Nicolas Stemann, as a realisation of Jelinek's ‘theatre of subversion’, taken in Elizabeth Boa's terms as a head-on attack on the ‘authoritarian practices and institutions in bourgeois society’ which ‘calls into question the ideals and beliefs of the liberal middle class’ (Boa, writing on Wedekind, in The Sexual Circus). Following a disc…
"Writing as a "Sie
The German poet Barbara Köhler's 2007 poem-cycle Niemands Frau [Nobody's Wife] is more than a feminist response to Homer's Odyssey. In shifting the focus from the escapades of the hero Odysseus to the web of women characters that populates Homer's epic poem – Nausicaa, Circe, the Sirens, Helen, Ino Leucothea, the shades of the dead women whom Odysseus meets in Hades, and “Nobody’s wife” Penelope – Köhler also undertakes a grammatical shift: from …
Art (8 works) · Literature (6 works) · Art history (5 works) · German Literature and Culture Studies (5 works) · Philosophy (5 works) · Linguistics (4 works) · Philosophy (4 works) · Literature and Cultural Memory (3 works) · Poetry (3 works) · Drama (2 works)