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dc.contributor.advisorHass, Andrew-
dc.contributor.advisorJasper, Alison-
dc.contributor.authorNeumann, Katja L E-
dc.description.abstractThis study investigates the artistic expressions of women’s subjectivity in the prayer-poetry of Dorothee Sölle (1929-2003). My aim is to develop a critical introduction of Sölle’s poetry, in light of her theology and in conversation with literary theory, contextualising the reception of her work and the role of reception in subjectivity as these converge in her prayerful hermeneutic. In what I come to call “liturgical reception”, I provide a perspective on Sölle’s work on the basis of translations for an English speaking context. I draw on contemporary thought, ranging from feminism and liberation theology to hermeneutics, literary theory and philosophy, to shape the contour and scope of Sölle’s work. Addressing feminist debates that consider the role of gendered subjectivity in relation to pervasive hetero-normative structures, I facilitate Mary Gerhart’s notion of the “genric” and Luce Irigaray’s work on the “sexuate” to clarify the issues arising in Sölle’s poetry in the context of language and literature, as well as classic formulations of God and the Church. Thinking through gendered subjectivity allows liberation to emerge as a poetic process that opens up personal prayer for the wider community. In light of Sölle’s early comments on “Deprivatised Prayer” [1971], I argue for a theopoetic conception of prayer which takes the Death of God not as an end point, but as a starting point for a consciously critical negotiation of gendered faith identity in community. The conditions of the Death of God, to Sölle a sign for the loss of immediacy in the sense of naïveté (Ricoeur) – and therefore a loss of unproblematic intimacy – require prayer to take into account its gendered situation, since prayer is never not embodied. Sölle’s portrayals of woman-lover, mother and artist both rely upon and differentiate the relationship between emancipation and solidarity that I see addressed by liberation hermeneutics as the work of co-creation. Thus emerges a theopoetic vision that does not dissolve gender difference in favour of a “general” salvation, but offers a critique of the process of liberation itself tied into our gendered engagements with a theological reception of women at prayer.en_GB
dc.publisherUniversity of Stirlingen_GB
dc.rightsImage 2: Pietà (1981) by Mary Frank Ceramic, 36 3/4 x 28 1/2 x 17’’ Collection the Artist Photographed by Ralph Gabriner © Abrams, New York 1990. Image 3: Barbara Hepworth’s Garden, St. Ives depicting "Two Forms (Divided Circle)" (1969) and "River Form" (1965) on display at Barbara Hepworth Museum and Sculpture Garden, Tate. Photographed by Alison Jasper, 2012. © Bowness, Hepworth Estate. Translations of primary poetry © Wolfgang Fietkau Verlag, Berlin-Kleinmachnow. Translated from “Jemandem sein glück glauben” [FL 25], “>>Denn alle kreatur braucht hilf von allen<<” [FL 69], “Penelope oder über die ehe” [FL 73], “Wünsche im garten der barbara hepworth” [FL 78], “Grünes gedicht” [BR 52], “Ich spiele gerade gitarre sagst du zu mir” [BR 81], “Pietà oder die schekinah gottes” [VL 47], “Die glaswassertheorie” [ZU 145], “Offene hände” [LL 36], “Levadia” [LL 87].en_GB
dc.subjectDorothee Soelleen_GB
dc.subjectWomen's Subjectivityen_GB
dc.subjectLiberation theologyen_GB
dc.subject.lcshSolle, Dorotheeen_GB
dc.subject.lcshPrayer Poetryen_GB
dc.subject.lcshLiberation theologyen_GB
dc.subject.lcshWomen's historyen_GB
dc.titleGendering Liberation: "Deprivatising" Women's Subjectivity in the Prayer-Poetry of Dorothee Soelleen_GB
dc.typeThesis or Dissertationen_GB
dc.type.qualificationnameDoctor of Philosophyen_GB
dc.rights.embargoreasonI require a permanent embargo of the online version of my thesis. Online access to my thesis would interfere significantly with the commercial interest of the copyright holders of the primary source of my study. As I undertook translations not otherwise available to the general public, online access would also damage the integrity of German copyright insofar as my translations remain at this stage unauthorised. After a prospective publication of the translations in print form, the thesis nevertheless remains bound to the restriction in order to comply with the copyright holders' agreement for using the poetry in the context of this study.en_GB
dc.contributor.funderArts and Humanities Research Council (AHRC); Deutscher Akademischer Austausch Diensten_GB
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