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Papers by Stephanie Hilger
The National Medical Journal of India, 2018
The use of general descriptive names, registered names, trademarks, service marks, etc. in this p... more The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
Boydell and Brewer eBooks, Dec 31, 2010
4: The Murderess on Stage: Christine Westphalen's Charlotte Corday (1804) Stephanie Hilger J... more 4: The Murderess on Stage: Christine Westphalen's Charlotte Corday (1804) Stephanie Hilger J ULY 13, 1793. CHARLOTTE CORDAY. JEAN-PAUL MARAT. Invoking these two names in conjunction with the date conjures up the most famous representation of the assassinated ...
Eighteenth-Century Fiction, 2017
The Early History of Embodied Cognition 1740-1920, 2016
German Women’s Writing of the Eighteenth and Nineteenth Centuries, 2017
Taking Stock – Twenty-Five Years of Comparative Literary Research, 2019
New Directions in Literature and Medicine Studies, 2017
The first part of the introduction discusses the need for scholarship that reconnects the discipl... more The first part of the introduction discusses the need for scholarship that reconnects the disciplines of literature and medicine, which were not separated until the Early Modern period when the Cartesian mind-body dichotomy was mapped onto and institutionalized by the split between the sciences and the humanities. It briefly surveys the history of the related fields of “literature and medicine” and “medical humanities,” which emerged in the 1970s, and discusses their impact on present-day interdisciplinary scholarship. The second part of the introduction describes the four parts of the handbook: history and pedagogy, the mind-body connection, physical and cultural alterity, and the professionalization of medicine. The chapters in each of these thematic clusters focus on one particular way of reconnecting the disciplines of literature and medicine and, by extension, the humanities and the sciences.
290 p.Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2003.This study discusses four ... more 290 p.Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2003.This study discusses four British, French, and German women authors from the late eighteenth and the early nineteenth centuries who wrote novels and plays that responded quite explicitly to texts written earlier in the eighteenth century by major male writers. The choice of texts by Karoline von Gunderrode (Mahomed), Ellis Cornelia Knight (Dinarbas), Julie de Krudener (Valerie), and Helen Maria Williams (Julia) was triggered by the fact that, despite what appeared to be an interesting pattern of literary response, little critical interest had been devoted to these writings. I argue that the reason for this neglect lies in the fact that, at first sight, these women's texts appear more conservative than those of their more explicitly revolutionary female contemporaries. Another cause for this disinterest can be ascribed to a lingering reluctance to reshape the canon of eighteenth- and nineteenth-century literature in all three national literary traditions. The latter reason seems to be especially pertinent for understanding the exclusion of texts by women authors who dared retell Voltaire's Mahomet and Goethe's translation thereof, Johnson's Rasselas, Goethe's Werther, and Rousseau's Julie. This study uses close textual analysis and critical theory, especially psychoanalysis, feminism, and postcolonialism, to argue that, rather than being regressive, the perceived conservatism of these women writers was a strategic move that allowed them to introduce subversive ideas beneath the protective veil of relatively safe and non-controversial views. While the project of rewriting takes on different forms, sometimes it appears as an explicit contradiction of and sometimes as a careful modeling on their male predecessors' texts, the common ground for these four women was their careful negotiation of the opportunity to speak in a public forum and the risk that this publicity posed for a woman author during that time.U of I OnlyRestricted to the U of I community idenfinitely during batch ingest of legacy ETD
Bodies in Transition in the Health Humanities, 2019
Choice Reviews Online, 2015
volume serves as an important illustration of the collection’s aim, which is to dismantle the nar... more volume serves as an important illustration of the collection’s aim, which is to dismantle the narratives and generalities that have limited studies of women writers during this period. Ultimately, I found myself wondering how this approach changes our understanding of the effectiveness and integrity of “women” as a category for literary study. Once women are decoupled from the domestic and private concerns that have shaped women’s literary history, how should this category function? After women writers are integrated into our studies of a fuller range of genre and media, how do we make a case for the category’s necessity? Felicity Nussbaum suggests one answer: “‘Woman’ remains a powerful and viable category of analysis, not least because its meaning is never fixed but continues to shift throughout history, and so it depends for its definition on intersections with other social and economic categories” (120). The full significance of literary scholars’ shift away from women as novelists and towards women as playwrights, theatre managers, ballad collectors, booksellers, travel writers, and historians remains to be fully articulated, but Ingrassia’s collection offers the means to begin conceptualizing this shift and its impact on the way scholars write and teach the history of literature and print.
This article examines the autobiography of Regula Engel (1761–1853), commonly known as the “S... more This article examines the autobiography of Regula Engel (1761–1853), commonly known as the “Swiss Amazon.†Engel accompanied her husband, a member of a Swiss regiment serving the French, to battlefields in various countries. She cross-dressed as a male soldier and bore twenty-one children. Her husband’s death in 1815 left Engel without any financial means. In 1821, she published her life
Die Unterrichtspraxis / Teaching German, 1999
Seminar: A Journal of Germanic Studies, 2001
When the narrator of Leben der schwedischen Gräfin von G***,1 the countess herself, starts the na... more When the narrator of Leben der schwedischen Gräfin von G***,1 the countess herself, starts the narrative of her "life" explaining that "ich [vielleicht] bei der Erzählung meines Geschlechts ebenso beredt oder geschwätzig als andre sein [würde], wenn ich anders viel zu sagen wüßte" ...
The National Medical Journal of India, 2018
The use of general descriptive names, registered names, trademarks, service marks, etc. in this p... more The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
Boydell and Brewer eBooks, Dec 31, 2010
4: The Murderess on Stage: Christine Westphalen's Charlotte Corday (1804) Stephanie Hilger J... more 4: The Murderess on Stage: Christine Westphalen's Charlotte Corday (1804) Stephanie Hilger J ULY 13, 1793. CHARLOTTE CORDAY. JEAN-PAUL MARAT. Invoking these two names in conjunction with the date conjures up the most famous representation of the assassinated ...
Eighteenth-Century Fiction, 2017
The Early History of Embodied Cognition 1740-1920, 2016
German Women’s Writing of the Eighteenth and Nineteenth Centuries, 2017
Taking Stock – Twenty-Five Years of Comparative Literary Research, 2019
New Directions in Literature and Medicine Studies, 2017
The first part of the introduction discusses the need for scholarship that reconnects the discipl... more The first part of the introduction discusses the need for scholarship that reconnects the disciplines of literature and medicine, which were not separated until the Early Modern period when the Cartesian mind-body dichotomy was mapped onto and institutionalized by the split between the sciences and the humanities. It briefly surveys the history of the related fields of “literature and medicine” and “medical humanities,” which emerged in the 1970s, and discusses their impact on present-day interdisciplinary scholarship. The second part of the introduction describes the four parts of the handbook: history and pedagogy, the mind-body connection, physical and cultural alterity, and the professionalization of medicine. The chapters in each of these thematic clusters focus on one particular way of reconnecting the disciplines of literature and medicine and, by extension, the humanities and the sciences.
290 p.Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2003.This study discusses four ... more 290 p.Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2003.This study discusses four British, French, and German women authors from the late eighteenth and the early nineteenth centuries who wrote novels and plays that responded quite explicitly to texts written earlier in the eighteenth century by major male writers. The choice of texts by Karoline von Gunderrode (Mahomed), Ellis Cornelia Knight (Dinarbas), Julie de Krudener (Valerie), and Helen Maria Williams (Julia) was triggered by the fact that, despite what appeared to be an interesting pattern of literary response, little critical interest had been devoted to these writings. I argue that the reason for this neglect lies in the fact that, at first sight, these women's texts appear more conservative than those of their more explicitly revolutionary female contemporaries. Another cause for this disinterest can be ascribed to a lingering reluctance to reshape the canon of eighteenth- and nineteenth-century literature in all three national literary traditions. The latter reason seems to be especially pertinent for understanding the exclusion of texts by women authors who dared retell Voltaire's Mahomet and Goethe's translation thereof, Johnson's Rasselas, Goethe's Werther, and Rousseau's Julie. This study uses close textual analysis and critical theory, especially psychoanalysis, feminism, and postcolonialism, to argue that, rather than being regressive, the perceived conservatism of these women writers was a strategic move that allowed them to introduce subversive ideas beneath the protective veil of relatively safe and non-controversial views. While the project of rewriting takes on different forms, sometimes it appears as an explicit contradiction of and sometimes as a careful modeling on their male predecessors' texts, the common ground for these four women was their careful negotiation of the opportunity to speak in a public forum and the risk that this publicity posed for a woman author during that time.U of I OnlyRestricted to the U of I community idenfinitely during batch ingest of legacy ETD
Bodies in Transition in the Health Humanities, 2019
Choice Reviews Online, 2015
volume serves as an important illustration of the collection’s aim, which is to dismantle the nar... more volume serves as an important illustration of the collection’s aim, which is to dismantle the narratives and generalities that have limited studies of women writers during this period. Ultimately, I found myself wondering how this approach changes our understanding of the effectiveness and integrity of “women” as a category for literary study. Once women are decoupled from the domestic and private concerns that have shaped women’s literary history, how should this category function? After women writers are integrated into our studies of a fuller range of genre and media, how do we make a case for the category’s necessity? Felicity Nussbaum suggests one answer: “‘Woman’ remains a powerful and viable category of analysis, not least because its meaning is never fixed but continues to shift throughout history, and so it depends for its definition on intersections with other social and economic categories” (120). The full significance of literary scholars’ shift away from women as novelists and towards women as playwrights, theatre managers, ballad collectors, booksellers, travel writers, and historians remains to be fully articulated, but Ingrassia’s collection offers the means to begin conceptualizing this shift and its impact on the way scholars write and teach the history of literature and print.
This article examines the autobiography of Regula Engel (1761–1853), commonly known as the “S... more This article examines the autobiography of Regula Engel (1761–1853), commonly known as the “Swiss Amazon.†Engel accompanied her husband, a member of a Swiss regiment serving the French, to battlefields in various countries. She cross-dressed as a male soldier and bore twenty-one children. Her husband’s death in 1815 left Engel without any financial means. In 1821, she published her life
Die Unterrichtspraxis / Teaching German, 1999
Seminar: A Journal of Germanic Studies, 2001
When the narrator of Leben der schwedischen Gräfin von G***,1 the countess herself, starts the na... more When the narrator of Leben der schwedischen Gräfin von G***,1 the countess herself, starts the narrative of her "life" explaining that "ich [vielleicht] bei der Erzählung meines Geschlechts ebenso beredt oder geschwätzig als andre sein [würde], wenn ich anders viel zu sagen wüßte" ...