Aufständische Undine. Geschichte und zeitliche Modalitäten in Undine (Petzold), Undine geht (Bachmann) und Undine kommt (Stelzmüller)
Abstract
This article reflects on the figure of the 'undine' and its allegorical values, focusing on three different works that manifest 'family resemblances': Ingeborg Bachmann’s Undine geht, Christian Petzold’s Undine, and Petra Stelzmüller’s Undine kommt. These three objects of study are also contrasted according to the artistic languages that make them up (writing, film, urban installation). Taken together, they constitute three different models of the feminine as an insurrectionary subject, both as an individual and as a collective body: a sign of radical rebellion mediated by writing; symbol of a global critique –enhanced by the so-called 'moving images'– of human existence under advanced capitalism; finally, icon of an artistic activism that no longer critically confronts the very institution of art.
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