ARRRRRRRRGH ESSAY! PANIC!
Crap and arse sticks. This bloody essay is SO ANNOYING! ....what else should I write?? And yes, I know I've gone off on a femenist tangent :P
WHILST THE LOST HONOUR OF KATHARINA BLUM OFFERS A BLEAK REPRESENTATION OF THE LIVES AND EXPIERIENCES OF WOMEN IN PATRIARCHAL STRUCTURES WHICH WERE CONTROLLING GERMAN SOCIETY IN THE 1970S, IT CAN ALSO BE SEEN AS A TEXT WHICH TRANSCENDS THIS PERIOD.
DISCUSS THE NOVEL IN LIGHT OF THIS STATEMENT
Author Heinrich Boll in The Lost Honour Of Katharina Blum reveals to the reader a hegemonic, phallocentric society in which women possess no power, either in the workplace or in terms of their sexuality. Whilst the novel is set in 1970’s Germany, none of these ideas are new; these patriarchal rules for society have been held through out history whilst many of these gender issues still exist in contemporary society - from discrimination in the workplace, to sexual persecution and harassment issues. Different social attitudes towards women, particularly their objectification as sex objects are prevalent throughout the book, and many of the male characters who personify these attitudes have values which can be seen throughout history, and to some extent, in the present.
The Lost Honour of Katharina Blum is described by Boll as being “a political pamphlet disguised as a narrative”. It is a dissection of the patriarchal society of 1970’s Germany in which women are left powerless, sexually objectified or stereotyped to fulfill the needs of their male superiors. The female protagonist Katharina is persecuted by the media and the hegemony for rebelling against these powers through her sexual freedom and general independence. As a result of this defiance to conform, her character is reconstructed, and destroyed by the press. Ultimately, Katharina is driven to murder the reporter Totges. Whilst the story in itself does not focus directly on the issue of the woman’s place in society, it does raise some important issues.
The power in the novel lies in the male dominated hegemony - the people in spheres of power are all men; Totges within the press, Beizmanne in the police, Hach in the law, and most importantly Straubleder and Lüding with overall control in all areas. Boll focuses on how these tiers of power dominate and oppress the citizens of the country, and how this patriarchal ideology encourages the view of women as being sexual prey; in particular how women, their class and sexuality relates to their honour, and treatment from men. This ideology is timeless, transcending both from the past, to the contemporary. In today’s society from the male dominated bench of High Court Justices in Australia, to the limited number of woman prime ministers or presidents throughout the western world there are few women in positions of political power. The novel comments that men feel the need to represent, define, or control their female counterparts. In Sylvia Plath’s semi-autobiographical novel The Bell Jar set in 1950’s America, heroine Esther falls in love with Buddy, and because of this relationship she is viewed in a new way, thus showing that a woman is defined, and represented through her male counterpart.
As a result of this male domination of society, sentiments of male supremacy are formed - a woman is viewed in either one of two ways. As the novel is set in Germany just after the reign of Hitler and the power of the Third Reich, although these institutions have been removed the ideology they advertised was still held relevant. The Nazi philosophy of “Kinder, Kuche, Kirche” (Church, Kitchen, Children) was still valued; women should be sexually modest, hardworking, house orientated, and dependant on men. This ideology existed before Nazism - even in Euripides’ play Medea, the Greek ideology of the oikos (the home domain), and the polis (society) was the main philosophy behind male and female interaction within society and the interaction of gender roles. Women were limited to being domestics within the household, and any attempts to breakaway from these generic roles resulted in opposition from men. This view can be seen through Brettloh, and how he codifies marriage to fit these stereotyped gender roles; Katharina’s desire for independence (both financial and sexual) and rejection of her ex-husband’s advances is characterized as “willful desertion” - this prompts him to remark “Our modest happiness was not enough for her. She was ambitious…now when I learn that she prefers the caress of a murderer and a thief to my straightforward affection, that part is explained too.”. By contrast, Maude Straubleder’s cold co-dependency; “you can put your sympathy back in the fridge with the rest of your feelings”- goes to the other extreme (is there a less colloquial way of saying this?) , and elaborates further on the definition of the woman’s role, and perception of her morality by her place in society. The depiction of the social elite as being less emotionally open than the working class enhances the idea of frigidity in high class women and their closed sexuality in comparison to the lower classes. Maude tolerates her husband’s philandering ways whilst conserving her own emotions, let alone her sexuality in order to conform to society’s ideals. The direct contrast in social interaction shows the hypocrisy of these ideals, which have been created to suit the needs of men.
The other stereotype was of the “loose woman” - the sexually promiscuous lower class women characterized by Boll through Claudia and Hertha. Defined by their occupation as “factory workers”, their open flirtation with other gentlemen at Café Polkt whilst both being in relationships fits this perception of the lower class. Historically, the promiscuity of a woman would reinforce their low status in society; whilst prostitutes were persecuted for their sexual services (for example, Mary Magdalene), by contrast the behaviour of their male patrons was accepted, showing the double standards for men and women, and the hypocrisy of the establishment, made to benefit the male dominated social sphere. For Katharina, it is assumed that because she comes from a modest background that she is not a proper “lady”, and that she can be sexually pursued without courtesy or consideration for her feelings. Most of the male characters and even the narrator in The Lost Honour Of Katharina Blum sexually objectify her; from “sex-starved” Hach, to Beizmanne’s crude question “Did he fuck you?” and the narrator’s participation in these overtly sexual harassments of Katharina show the masculine view of women as being things which sex is acted on rather than being actively involved in the process as Katharina is with Gotten. With Gotten, Katharina mentions that “I felt a great tenderness for him and he for me”, showing the mutual affection of this positively portrayed relationship in the novel. Other characters who are treated in this way are Else and Konrad, whom the narrator scandalizes and subjectively comments on with such remarks as “Beiters going for the first time openly with Miss Woltersheim into her bedroom…”. This scandalizing of non-conformist female behaviour and unrepressed sexuality by the narrator not only is a parody of the sensationalist articles of the press, but also shows the hypocritical attitude of the narrator towards this issue.
The few women in the novel who do not follow these stereotypes are looked down upon, and eventually disgraced by the society in the text, if not the narrator. Katharina does not bow to this male dominated society; her financial independence, logistical and sexual freedom threatens this structure. One of the reasons why Katharina is persecuted so ruthlessly is that her choice to defy the hegemonic structure, and not fit into either stereotype of women frightens the higher powers of the hegemony; she cannot be defined in direct terms, and they do not understand this new concept of female independence. Her small beginnings and the aspiration to rise in social status hard working nature are not acknowledged by the hegemony; they assume that she is a “kept woman”. It is this limited, discriminatory view men possess that reveal that it is not possible for a woman of Katharina’s background and social standing to be seen in any other context apart from a sexual one. “and it was not even - third crucial error! - reprehensible for amorousness occasionally to result in certain material benefits” implies that men see sex as an agency used by women for capitalist ventures.
Throughout the history of English Liturature, the idea of lower class women being more likely to be defined within a sexual frame is transcendental; female protagonists such as Tess, Moll Flanders, and even Mary Magdalene written by male authors shows how women have been used as vehicles to present their own ideologies of sexual honour and how it can be lost. Katharina has elements of the Victorian idea of a “fallen woman”; how a woman’s honour is maintained by her sexual purity, and once it is lost it is irretrievable. Katharina’s loss of honour is brought about by male interference, and to a certain extent elements of her own male discourse. She also departs from this Victorian ideology by taking action against those who have ruined her reputation unlike her passive predecessors. Boll provides another historical literary link through his description of Katharina Blum as being a “classic tragedy” - in Greek tragedy, the hero or heroine has one tragic flaw and in Katharina’s case it is her sense of honour and pride. This, along with her heroic discourse and the adoption of certain male characteristics provides another link to Medea.
WHILST THE LOST HONOUR OF KATHARINA BLUM OFFERS A BLEAK REPRESENTATION OF THE LIVES AND EXPIERIENCES OF WOMEN IN PATRIARCHAL STRUCTURES WHICH WERE CONTROLLING GERMAN SOCIETY IN THE 1970S, IT CAN ALSO BE SEEN AS A TEXT WHICH TRANSCENDS THIS PERIOD.
DISCUSS THE NOVEL IN LIGHT OF THIS STATEMENT
Author Heinrich Boll in The Lost Honour Of Katharina Blum reveals to the reader a hegemonic, phallocentric society in which women possess no power, either in the workplace or in terms of their sexuality. Whilst the novel is set in 1970’s Germany, none of these ideas are new; these patriarchal rules for society have been held through out history whilst many of these gender issues still exist in contemporary society - from discrimination in the workplace, to sexual persecution and harassment issues. Different social attitudes towards women, particularly their objectification as sex objects are prevalent throughout the book, and many of the male characters who personify these attitudes have values which can be seen throughout history, and to some extent, in the present.
The Lost Honour of Katharina Blum is described by Boll as being “a political pamphlet disguised as a narrative”. It is a dissection of the patriarchal society of 1970’s Germany in which women are left powerless, sexually objectified or stereotyped to fulfill the needs of their male superiors. The female protagonist Katharina is persecuted by the media and the hegemony for rebelling against these powers through her sexual freedom and general independence. As a result of this defiance to conform, her character is reconstructed, and destroyed by the press. Ultimately, Katharina is driven to murder the reporter Totges. Whilst the story in itself does not focus directly on the issue of the woman’s place in society, it does raise some important issues.
The power in the novel lies in the male dominated hegemony - the people in spheres of power are all men; Totges within the press, Beizmanne in the police, Hach in the law, and most importantly Straubleder and Lüding with overall control in all areas. Boll focuses on how these tiers of power dominate and oppress the citizens of the country, and how this patriarchal ideology encourages the view of women as being sexual prey; in particular how women, their class and sexuality relates to their honour, and treatment from men. This ideology is timeless, transcending both from the past, to the contemporary. In today’s society from the male dominated bench of High Court Justices in Australia, to the limited number of woman prime ministers or presidents throughout the western world there are few women in positions of political power. The novel comments that men feel the need to represent, define, or control their female counterparts. In Sylvia Plath’s semi-autobiographical novel The Bell Jar set in 1950’s America, heroine Esther falls in love with Buddy, and because of this relationship she is viewed in a new way, thus showing that a woman is defined, and represented through her male counterpart.
As a result of this male domination of society, sentiments of male supremacy are formed - a woman is viewed in either one of two ways. As the novel is set in Germany just after the reign of Hitler and the power of the Third Reich, although these institutions have been removed the ideology they advertised was still held relevant. The Nazi philosophy of “Kinder, Kuche, Kirche” (Church, Kitchen, Children) was still valued; women should be sexually modest, hardworking, house orientated, and dependant on men. This ideology existed before Nazism - even in Euripides’ play Medea, the Greek ideology of the oikos (the home domain), and the polis (society) was the main philosophy behind male and female interaction within society and the interaction of gender roles. Women were limited to being domestics within the household, and any attempts to breakaway from these generic roles resulted in opposition from men. This view can be seen through Brettloh, and how he codifies marriage to fit these stereotyped gender roles; Katharina’s desire for independence (both financial and sexual) and rejection of her ex-husband’s advances is characterized as “willful desertion” - this prompts him to remark “Our modest happiness was not enough for her. She was ambitious…now when I learn that she prefers the caress of a murderer and a thief to my straightforward affection, that part is explained too.”. By contrast, Maude Straubleder’s cold co-dependency; “you can put your sympathy back in the fridge with the rest of your feelings”- goes to the other extreme (is there a less colloquial way of saying this?) , and elaborates further on the definition of the woman’s role, and perception of her morality by her place in society. The depiction of the social elite as being less emotionally open than the working class enhances the idea of frigidity in high class women and their closed sexuality in comparison to the lower classes. Maude tolerates her husband’s philandering ways whilst conserving her own emotions, let alone her sexuality in order to conform to society’s ideals. The direct contrast in social interaction shows the hypocrisy of these ideals, which have been created to suit the needs of men.
The other stereotype was of the “loose woman” - the sexually promiscuous lower class women characterized by Boll through Claudia and Hertha. Defined by their occupation as “factory workers”, their open flirtation with other gentlemen at Café Polkt whilst both being in relationships fits this perception of the lower class. Historically, the promiscuity of a woman would reinforce their low status in society; whilst prostitutes were persecuted for their sexual services (for example, Mary Magdalene), by contrast the behaviour of their male patrons was accepted, showing the double standards for men and women, and the hypocrisy of the establishment, made to benefit the male dominated social sphere. For Katharina, it is assumed that because she comes from a modest background that she is not a proper “lady”, and that she can be sexually pursued without courtesy or consideration for her feelings. Most of the male characters and even the narrator in The Lost Honour Of Katharina Blum sexually objectify her; from “sex-starved” Hach, to Beizmanne’s crude question “Did he fuck you?” and the narrator’s participation in these overtly sexual harassments of Katharina show the masculine view of women as being things which sex is acted on rather than being actively involved in the process as Katharina is with Gotten. With Gotten, Katharina mentions that “I felt a great tenderness for him and he for me”, showing the mutual affection of this positively portrayed relationship in the novel. Other characters who are treated in this way are Else and Konrad, whom the narrator scandalizes and subjectively comments on with such remarks as “Beiters going for the first time openly with Miss Woltersheim into her bedroom…”. This scandalizing of non-conformist female behaviour and unrepressed sexuality by the narrator not only is a parody of the sensationalist articles of the press, but also shows the hypocritical attitude of the narrator towards this issue.
The few women in the novel who do not follow these stereotypes are looked down upon, and eventually disgraced by the society in the text, if not the narrator. Katharina does not bow to this male dominated society; her financial independence, logistical and sexual freedom threatens this structure. One of the reasons why Katharina is persecuted so ruthlessly is that her choice to defy the hegemonic structure, and not fit into either stereotype of women frightens the higher powers of the hegemony; she cannot be defined in direct terms, and they do not understand this new concept of female independence. Her small beginnings and the aspiration to rise in social status hard working nature are not acknowledged by the hegemony; they assume that she is a “kept woman”. It is this limited, discriminatory view men possess that reveal that it is not possible for a woman of Katharina’s background and social standing to be seen in any other context apart from a sexual one. “and it was not even - third crucial error! - reprehensible for amorousness occasionally to result in certain material benefits” implies that men see sex as an agency used by women for capitalist ventures.
Throughout the history of English Liturature, the idea of lower class women being more likely to be defined within a sexual frame is transcendental; female protagonists such as Tess, Moll Flanders, and even Mary Magdalene written by male authors shows how women have been used as vehicles to present their own ideologies of sexual honour and how it can be lost. Katharina has elements of the Victorian idea of a “fallen woman”; how a woman’s honour is maintained by her sexual purity, and once it is lost it is irretrievable. Katharina’s loss of honour is brought about by male interference, and to a certain extent elements of her own male discourse. She also departs from this Victorian ideology by taking action against those who have ruined her reputation unlike her passive predecessors. Boll provides another historical literary link through his description of Katharina Blum as being a “classic tragedy” - in Greek tragedy, the hero or heroine has one tragic flaw and in Katharina’s case it is her sense of honour and pride. This, along with her heroic discourse and the adoption of certain male characteristics provides another link to Medea.