If all the world's a stage, playwrights can theoretically be seen as in control of the world they create; this book asks to what extent women dramatists manage to use the space of the drama to reflect the world that they experience."--BOOK JACKET.

Women Warriors in Romantic Drama advances scholarship on late eighteenth- and early nineteenth-century theater by bringing together, for the first time, female and male dramatists as well as British, German, Irish, and French writers, thinkers, actors, and philosophers. This transnational perspective allows Women Warriors in Romantic Drama to make the provocative claim that in some instances, the violence of the French Revolution--and especially women's participation in it--advances proto-feminist concerns.

"A powerful retelling of the biblical story of Esther set during WWII: Blond and blue-eyed Jewess Hadassah Benjamin must save her people--even if she cannot save herself"--

Women and Philosophy in Eighteenth-Century Germany showcases the vibrant and diverse contributions on the part of women in eighteenth-century Germany and explores their under-appreciated influence upon philosophical debate in Germany in this period. Among the women profiled in this volume are Sophie of Hanover, Dorothea Christiane Erxleben, Johanna Charlotte Unzer, Wilhelmina of Bayreuth, Amalia Holst, Henriette Herz, Elise Reimarus, and Maria von Herbert. Their contributions span the range of philosophical topics in metaphysics, logic, and aesthetics, to moral and political philosophy, and pertain to the main philosophical movements in the period. They engage controversial issues of the day, such as atheism and materialism, but also women's struggle for access to education and for recognition of their civic entitlements, and they display a range of strategies for intellectual engagement in doing so. This collection vigorously contests the presumption that the history of German philosophy in the eighteenth century can be told without attending to the important roles that women played in the signature debates of the period.

Sigrid Scholtz Novak was born October 4, 1931 in Reichenbach, East Germany. She went to school in Breslau, Silesia, and after the war in Jever and Wilhelmshaven, North Germany. She studied in London and Paris before coming to America where she completed her studies at the Johns Hopkins University. There she earned an MA in Creative Writing (1968) and the Ph.D. in German (1972). Images of Womanhood in the Plays of German Female Dramatists: 1892-1918 was accepted in partial fulfillment of the requirements for the Ph.D. degree. She has taught literature and language at Wilson College in Pennsylvania; Mary Baldwin College, Virginia; the Abadan Institute of Technology in Abadan, Iran; the McNeese State University in Lake Charles, Louisiana, and the State University of Ceara, Brazil. She is married to Richey A. Novak, Ph.D. Johns Hopkins.They are retired and live in Rancho Palos Verdes, California. The couple has two sons, Rick and Walt. Other books by the author include: Meine Reise 1805-1812. Edition Temmen, Bremen, Germany, 1993 (in German) My Travels 1805-1812: Travel Journal of the Clothshearer Johann David Scholtz (translation), AuthorHouse 2005. Never Too Old for Adventure: Two Octogenarians Abroad. Sigrid Scholtz Novak and Richey Novak. AuthorHouse 2012 Many articles in professional journals.

For eight weeks in 1945, as Berlin fell to the Russian army, a young woman kept a daily record of life in her apartment building and among its residents. She tells of the shameful indignities to which women in a conquered city are always subject.

This collection, for the first time, explores women’s self-conceptions and representations of women’s and gender roles in society in their own Expressionist works. How did women approach themes commonly considered to be characteristic of the Expressionist movement, and did they address other themes or aesthetics and styles not currently represented in the canon? Women in German Expressionism centers its analysis on gender, together with difference, ethnicity, intersectionality, and identity, to approach artworks and texts in more nuanced ways, engaging solidly established theoretical and sociohistorical approaches that enhance and update our understanding of the material under investigation. It moves beyond the masculine, “New Man,” viewpoint so firmly associated with German Expressionism and examines alternative, critical, and divergent interpretations of the changing world at the time. This collection seeks to broaden the theorization, scholarship, and reception of German Expressionism by—much belatedly—including works by women, and by shifting or redefining firmly established concepts and topics carrying only the imprint of male authors and artists to this day.