Zum Schweigen verdammt. Das Susanna-Fragment von Sibylla Schwarz

in Daphnis
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This contribution aims at a fundamental repositioning of this fragment, which until now has received only little scholarly attention. It demonstrates that irrespective of the extensive contemporary tradition, Sibylla Schwarz conceptualized the biblical issue of Susanne consistently from a female perspective. Apart from the sexual threat itself, she focuses on the broad exclusion of women from public speech. The biblical source, in which the elders’ condemnation finally takes place without a statement by Susanna herself, stands in fundamental tension with Sibylla Schwarz’s interest in making herself audible. Also discussed is whether this may be one reason why the text in the end remained a fragment.

Zum Schweigen verdammt. Das Susanna-Fragment von Sibylla Schwarz

in Daphnis

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Figures

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    Jacopo Tintoretto: Susanna und die Alten (1556/1556), Öl auf Leinwand, 146 × 193,6 cm

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    Paolo Veronese: Susanna und die Alten (um 1580), Öl auf Leinwand, 151 × 177 cm

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    Alessandro Allori: Susanna und die Alten (1561), Öl auf Leinwand, 202 × 117 cm

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    Rembrandt van Rijn: Susanna und die Alten (1635–1647), Öl auf Holz, 76,6 × 92,8 cm

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    Peter Paul Rubens: Susanna und die Alten (1609/10), Öl auf Holz, 198 × 218 cm

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    Artemisia Gentileschi: Susanna und die Alten (1610), Öl auf Leinwand, 170 × 121 cm

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