| This dissertation explores how Heinrich Heine's female figures develop from objects of desire in his early writing into sensually expressive active characters in later works. Heine creates figures who are rooted in literary tradition but evolve into something new. Upon initial reading, Heine's female figures, drawn from Romanticism, Greek mythology, the Bible, and the works of Shakespeare, appear to be stereotypes. Upon closer examination they resist and transcend these labels.; I use a gender studies approach to examine how Heine portrays women. In his early works the women are predominately defined by the gaze of the male. Still, in subtle ways, these figures find means of self expression---they sing and dance, or even scratch and hurt the male protagonist. Over time Heine creates more self-assertive female characters. Contrary to contemporary scholarship, which largely dismisses Heine's female figures as destructive, I argue that they are sensual, multi-dimensional creations.; I credit the transformation of his female portrayals throughout his works in part to the strong, liberal women in his life. Heine developed substantial friendships with four intellectual women: Rahel Varnhagen, Cristina Belgiojoso, George Sand, and Fanny Lewald. As evidenced in their surviving correspondence, Heine exchanged ideas with them on politics, literature, philosophy and even their own writings. |
