The present study was designed to examine the relation between pain tolerance, as measured by the cold-pressor test, narcotic addiction and some aspects of personality. The subjects used were two groups each of twenty-four female prisoners; one group comprised former addicts, the other non-addicts.The two groups were very significantly different on the cold-pressor test, with the addicts showing much less pain tolerance than the controls. Only a very slight relation was found between pain tolerance and neuroticism and no relation was found between tolerance for pain and extraversion.
This essay examines Madame de Staël's impact on German women writers from Romanticism to the Vormärz , including Caroline Paulus, F.H. Unger, Johanna Schopenhauer, Ida Hahn-Hahn, and Luise Mühlbach. I argue that these German women refer in their novels to Staël's exemplary life and to her influential stories of politically engaged and artistic heroines in order to authorize their own discourses on art and politics. These authors' intertextual responses to Staël's powerful statements on women's social and artistic potential reflect their ambivalent positions regarding women's cultural role, and show that Staël's example inspired their development of a female authorial identity. (JEM)
Many critics consider Aphra Behn's novella Oroonoko, or the Royal Slave (1688) the first anti‐slavery narrative. England's first professional woman writer, Behn left a literary legacy divided between recognition of Oroonoko by abolitionists and rejection of her reputation for indecency. In her novel Aphra Behn (1849), the German author Luise Mühlbach joins these disparate strands of Behn reception. She adapts Behn's slave story within the historical context of nineteenth‐century abolitionism, and she reinterprets Behn's biography and controversial literary reputation, transforming Behn into a respectable female literary predecessor. Mühlbach's text asserts a specifically female authorial legitimacy and challenges male dominance in social relations and in literary culture. Drawing on post‐colonial cultural criticism, this essay examines Mühlbach's alterations of Behn's Oroonoko, focusing on the racial and gendered dynamics of power in the white female protagonist's relationship to the black slave couple and to male colonial authority. Although Mühlbach employs a more modern anti‐racist discourse than Behn, Aphra's position remains implicated with the colonial order, and while the black woman Imoinda gains in agency, she lacks the autonomous subjectivity of Aphra and Oroonoko. In her larger project of recuperating Behn's literary reputation, Mühlbach privileges the white European woman's subjectivity against the background of the black woman as ‘other’.
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