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|a Representing Duchess Anna Amalia's Bildung
|b a visual metamorphosis in portraiture from political to personal in eighteenth-century Germany
|c Christina K. Lindeman
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|a Introduction -- Gender and Bildung -- Portraying Bildung -- Why portraiture? -- Chapter overview -- Notes -- 1 Setting the stage -- Notes -- 2 Composing a musical portrait -- Music, the female sex, and body politics -- Playing music in familial and gendered relationships -- Composer not performer -- Musical life in Weimar -- Notes -- 3 Representing the female Grand Tourist -- The Grand Tour -- Anna Amalia's voyage -- Rome 1788 -- Notes -- 4 The scientific lady in Naples -- Intellectual and social climate of Naples -- The German community in Naples -- Gendered souvenirs -- The antiquarian portrait -- Notes -- 5 Materializing Anna Amalia's Bildung -- The cult of the good mother -- Royal women as good mothers -- Gendering drawing -- The Weimar Minerva -- Print collecting in eighteenth-.century Germany -- Reading Jagemann's portrait in the context of Wittumspalais -- Notes -- 6 Anna Amalia's Gedenktafel: The making of an icon -- The spectacle of death and remembering in the public sphere -- The memorial and romantic nationalism -- Personal mourning -- Notes -- Conclusion -- Appendix A -- Appendix B -- Bibliography -- Unpublished Primary Sources -- Goethe-und-Schiller Archiv, Weimar -- Goethe-Nationalmuseum -- Thüringisches Hauptstaatsarchiv, Weimar -- Weimar Schlossmuseum -- Anna Amalia Bibliothek
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