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Archival research for a multi-volume annotated edition on EMMY HENNINGS' (1885-1948) collected poems and prose.
The annotated and critical edition reconstructs of one of the most exciting yet underestimated women writers of 20th century German literature.
Throughout Dada historiography it has been claimed that women did not play any crucial role in this movement and that Dada was an inherently male movement. On early vanguard stages before the First World War, Emmy Hennings embodied and enacted an effective medium to transmit the destruction of truth and meaning and to establish the first notion of “anti-art”. A morphine addict and sex-worker, Hennings was at once shunned and idolized by her vanguard collaborators and presented herself as both a victim of her time and a figure of auto-destructive rebellion against her time. The edition aims to reconstruct Emmy Hennings’s crucial contribution to the Dada movement, the interrelation between life and work, between theatrical and textual performances. Hennings' “autobiography of abandonment” is to be seen in tension and relation to the aesthetical experiments of early vanguard writers who attacked the representational system of language and celebrated the outlaw, the addict, and the criminal as subversive figures of failure and self-proving.
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