FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Marie-Luise Angerer, Bernd Bösel, Michaela Ott (Hg.) (2014): Timing of Affect – Epistemologies, Aesthetics, Politics. Berlin/Zürich, diaphanes
Get PDFThis article deals with the anthology Timing of Affect published by Marie-Luise Angerer, Bernd Bösel and Michaela Ott, that discusses the correlation of an affective, technological, and economic dispositive. Within a context of the entanglement of affect and new technologies, it might be questioned if affect and control can be positioned as oppositions, i.e. capturing affect in terms of predictability and calculability, or if, conversely, contemporary networks undo themselves towards affective relatedness
Deutschland (post)kolonial? Visuelle Erinnerungskulturen und verwobene Geschichte(n) - Eine Einleitung
Get PDFIssue No 59 of FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur explores the specific postcolonial condition in Germany, particularly as it appears in the field of visual culture. Departing from the relationship as it is (implicitly) articulated in recent debates and practices between German colonial history and Germany’s nationalsocialist past, it outlines a research gap in current discourse. From today’s perspective, the editors argue, German colonialism must necessarily be considered and discussed as a postnationalsocialist condition. The histories of National Socialism and Second World War are inevitably inscribed into the memory of German colonialism. The issue, therefore, focuses on the question of how colonial history and the history of nationalsocialism are interwoven in the visual cultures of memory of both the two German states, FRG and GDR, after 1945/1949 and in re-united Germany after 1990. This implies to consider how after the Second World War images of gender and/or gendered imageries were employed to (consciously or unconsciously) remember and not remember, to make visible and invisibilise German colonial history
Glück auf! Fortuna und Risiko im frühneuzeitlichen Bergbau
Get PDFAs mining became more popular as a form of investment in the 16th century, the number of representations of mining scenes depicting the goddess Fortuna increased. She became a popular emblem of the promises, risks, and uncertainties of mining. The discursive and iconographical traditions of chance in the context of mining are borrowed from the fortuna di mare. The popularity of the maritime Fortuna stood in a close context with the emergence of the term risk in the late Middle Ages, which is closely connected to the sea trade and the social group of merchants and sailors. In the context of mining this image of fragile stability seems to have captured the imagination of those who, like the goddess, had to make quick moves to keep on top in the new world of 16th-century business with mineral resources. In this article I show how the concepts of hope, risk and chance were mediated through the figure of Fortuna between the sea and the mountains. In current research, however, a modernist perspective often connects the emergence of risk with the processes of secularization and growing self-awareness of tradesmen and merchants. My investigation instead concentrates on discourses about successful and failed mining investments, both in textual and visual sources, in order to investigate the vast semantic field of risk, hope and chances. This analysis reveals that the notion of Fortune in mining was inextricably tied up with Christian discourses on moral values and hope
Blasen zum Sprechen bringen. Zur Edition von Bettina van Haaren
Get PDFIn her linocut Blasenschieben (pushing bubbles) Bettina van Haaren succeeds in opening up a huge field of associations and visual puns that bring together metaphors of bodily interiors and confinements, of affects and communication. Her cut/line excises feelings of lust and abjection, of gravity and humour out of the blank page. Bettina van Haarens work represents in the image of the bubble the all encompassing fear of failure (to communicate, to express oneself, to live up to expectations) that is always also linked to fascination (for the alluring process of creating that results in overcoming your fears).In art history's tradition and in the actual exposition policy „failure“ is quite a big issue. The promise that lies in it, is one of getting a new chance, of starting all over again. And not to get stuck within the ruins of a failure requires the energy of the promise that creativity is an instrument to take the distances from yourself, to become conscious – and so to overcome fear and failure
Postkoloniale Selbstbilder in der postnationalsozialistischen Gesellschaft
Get PDFThis article suggests a double perspective on postcolonial and post-NS images of the self and the other. Racism as well as anti-Semitism will be analyzed with regard to their connection to colonialism and National Socialism respectively. The historical analysis points out the differences between these two forms of discrimination and looks more closely at their present-day manifestations by reflecting the practices of othering. Asking for a concept of postcolonial memory after the Holocaust, presumptions for a critical approach in education related to a history of crimes are developed. How can the commemoration of colonialism and National Socialism consider their discontinuities and crossovers without neglecting the specificities of each complex in regard to power and persecution
WIDERREDE / WIEDERREDE. Eine Einführung zum Projekt „Mauern 2.0“ von Jana König, Elisabeth Steffen und Inga Turczyn
Get PDFMauern 2.0 (2013) by Jana König, Elisabeth Steffen, and Inga Turczyn, is an updating and revisitation of the film Duvarlar/Mauern/Walls by Can Candan (2011), or in the words of its authors: a conflicted copy. In 1991, after the fall of the Wall, Candan conducted interviews among the Turkish community in Berlin, giving voice to some of those who had been silenced by Germany’s new nationalism and accounting for their experiences with the tremendous increase in racist violence. Ten years later, shortly before the series of NSU murders was uncovered, König/Steffen/Turczyn took up where Duvarlar left off, interviewing some of Candan’s protagonists again and also including the perspectives of migrants from East Berlin and antiracist activists. Mauern 2.0 investigates the conjunctures of racism, the contemporaneity of the past, and the eerie presence of a future
Smarte Unternehmer, ausgegrenzte Versager: produktives Scheitern im 15. Jahrhundert?
Get PDFIn late medieval economy, failing was as much a social as an economic process. The story of the hanseatic merchant Hildebrand Veckinchusen (ca. 1365-1426) shows how his network of family members, friends, and business partners on the one hand enabled him to be successful as a merchant. On the other hand the same network deployed its social power against him once he had run into problems: As his potential new investors had to stem from the circle of his old partners, they all knew his fate, and they all informed each other about his shortcomings. So Hildebrand had to borrow the money he needed from outside his network from an external creditor. His friends would have been able to defer the return of his loans (as they knew how to keep track of him), whereas the external creditor could not and thus put him in prison as an insolvent debtor. His friends offered help only on the condition that Hildebrand did admit his faults and listened to their advice, but he refused. But Veckinchusen’s network demanded control of his decisions and affairs in which the social an economic sphere were intimately linked. Hildebrand didn’t perceive himself as failed, contrary to what his friends expected him to do. Thus he wasn’t allowed back into the network, which, to be successful, had to exclude failures such as Hildebrand Veckinchusen