FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Melange. Zur Konzeption von Leiblichkeit und Alterität in der französischen Bildhauerei des 12. Jahrhunderts am Beispiel einer Konsolenfigur von Montceaux-l’Etoile
Get PDFMelange. On the conception of Corporeality and Alterity in French sculpture of the 12th Century through the Example of a Console Figure at Montceaux-l'EtoileThe winged creature at the portal of a church in southern Burgundy is often interpreted as a bird-siren and as the embodiment of earthly temptations attributed to the realm of evil. Based on a close description of the features of this figure, this paper shows other possible levels of meaning. By interweaving contrasting statements and transgressing supposedly “natural” categories, the creature evades any clear identification: it is at once human and animal, dressed in a garment that is covers skin and simultaneously reveals a scale-covered body; it is sexually indeterminate, hovering between inside and outside, between life and death. The creature depicts the boundaries and the limitations of man-made categorical order. It highlights the latter’s arbitrariness and inadequacy, and recalls of the hypothesis of the historian David A. Williams concerning the location of the “monstrous” in the Middle Ages: at the edges of the order and very close to its “divine” center. Melange. Zur Konzeption von Leiblichkeit und Alterität in der französischen Bildhauerei des 12. Jahrhunderts am Beispiel einer Konsolenfigur von Montceaux-l'Etoile Die geflügelte Kreatur am Portal einer Pfarrkirche im Süden der Bourgogne wird in der Forschung häufig als Vogel-Sirene gedeutet und als Verkörperung irdischer Verlockungen dem Feld des Bösen zugerechnet. Auf der Grundlage einer dichten Beschreibung ihrer gestalterischen Merkmale zeigt dieser Aufsatz allerdings weitere mögliche Bedeutungsebenen der Figur auf. In der Verwebung gegensätzlicher Aussagen und der Überschreitung scheinbar ‚natürlicher‘ Kategorien entzieht sich die Kreatur einer eindeutigen Bestimmung: menschlich und tierisch zugleich, gekleidet in einer Hülle, die zugleich Hautoberfläche ist und den Blick auf einen schuppenbedeckten Leib gewährt, geschlechtlich unbestimmbar, zwischen Innen und Außen, Leben und Tod schwebend. Die Kreatur verbildlicht die Grenzen bzw. die Begrenztheit der von Menschen gemachten kategorialen Ordnung. Sie zeigt ihre Willkür und Unzulänglichkeit und erinnert damit an die These des Historiker David A. Williams zur Verortung des ‚Monströse‘ im Mittelalter: zugleich an den Rändern der Ordnung und ihrem ‚göttlichen‘ Zentrum sehr nahe
Figuration des Sozialen im Blick feministischer Kunstwissenschaft: Christian Petzolds Gespenster (2005)
Get PDFEdith Futscher: Feminist Art History Facing Figurations of Social Life: Christian Petzold’s Gespenster (Ghosts) (2005)Feminist art and film history are watchful of formations of social life and their transformation and production in and through the field of the visual. Friendship and girlhood, it is argued, are currently two dominant elements of discourse with disciplinary effects, which tend to veil unstable social structures and an unequal gender-based apportionment of power. Both are pointed out in a critical way in Christian Petzold’s narrative about fleeting relationships between mother and daughter and lesbian lovers in Berlin in the year 2005. Combined with this is a reflection on the imaginative as well as normative effects of male viewers, video monitoring, and digital-generated phantom portraits. Petzold’s strategies are considered as an effort to critically explore a girl’s mode of feigning death, playing dead, and loss of identity
Über_Format. Monstrosität, whiteness und Gender in Kunst und Medien heute
Get PDFBarbara Paul On Format, Monstronity, Whiteness and Gender in Art and the Media TodayThis article analysis the subversive potential of a limitation of femininity, whiteness, and monstrosity through the example of Mara Mattuschka’s film S.O.S. Extraterrestria, the music video clip “Pass That Dutch” by the black American rapper Missy Elliott, and the color photographs of the Australian artist Destiny Deacon. As Paul argues, the combination of these three alterities makes it possible to shift the boundaries of normativity, a move that is adept at confound on a sustained basis discursively effective and yet still in large part invisible encodings and stereotypes
Gewalt und Geschlecht. Wahrnehmung und Medialität um 1500
Get PDFMaike Christadler Gender and Violence. Representation and Mediality around 1500Executed in the “realistic” mode, many of the drawings of the Swiss artist Urs Graf show mercenaries and prostitutes, often together, engaged in love affairs. What appear to be representations of every day life are here regarded as careful constructions of gender and of how to represent it. Graf’s drawings expose the imaginary quality of gender identities and show their construction as a process of looking at and talking about images. Signing many of his works very prominently with his monogram, the artist makes himself present in the fictional space, taking the position of the first viewer of his subjects. The monogram makes visible the power of the (male) gaze in shaping what it sees – here mostly female bodies. But as evidence of artistic production, the monogram also disrupts the mimetic fiction and exposes the process of looking, thereby undercutting the power of the gaze. Here the violence of representation that shapes the perception of reality itself becomes the subject of the drawings
Bild, Wissenschaft, Geschlecht
Get PDFAnja Zimmermann: Image, Science, Gender This paper considers the increasing interest in science visualisation in recent years. The mutation of art history to disciplines such as visual culture (or iconic criticism and iconographic research) raises the problem of the constant recourse to anthropological research traditions, which disregard already established differentiations. The contribution of gender to a visual culture perspective amounts to a deepening differentiation, whereas in turn questions raised by visual culture can enrich the application of gender studies in art history with fresh subjects and new evaluative possibilities. Against the implicitly totalising claim of visual culture, this paper sets a critical gender perspective on visual culture intent on taking into account categories of difference that otherwise risk being lost in the quest for an “anthropology of the image.”