FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur
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Sonja Dümpelmann: Maria Teresa Parpagliolo Shephard (1903-1974). Ein Beitrag zur Entwicklung der Gartenkultur in Italien im 20. Jahrhundert, Weimar: Verlag und Datenbank für Geisteswissenschaften 2004
Get PDFDie Häute der 'Anderen'. Indianerkostüme am Württembergischen Hof
Get PDFMaike ChristadlerIndigenous skins. Indian Costumes at the Court of WürttembergDuring the carnival season of 1599, the Duke of Württemberg invited his princely subjects to a festivity that required their active participation. He himself showed up as a personification of “America”, and his courtiers were dressed as Indians, wearing animal-skin costumes that enveloped their entire bodies, representing indigenous nakedness. The invited guests were assigned the roles of the emperors of Antiquity or, in one case, that of an admirer of the beauty and social status of “America”. The spectacle is documented in a colored miniature (today in the art collection of Weimar), which shows that the Indian costumes were modeled precisely on the engravings of de Bry’s “America” series, which commenced publication in the early 1590s. By appropriating the skins of the “savage” Indians, the Duke and courtiers of Württemberg conflated the sexual appeal of the exotic “other” with the magic protection against the threatening “other” that is implicit in the masquerade. In addition, the Duke demonstrated that he was participating in the important new discourse of ethnography, symbolically conferred the American riches to himself, and – by cross-dressing as a female – placed his guests and political partners in a position in which, according to European standards of courtship, they would be obliged to honor him
Ver/kleiden – Ent/hüllen. Überlegungen zu Kunst, Körper und Raum
Get PDFMaike ChristadlerDressing (up) – (Dis)robing: Reflections on Art, the Body, and SpaceThis issue inquires into the dialectical relationship between body and covering, between art and fashion, between staging and practice. It builds on FKW No. 17 (1994), in which a complicity between fashion and deconstruction was noted that negates the notion of the “naturalness” of gender roles. Now, the discourses surrounding the body and the manipulative power of images are the focus of interest: Fashion and art are read as media that make cultural practices visible; that revolve around the authenticity and fictionality of the (female) body.With self-referential strategies of an over-the-top artificiality, the authors of the issue demonstrate how fashion and art are conceived of as cultural practices that continually refer to one another and, in their overlapping and interweaving, create meaning
