1994 research outputs found
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Trauma und Tabu:Palästinenser*innen in Deutschland und der Schweiz
No full textDie Vertreibung von mindestens 800 000 Palästinenser*innen im Jahre 1947/1948 (arabisch Nakba, »Katastrophe«, genannt) — etwa die Hälfte der Gesamtbevölkerung im historischen Palästina — wird bis heute nicht als Teil europäischer Geschichte erinnert und betrauert, sondern aus dem europäischen kollektiven Gedächtnis und öffentlichen Diskurs ausgegrenzt. Die Verknüpfung mit der Geschichte des Nationalsozialismus bleibt zumeist nur einseitig: durch die Repräsentation Palästinas und (ab 1948) Israels als sicherer Hafen für überlebende europäische Juden. Das Trauma der Nakba wird als bedrohlich wahrgenommen, weil es den Glauben an die Einzigartigkeit des Genozids an den europäischen Juden sowie an die Exklusivität der Schuld an der Shoa und damit den Wunsch nach Wiedergutmachung und restituierter Unschuld stört. Dies ermöglicht die Fortsetzung der systematischen Vertreibung von Palästinenser*innen bis auf den heutigen Tag. Der Vortrag setzt sich mit den Spuren auseinander, die die Tabuisierung der Gewalterfahrung in Eltern-Kind-Beziehungen und Lebenswelten von Palästinenser*innen verschiedener Generationen in Deutschland und in der Schweiz hinterlässt. Er beruht auf El-Bulbeisis Buch Tabu, Trauma und Identität. Subjektkonstruktionen von PalästinenserInnen in Deutschland und in der Schweiz, 1960–2015(2020), das (auto-) ethnographische (insbesondere teilnehmende Beobachtung) mit psychoanalytischen Reflexionen verknüpft, insbesondere zu Fragen der freien Assoziation und den Mechanismen von Übertragung und Gegenübertragung.
Sarah El-Bulbeisi studierte an der Universität Zürich. Sie arbeitete als wissenschaftliche Mitarbeiterin am Institut für Nah- und Mitteloststudien der Ludwig-Maximilians-Universität in München und leitete das DAAD-Projekt »Gewalt, Zwangsmigration und Exil: Trauma in der arabischen Welt und in Deutschland«, einen Hochschuldialog zwischen palästinensischen und libanesischen Universitäten sowie der LMU München. Seit 2019 ist sie als wissenschaftliche Mitarbeiterin am Orient-Institut Beirut tätig
Interrupted and Unfinished:The Open-Ended Dante of the <i>Commedia</i>
Get PDFThis essay interprets Dante’s Commedia as an ‘open work’ (Eco). It grounds its open-endedness in its representations of interruption: from fictional obstacles in the protagonist’s path in the Inferno to the narrator’s anxiety over unfinishedness in the Paradiso. Taking its cue from Boccaccio’s creative rewriting of Dante’s life, the essay resists the pressure of ‘total coherence’ embedded in (and often projected onto) the Commedia, in order to reclaim the material vulnerability of the text and of its author
The Social Life of Things
Get PDFObjects are produced and exchanged, desired and transferred. While they can be said to condense and contain the ‘real’ of social relations, they never become fully transparent. Instead, problematizing oppositions between the inside and the outside, the subjective and the social, they are media for social relations and conflicts, as well as media that help constitute and transform subjects with their singular desires and forms of enjoyment. How are objects differently constructed and animated by the social and the individual? In what sense do moderns remain animist in their relation to the unconscious and to notions of ownership and property? Engaging with Monique David-Ménard’s book La Vie sociale des choses: L’Animisme et les objects (2020), this symposium seeks to explore how the always local opacity of objects entangles psychoanalysis and anthropology, philosophy and politics
The Animal That Laughs at Itself:False False Alarms about the End of ‘Man’
Get PDFA trio of themes recur across prominent Western theories of laughter: violence, the human/nonhuman, and error. The paper traces this trio through a series of frequently cited paradigms for understanding laughter, including superiority, incongruity and relief theories, Henri Bergson’s theory of laughter and V. S. Ramachandran’s false alarm theory; and argues that it reflects a shared, if partially submerged concern with the instability and demise of a particular figure of the human, one that is circumscribed by the culturally specific (if globally influential) values of Eurocentric/Western thought, largely corresponding to Sylvia Wynter’s ‘Man’. This suggests that laughter has an ambiguous immanent potential for both undermining and/or reasserting, de- and/or restabilising the illusion of Man’s universalizing drive to identify itself with the human per se
Worlding Art History through Syllabi
Get PDFThe recent ‘global turn’ in art history and curatorial practice has prompted the question of how to reflect this through pedagogy. The workshop Worlding Art History through Syllabi takes up the notion of ‘worlding’ to explore how art history is taught in different places and institutions around the world. What would a ‘worlded’ syllabus look like, and how can we collaboratively ‘world’ global art history? A ‘worlded’ art history rejects the idea of a single global world framed, ordered and represented according to Eurocentric premises or as universally constituted by global capitalism. Instead, it conceives of the global as constituted from multiple and entangled geo-cultural perspectives. It is not centered on assumed commonalities of ‘global’ art. Rather, it seeks to shed light on differences and relations. What are histories, epistemologies, and ontologies that constitute ‘global’ art? What are infrastructural or institutional incommensurabilities which define the many intersecting art histories of the present? This workshop invites scholars from the fields of art history, cultural studies, cultural anthropology, media studies, museum studies and other related disciplines to participate in an peer-to-peer exchange of experiences and practices. It focuses on how scholars may, or already have, designed teaching syllabi to complicate dominant frameworks of ‘global’ art history. It is particularly interested in how syllabi have the capacity to restructure pedagogical approaches to teaching topics such as global capitalism in the art world, the so-called Global North-South division, transnational and transcultural entanglements, and differences between teaching regional art histories.
In the Beginning There Is an End:Approaching Gina Pane, Approaching <i>Discours mou et mat</i>
Get PDFIn this fifteen-minute lecture-performance, Malin Arnell presents her dialogue with the work of French-Italian artist Gina Pane (1939–1990). Oriented around textual and visual traces of Pane and Arnell’s historical intra-action, this ongoing dialogue explores performance art documentation and historical narratives. The project interrogates the operations of archives, asking: ‘How do queer feminist performance archives make you vulnerable, how do they make you feel, act, react?’ ‘Whose bodies remain present, and which bodies are lost?’ The framework of the work — its repetition with variations and its artistic and queer feminist methodologies — enables an exploration of history, documentation, and bodily epistemology as an attempt to take responsibility for what is not known by doing, through action — through performance
‘Political-Timing-Specific’ Performance Art in the Realm of the Museum:The Potential of Reenactment as Practice of Memorialization
Get PDFCan reenactments be a way to create counter-narratives in and for the museum? Through the analysis of political performance (or what the artist Tania Bruguera calls ‘political-timing-specific’ artworks), this essay discusses the potential of reenactment as both a practice of materializing memories and narratives of oppression and of rethinking museum policies in terms of preservation and display. Its main argument is that, while the archive can be regarded as a form of materializing the memory of these works, reenactment is more than a way of recovering the past; it is also a device for reconstructing memories of activism and oppression. This essay further suggests that reenactments of political-timing-specific works demand a change in accessioning, conservation, and presentation practices, which might be inclined to erase decentralized art-historical and material narratives
