@article{Briand2021,
  author    = {Briand, Michel},
  title     = {Le Laocoon en ic{\^o}ne queer et camp},
  series = {thersites 13: Antiquipop - Chefs d'œuvres revisit{\´e}s},
  volume    = {2021},
  journal   = {thersites 13: Antiquipop - Chefs d'œuvres revisit{\´e}s},
  number    = {13},
  editor    = {Bi{\`e}vre-Perrin, Fabien and Carl{\`a}-Uhink, Filippo and Rollinger, Christian and Walde, Christine},
  issn      = {2364-7612},
  doi       = {10.34679/thersites.vol13.133},
  pages     = {1 -- 42},
  year      = {2021},
  abstract  = {The Laoco{\"o}n group, a famous source of inspiration for modern artists and a crucial masterpiece for historians of art and philosophers, is also a popular figure in queer contemporary art and culture, both distorted and celebrated through camp performative devices. After remarks about 1. "queer gaze" and the complex relation of queer or LGBTQIA+ culture and politics to the dialectics of kitsch/camp and classical / contemporary / pop art, and 2. (not straight but) queer classics, using "anachronisme raisonn{\´e}" (Loraux") and "{\´e}cart" (Dupont), this article focuses on case studies from the 2010's: 1. The untold gay history of Vatican guided tour; the music video Falling, by the "queer cowboy" Drew Beckman. 2. Paintings by Richard Wallace (esp. Laoco{\"o}n); photographic series of Danil Golovkin (Modern Heroes : Photographing Bodybuilders in the Digital Age), 3. Julien Servy (Collages : Photo vs. Statues) ; the design firm modern8 (for the 2017 Utah Pride Festival). 4. The indigenous Canadian artist Kent Monkman, who, in paintings (The Academy), performances, installations, altogether stages and questions the violence of historical and cultural colonization and its impact on issues of gender and identity, and promotes dynamic interactions of aesthetics and politics, as well of pathos and camp.},
  language  = {fr}
}
@article{Rath2020,
  author    = {Rath, Anna von},
  title     = {Strategic label},
  series = {Afropolitan Literature as World Literature},
  journal   = {Afropolitan Literature as World Literature},
  publisher = {Bloomsbury Academic},
  address   = {New York},
  isbn      = {978-1-5013-4260-8},
  doi       = {10.5040/9781501342615.ch-003},
  pages     = {37 -- 56},
  year      = {2020},
  abstract  = {The Afropolitan Berlin novel Biskaya by SchwarzRund (2016) is probably the first novel written in German which demonstratively wears this label - on the front cover of the book, the author announces it to be an Afropolitaner Berlin Roman underneath the title. While addressing quite a few particulars of the Berlin-Brandenburg area, the novel writes itself willingly into the globally popular, yet controversial realm of African inflected cosmopolitanism. In this essay, I will argue that the author uses the label strategically to negotiate the global and the local - or worldliness and cultural specificity - with the aim to increase the visibility of queer of Color critique in Germany. SchwarzRund's approach may seem contradictory at first: Even though she could have called her novel queer, neuro-diverse, diasporic or Black, she chose Afropolitan. While she wrote an outspokenly political novel, she labeled it with a term often critically denounced as apolitical. Using Afropolitanism, she seems to aim at a rather mainstream audience, but at the same time, she published with a small, activist publishing house. While attempting to tap into the transnational cultural and literary capital of Afropolitanism, the language of the book is German and restricts it to the German-speaking parts of the world. This essay will explore the Afropolitanism depicted in Biskaya and elaborate on the strategic choice of label. I will offer one possible interpretation of the characters and settings which illustrate SchwarzRund's vision and version of Afropolitanism. In my analyses, I am interested in political questions around the characters' identities and the setting. The Black protagonists of the novel, Tue and Dwayne, live in Berlin, but grew up on the fictional island Biskaya. This island is located somewhere close to the European mainland and part of the continent; it had an entirely Black population until a destructive event forced many to move to the mainland. The protagonists, now living in a mainly white society, are depicted in a state of interrogation of their own sense of self, measuring oppressive societal norms against other possible ways of interaction. The novel shows how people are deemed strange and not fitting into a network of unspoken rules because of racialized bodies, sexual preferences and\#shor lifestyle choices. However, SchwarzRund counters those structures of inequality with her characters' playful ways to deal with queerness, femininity and blackness subverting imposed norms. The novel challenges imperatives of subordination, creates new visions and inscribes Black Germans as political subjects.},
  language  = {en}
}