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Der Band ist den existenziellen Turbulenzen gewidmet, die dem Menschen nicht als katastrophales Ereignis widerfahren, sondern seinen unentrinnbaren Alltag formen. Egal ob Verschiebungen im universitären Selbstverständnis (Vinken), Umgang mit geschlechtlicher Abweichung (Ungelenk; Hordych), Brüchen im Familiengefüge (Brook; Goldmann), Kampf gegen Abholzung (Nixon), technische Totalüberwachung im Alltag (Søilen/Maurer), narratologische Erkundungen von Zeit oder Gattung (Horst; Pierstorff; Reisener), stets erweist sich scheinbar banaler Alltag als erstaunlich produktiver Ausgangspunkt für gesellschaftliche, künstlerische und denkerische Prozesse. Das Gewöhnliche des Alltags ist nicht länger bloß statische Folie für einbrechende Ereignisse – es ist selbst als generatives Werden nobilitiert, das nun aber doppelbödige Wertung annimmt: Alltag verliert im Zuge einer Philosophie der Moderne das Verlässliche (Hüsch; Khurana), wird bedrohlich; zugleich bietet diese neue Unruhe des Alltags, sein "trouble", aber auch Chancen für Veränderung und feministisch-kritische oder künstlerische Intervention.
Digital Fashion
(2024)
Das virtuelle Kleid als mediale und soziokulturelle Alltagserscheinung der Gegenwart bildet den Gegenstand der vorliegenden interdisziplinären Unter-suchung. An der Schnittstelle zwischen Menschen, Medien und Mode ist das virtuelle Kleid an unrealen Orten und in synthetischen Situationen ausschließlich auf einem Screen erfahrbar. In diesem Dispositiv lassen sich Körperkonzepte, Darstellungskonventionen, soziale Handlungsmuster und Kommunikations-strategien ausmachen, die zwar auf einer radikalen Ablösung vom textilen Material beruhen, aber dennoch nicht ohne sehr konkrete Verweise auf das textile Material auskommen. Dies führt zu neuen Ansätzen der Auseinandersetzung mit Kleidern, die nun als Visualisierung gebündelter Datenpakete zu betrachten sind. Die dynamische Entwicklung neuer Erscheinungsformen und deren nahtlose Einbindung in traditionelle Geschäftsmodelle und bestehende Modekonzepte macht eine Positionsbestimmung notwendig, insbesondere im Hinblick auf gegenwärtige Nachhaltigkeitsdiskurse um immaterielle Produkte. Für diese Studie liefern die hinter den Bildern liegenden Prozesse der ökonomischen Ausrichtung, der Herstellung, der Verwendung und der Rezeption den methodologischen Zugang für die Analyse. Mithilfe eines typologisierenden Instrumentariums wird aus der Vielzahl und Vielfalt der Darstellungen ein Set an forschungsleitenden Beispielen zusammengestellt, welche dann in einer mehrstufigen Kontextanalyse zu einer begrifflichen Fassung des virtuellen Kleides sowie zu fünf Kontexteinheiten führen. Am Beispiel des virtuellen Kleides zeichnet diese Untersuchung den technischen, gesellschaftlichen und sozialen Wandel nach und arbeitet seine Bedeutung für zukünftige Modeentwicklungen heraus. Damit leistet die Untersuchung einen Beitrag zur medien- und sozialwissenschaftlichen Modeforschung der Gegenwart.
Funken
(2023)
Insight by de—sign
(2023)
The calculus of design is a diagrammatic approach towards the relationship between design and insight. The thesis I am evolving is that insights are not discovered, gained, explored, revealed, or mined, but are operatively de—signed. The de in design neglects the contingency of the space towards the sign. The — is the drawing of a distinction within the operation. Space collapses through the negativity of the sign; the command draws a distinction that neglects the space for the form's sake. The operation to de—sign is counterintuitively not the creation of signs, but their removal, the exclusion of possible sign propositions of space. De—sign is thus an act of exclusion; the possibilities of space are crossed into form.
Hegels Phantasie
(2023)
Als »Zwischenreich«, »Drittes« oder »Mitte« bezeichnet, kommt der Imagination seit ihren Anfängen in der Antike die Rolle eines Mediums zu. Gleichzeitig bleibt ihr medialer Aspekt durchgehend ambivalent und prekär. Es ist Georg Wilhelm Friedrich Hegel, der die Imagination nicht mehr als subjektives Vermögen versteht, sondern als Kraft der »Entäußerung« und sie somit medial denkt. In einer bislang wenig beachteten Passage aus Hegels dritter Enzyklopädie von 1830 legt Ekaterina Vassilevski nicht nur die implizite Medialität der Imagination frei, sondern auch den in Hegels Denken verborgenen Begriff des Medialen.
Negative Ambientalität
(2023)
The aesthetic phenomenon of the uncanny in literature and art is a spatial and gendered aesthetic concept, which is expressed in the spatial characteristics of a literary or photographic narrative. The intention of this thesis is to evaluate the entanglement of the uncanny, space, domesticity and femininity in the context of Gothic literature and photography. These four objects can only be read in their interplay with each other and how they each function as structural principles in the framework of Gothic fiction and photography. The literary texts, Charlotte Perkins Gilman’s “The Yellow Wall-Paper” (1892) and Shirley Jackson’s “The Lovely House” (1950) and The Haunting of Hill House (1959) as well as Francesca Woodman’s self-portraits that will be discussed further share one particular quality; they use the haunted house motif to express the protagonist’s psychological state by transferring mental hauntings onto the narrative’s spatial layer. The establishment of a connection between the concepts at hand, the uncanny, domesticity, spatiality and femininity, is the basis for the first half of the thesis. What follows is an overview of how domestic politics and gendered perceptions of and behaviors in spaces are expressed in the Gothic mode in particular. In the literary analysis two ways in which the Freudian uncanny constitutes itself in the haunted house narrative, first the house as the site of repetition and second the house as a stand-in for the maternal body, are examined. Drawing from Gernot Böhme’s and Martina Löw’s theoretic work on space and atmosphere the thesis focuses on the different aesthetic strategies that produce the uncanny atmosphere associated with the Gothic haunted house. The female subjects at the narratives’ center are in the ambiguous process of disappearing or becoming, this (dis)appearing act is facilitated by their haunted surroundings. In the case of the unnamed narrator in “Wall-Paper” her suppressed rage at her husband is mirrored in the strangled woman trapped inside the yellow wallpaper. Once she recognizes her doppelganger the union of her two selves takes place in the short story’s dramatic climax. In Shirley Jackson’s literary works the haunted houses, protagonists in themselves, entrap, transform, and ultimately devour their female daughter-victims. The haunted houses are symbols, means and places of the continuous tradition of female entrapment within the domestic sphere, be it as wives, mothers or daughters. In Francesca Woodman’s self-portraits the themes of creation/destruction and becoming/disappearing within the ruinous (post)domestic sphere are acted out by the fragmented and blurry female figure who intriguingly oscillates between self-empowerment and submission to destruction.
Touching at a Distance
(2023)
Studies the capacity of Shakespeare’s plays to touch and think about touchBased on plays from all major genres: Hamlet, The Tempest, Richard III, Much Ado About Nothing and Troilus and CressidaCentres on creative, close readings of Shakespeare’s plays, which aim to generate critical impulses for the 21st century readerBrings Shakespeare Studies into touch with philosophers and theoreticians from a range of disciplinary areas – continental philosophy, literary criticism, psychoanalysis, sociology, phenomenology, law, linguistics: Friedrich Nietzsche, Maurice Blanchot, Jacques Lacan, Luce Irigaray, Jacques Derrida, Roland Barthes, Niklas Luhmann, Hans Blumenberg, Carl Schmitt, J. L. AustinTheatre has a remarkable capacity: it touches from a distance. The audience is affected, despite their physical separation from the stage. The spectators are moved, even though the fictional world presented to them will never come into direct touch with their real lives. Shakespeare is clearly one of the master practitioners of theatrical touch. As the study shows, his exceptional dramaturgic talent is intrinsically connected with being one of the great thinkers of touch. His plays fathom the complexity and power of a fascinating notion – touch as a productive proximity that is characterised by unbridgeable distance – which philosophers like Friedrich Nietzsche, Maurice Blanchot, Jacques Derrida, Luce Irigaray and Jean-Luc Nancy have written about, centuries later. By playing with touch and its metatheatrical implications, Shakespeare raises questions that make his theatrical art point towards modernity: how are communities to form when traditional institutions begin to crumble? What happens to selfhood when time speeds up, when oneness and timeless truth can no longer serve as reliable foundations? What is the role and the capacity of language in a world that has lost its seemingly unshakeable belief and trust in meaning? How are we to conceive of the unthinkable extremes of human existence – birth and death – when the religious orthodoxy slowly ceases to give satisfactory explanations? Shakespeare’s theatre not only prompts these questions, but provides us with answers. They are all related to touch, and they are all theatrical at their core: they are argued and performed by the striking experience of theatre’s capacities to touch – at a distance
Nationality traditionally is one of imagology’s key terms. In this article, I propose an intersectional understanding of this category, conceiving nationality as an interdependent dynamic. I thus conclude it to be always internally constructed by notions of gender, sexuality, race, class, religion, age, ability, and other identity categories. This complex and multi-layered construct, I argue, is formed narratively. To exemplify this, I analyse practices of stereotyping in Honoré de Balzac’s Illusions perdues (1843) and Henry James’s The American (1877) which construct the so-called Parisienne as a synecdoche for nineteenth-century France.
Voilà une Parisienne!
(2022)
Stereotype sind als kulturgenerierende und dabei stark normierende Figurationen omnipräsent. Maria Weilandt betrachtet sie unter einem literatur- und kunstkomparatistischen Blickwinkel nicht als starre und unveränderliche Entitäten, sondern als Ensemble verflochtener Erzählungen. Anhand des Stereotyps der Pariserin im 19. und beginnenden 20. Jahrhundert entwickelt sie ein eigenes Analysekonzept. Neben literarischen Texten und Kunstwerken beleuchtet sie dabei auch die sogenannte Parisienne als Werbefigur der Pariser Warenhauskultur sowie als Repräsentation eines spezifischen intersektionalen Konzepts von Nation, etwa im Rahmen der Weltausstellung 1900.
Queer Curating
(2022)
Dieses Buch ist für alle, die mutig genug sind, sich selbst und das Zeigen von Kunst zu stören. Beatrice Miersch entwirft radikal-relationale Alternativen zu zeitgenössischen Ausstellungspraktiken. Um sich der gesellschaftlichen Verantwortung im Rahmen des Ausstellens von Kunst zu stellen, erprobt sie queer-feministische, kulturwissenschaftliche und selbstreflektierende Methoden in der Praxis und Theorie des Kuratierens. Momente kuratorischer Störung werden zu produktiv-schöpferischen Momenten der Unterbrechung, mit denen sie reflektierte, offene, engagierte und vulnerable Perspektiven auf das Ausstellen eröffnet und tradierte Strukturen durchbricht.
Wie kam es zu dem ikonischen Überschuss des christlichen Heiligenbildes? Janine Luge-Winter geht dieser Frage nach, indem sie die verschiedenen Argumente byzantinischen Bildapologien des 8. und 9. Jahrhunderts und der modernen Ikonentheorien des 20. Jahrhunderts erstmals in ihrer Studie versammelt, miteinander vergleicht und kontextualisiert. Sie zeigt, dass das Mehr der Ikone deren besonderer Sichtbarkeit ist, die eine Überwindung der Undarstellbarkeit des Undarstellbaren evoziert, indem sie das Undarstellbare konkret als solches akzeptiert. Verständlich wird dies nur, wenn die Ikone als »etwas anderes« als ein repräsentationales oder mimetisches Bild anerkannt wird.
This paper examines the function that cross-cultural competence (3C) has for NATO in a military context while focusing on two member states and their armed forces: the United States and Germany. Three dimensions were established to analyze 3C internally and externally: dimension A, dealing with 3C within the military organization; dimension B, focusing on 3C in a coalition environment/multicultural NATO contingent, for example while on a mission/training exercise abroad; and dimension C, covering 3C and NATO missions abroad with regard to interaction with the local population.
When developing the research design, the cultural studies-based theory of hegemony constructed by Antonio Gramsci was applied to a comprehensive document analysis of 3C coursework and regulations as well as official documents in order to establish a typification for cross-cultural competence.
As the result, 3C could be categorized as Type I – Ethical 3C, Type II – Hegemonic 3C, and Type III – Dominant 3C. Attributes were assigned according to each type. To validate the established typification, qualitative surveys were conducted with NATO (ACT), the U.S. Armed Forces (USCENTCOM), and the German Armed Forces (BMVg). These interviews validated the typification and revealed a varied approach to 3C in the established dimensions. It became evident that dimensions A and B indicated a prevalence of Type III, which greatly impacts the work atmosphere and effectiveness for NATO (ACT). In contrast, dimension C revealed the use of postcolonial mechanisms by NATO forces, such as applying one’s value systems to other cultures and having the appearance of an occupying force when 3C is not applied (Type I-II). In general, the function of each 3C type in the various dimensions could be determined.
In addition, a comparative study of the document analysis and the qualitative surveys resulted in a canon for culture-general skills. Regarding the determined lack of coherence in 3C correlating with a demonstrably negative impact on effectiveness and efficiency as well as interoperability, a NATO standard in the form of a standardization agreement (STANAG) was suggested based on the aforementioned findings, with a focus on: empathy, cross-cultural awareness, communication skills (including active listening), flexibility and adaptability, and interest. Moreover, tolerance of ambiguity and teachability, patience, observation skills, and perspective-taking could be considered significant. Suspending judgment and respect are also relevant skills here.
At the same time, the document analysis also revealed a lack of coherency and consistency in 3C education and interorganizational alignment. In particular, the documents examined for the U.S. Forces indicated divergent approaches. Furthermore, the interview analysis disclosed a large discrepancy in part between doctrine and actual implementation with regard to the NATO Forces.
Wer schreibt? Wer spricht?
(2022)
The article is dedicated to the problem of social bonds that is negotiated in Troilus and Cressida. Troilus and Ulysses embody an old, traditional order of the world that is out of joint, while Cressida's behaviour and her way of interacting indicate a different and new regime of social regulation that is about to take over. With its complex superposition of (touches of) love and war, Troilus and Cressida brings together rituals of touch, anarchic speech acts, and a gendered perspective on the world that associates touch and temporality with 'frail' femininity and temptation. With unrivalled intensity, the play puts to the spectator that the basic condition of touch, i.e. exposing oneself to another, entails an incalculable risk. Hector tragically falls for the vulnerability inherent in touch and the audience suffers with him because they share this existential precondition on which modern society is 'founded.' The gloomy, inescapable atmosphere of societal crisis that Troilus and Cressida creates emphasises the fact that the fragility of touch is not to be overcome. The fractions - no matter whether Greek, Trojan, or those of loving couples - cannot simply be reunited to form a new, authentic entity. Generating at least some form of social cohesion therefore remains a challenge.
Begräbnis der Toten
(2022)
Social media and self-esteem
(2022)
The relationship between social media and self-esteem is complex, as studies tend to find a mixed pattern of relationships and meta-analyses tend to find small, albeit significant, magnitudes of statistical effects. One explanation is that social media use does not affect self-esteem for the majority of users, while small minorities experience either positive or negative effects, as evidenced by recent research calculating person specific within-person effects. This suggests that the true relationship between social media use and self-esteem is person-specific and based on individual susceptibilities and uses. In recognition of these advancements, we review recent empirical studies considering differential uses and moderating variables in the social media-self-esteem relationship, and conclude by discussing opportunities for future social media effects research.
Human after man
(2022)