Pub Date : 2023-10-20DOI: 10.1007/s12312-023-01258-w
Yvonne de Buhr, Inga-Marie Hübner
{"title":"Implementation of guidelines","authors":"Yvonne de Buhr, Inga-Marie Hübner","doi":"10.1007/s12312-023-01258-w","DOIUrl":"https://doi.org/10.1007/s12312-023-01258-w","url":null,"abstract":"","PeriodicalId":53229,"journal":{"name":"Forum","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135616730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.1007/s12312-023-01264-y
Philipp Jurmeister, Stefanie Bobe
{"title":"The Young Pathologists Working Group—the new generation of the German Pathology Society","authors":"Philipp Jurmeister, Stefanie Bobe","doi":"10.1007/s12312-023-01264-y","DOIUrl":"https://doi.org/10.1007/s12312-023-01264-y","url":null,"abstract":"","PeriodicalId":53229,"journal":{"name":"Forum","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135617868","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-19DOI: 10.1007/s12312-023-01263-z
Jörg Andreas Müller, Alexander Kluttig, Daniel Medenwald
{"title":"Leitlinienassoziierte Versorgungsforschung in der Onkologie unter Nutzung von Registerdaten","authors":"Jörg Andreas Müller, Alexander Kluttig, Daniel Medenwald","doi":"10.1007/s12312-023-01263-z","DOIUrl":"https://doi.org/10.1007/s12312-023-01263-z","url":null,"abstract":"","PeriodicalId":53229,"journal":{"name":"Forum","volume":"191 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135730220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-16DOI: 10.1007/s12312-023-01255-z
{"title":"41.434 €: Spendenerfolg beim Lauf ins Leben Eckernförde","authors":"","doi":"10.1007/s12312-023-01255-z","DOIUrl":"https://doi.org/10.1007/s12312-023-01255-z","url":null,"abstract":"","PeriodicalId":53229,"journal":{"name":"Forum","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136113486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
My paper studies J.M. Coetzee’s Disgrace (1999) to understand the transnational, transcultural mutations of two key figures of German Romanticism: Johann Wolfgang von Goethe and Heinrich von Kleist. Coetzee’s novels are reflections and reproductions of his extensive reading of politics and literature; these texts grant the lives and works of old masters a renewal, a re-introspection, and most importantly, a resurrection into contemporaneity. Set in post-apartheid South Africa, Disgrace operates as a site of racial and sexual contentions. Through the character of David Lurie, Coetzee initiates a dialogue between the 'visions' of the former colonizer and the ‘revisions’ of the newly emancipated colonized. While the scholarship on the Romantic element in Disgrace (Beard 2007; Easton 2007; Hawkins 2009; and Cass 2013) is predominantly centred on the afterlife of British Romanticism, more particularly, on the roles Byron and Wordsworth play in shaping plot and action, I attempt to read the novel in the light of Coetzee’s critical prose to understand how he draws upon the German Romantic tradition. If Wordsworth and Byron are evoked to characterize the outer, more conspicuous texture of the novel, then the inner, hidden threads that stitch the form and content together are borrowed from Goethe and Kleist. I argue that Coetzee’s romantic sensibility is as much German as British. These two traditions are brought together in Disgrace to re-enact four major leitmotifs of Romantic literature—desire, transgression, punishment, and finally, salvation—in a transformed political dispensation.
{"title":"David Lurie and the ‘Disease of Romanticism’: The Transnational and Transcultural Afterlives of Goethe and Kleist in J.M. Coetzee’s Disgrace","authors":"Debayudh Chatterjee","doi":"10.2218/forum.1.9144","DOIUrl":"https://doi.org/10.2218/forum.1.9144","url":null,"abstract":"My paper studies J.M. Coetzee’s Disgrace (1999) to understand the transnational, transcultural mutations of two key figures of German Romanticism: Johann Wolfgang von Goethe and Heinrich von Kleist. Coetzee’s novels are reflections and reproductions of his extensive reading of politics and literature; these texts grant the lives and works of old masters a renewal, a re-introspection, and most importantly, a resurrection into contemporaneity. Set in post-apartheid South Africa, Disgrace operates as a site of racial and sexual contentions. Through the character of David Lurie, Coetzee initiates a dialogue between the 'visions' of the former colonizer and the ‘revisions’ of the newly emancipated colonized. While the scholarship on the Romantic element in Disgrace (Beard 2007; Easton 2007; Hawkins 2009; and Cass 2013) is predominantly centred on the afterlife of British Romanticism, more particularly, on the roles Byron and Wordsworth play in shaping plot and action, I attempt to read the novel in the light of Coetzee’s critical prose to understand how he draws upon the German Romantic tradition. If Wordsworth and Byron are evoked to characterize the outer, more conspicuous texture of the novel, then the inner, hidden threads that stitch the form and content together are borrowed from Goethe and Kleist. I argue that Coetzee’s romantic sensibility is as much German as British. These two traditions are brought together in Disgrace to re-enact four major leitmotifs of Romantic literature—desire, transgression, punishment, and finally, salvation—in a transformed political dispensation.","PeriodicalId":53229,"journal":{"name":"Forum","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135919297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-13DOI: 10.1007/s12312-023-01265-x
H. Rexer, Heiko Wunderlich, C. Doehn
{"title":"Nichtinterventionelle Studie zur Erstlinientherapie beim fortgeschrittenen oder metastasierten Nierenzellkarzinom","authors":"H. Rexer, Heiko Wunderlich, C. Doehn","doi":"10.1007/s12312-023-01265-x","DOIUrl":"https://doi.org/10.1007/s12312-023-01265-x","url":null,"abstract":"","PeriodicalId":53229,"journal":{"name":"Forum","volume":"156 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135858864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines genderqueer writer/director Ester Martin Bergsmark’s film Something Must Break (2014) and the trans gaze created through the film’s disjunctive imagery. I argue the film’s aestheticization of polluted environments and trans bodies posits a queer alliance between transness and trash. Similarly, Something Must Break’s repeated imagery of urination and body fluids representationally relates transness, waste, and transgressive sexuality to a politics of marginality, which Bergsmark employs in Something Must Break to express these relationalities as sites for creative difference and possibilities of being that exist outside of heterosexual norms. I use post-structuralist and queer interpretations of perversion to reimagine the film’s polluted environments and abject fluids as sites/sights of creation and liveability for trans bodies. I find in the refractions of polluted waters, blood, saliva, and urine in Something Must Break the same cinematic fissures that Eliza Steinbock argues allows for a uniquely trans gaze in their theory of shimmering. In considering a cinematic transgender gaze, Steinbock describes a cinema that eschews the visual reveal and instead portrays a lived trans experience not defined by dualities, but by disjunctions; thus, the unsettled, the (un)becoming, the “shimmering” aesthetics of trans embodiment. I argue Bergsmark achieves a cinematic trans gaze in their imagining of a queer space where pollution, trash, urine, and blood are not symbols of abjection and shame, but embody an opening-up, a vulnerability: a becoming that molds new forms of relationships, new forms of love, and new forms of creation.
{"title":"Dirty Waters: Urine, Waste, and the Shimmering Trans Body in Nånting måste gå sönder or Something Must Break (2014)","authors":"Casey Ann McKinney","doi":"10.2218/forum.1.9151","DOIUrl":"https://doi.org/10.2218/forum.1.9151","url":null,"abstract":"This article examines genderqueer writer/director Ester Martin Bergsmark’s film Something Must Break (2014) and the trans gaze created through the film’s disjunctive imagery. I argue the film’s aestheticization of polluted environments and trans bodies posits a queer alliance between transness and trash. Similarly, Something Must Break’s repeated imagery of urination and body fluids representationally relates transness, waste, and transgressive sexuality to a politics of marginality, which Bergsmark employs in Something Must Break to express these relationalities as sites for creative difference and possibilities of being that exist outside of heterosexual norms. I use post-structuralist and queer interpretations of perversion to reimagine the film’s polluted environments and abject fluids as sites/sights of creation and liveability for trans bodies. I find in the refractions of polluted waters, blood, saliva, and urine in Something Must Break the same cinematic fissures that Eliza Steinbock argues allows for a uniquely trans gaze in their theory of shimmering. In considering a cinematic transgender gaze, Steinbock describes a cinema that eschews the visual reveal and instead portrays a lived trans experience not defined by dualities, but by disjunctions; thus, the unsettled, the (un)becoming, the “shimmering” aesthetics of trans embodiment. I argue Bergsmark achieves a cinematic trans gaze in their imagining of a queer space where pollution, trash, urine, and blood are not symbols of abjection and shame, but embody an opening-up, a vulnerability: a becoming that molds new forms of relationships, new forms of love, and new forms of creation.","PeriodicalId":53229,"journal":{"name":"Forum","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135919296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Representations of Salomé have been hued in the paradoxical characterisations of the beautifully seductive and evil femme fatale. While some artists closely aligned their depictions to this Pandorian stereotype in collusion with narrative traditions of the oppressive male gaze, others challenged it through inventive reimaginations of Salomé, unveiling glimpses of the character’s complex emotive, psychological, and sensual universe that still manages to leave spectators ambivalent and discombobulated today. This article explores the transformations of Salomé in artistic representations of the Decadence across a range of media through a comparative reading of Huysmans’ novel À Rebours (1884), Wilde’s play Salomé (1891) and Strauss’ opera Salomé (1905). The interpretive changes in her characterisations – the femme fatale par excellence, the tragically fated heroine, the transgressive Decadent artist, the self-fulfilled hedonist – uncover a weaponisation of Salomé, transforming her oppressive patriarchal environmental conditions and the sexually objectifying male gaze that have often confined her, to reveal an empowered aesthetic of Decadent transgression that questions and subverts traditional gender and power dynamics, gender identities, and sensual feminine subjectivities.
{"title":"“Passion, Salomé”: Decadent Transformations and Transgressions of Feminine Sensuality in Huysmans, Wilde, and Strauss","authors":"Mariama Diallo","doi":"10.2218/forum.1.9152","DOIUrl":"https://doi.org/10.2218/forum.1.9152","url":null,"abstract":"Representations of Salomé have been hued in the paradoxical characterisations of the beautifully seductive and evil femme fatale. While some artists closely aligned their depictions to this Pandorian stereotype in collusion with narrative traditions of the oppressive male gaze, others challenged it through inventive reimaginations of Salomé, unveiling glimpses of the character’s complex emotive, psychological, and sensual universe that still manages to leave spectators ambivalent and discombobulated today. This article explores the transformations of Salomé in artistic representations of the Decadence across a range of media through a comparative reading of Huysmans’ novel À Rebours (1884), Wilde’s play Salomé (1891) and Strauss’ opera Salomé (1905). The interpretive changes in her characterisations – the femme fatale par excellence, the tragically fated heroine, the transgressive Decadent artist, the self-fulfilled hedonist – uncover a weaponisation of Salomé, transforming her oppressive patriarchal environmental conditions and the sexually objectifying male gaze that have often confined her, to reveal an empowered aesthetic of Decadent transgression that questions and subverts traditional gender and power dynamics, gender identities, and sensual feminine subjectivities.","PeriodicalId":53229,"journal":{"name":"Forum","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135919298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The gaze has hitherto occupied a contentious position within theoretical discourse. While feminist and postcolonial approaches have succeeded in productively interrogating the unequal power dynamics produced by the gaze, purely naming and uncovering how these visual oppressions function do little to conceptualise possibilities of moving beyond sight’s vilification in identity formations. Unlike other physical senses such as touch and smell that have already been theorised as bases of ethical intersubjective relationality, sight has yet to be reclaimed as part of an affirmative politics to disrupt the exclusionary processes that undergird identity politics. This article is, therefore, concerned with queer interventions to rethink sight as a possible mode of transgression from restrictive binarisms within identity formation. It argues that sight instead possesses the potential to liberate bodies and constrained subjectivities from the coercive frameworks of visual objectification. By queering sight, the article positions itself as a rejection of dualistic paradigms by subversively envisioning identities as transversal processes of liberation and becoming. To this end, I will engage with Josh Malerman’s Bird Box (2014) where mediated acts of looking represent queer(ed) sources of danger and liberation. In its peculiar and particular denial of direct visual access, the novel’s aesthetics allow for productive possibilities of visualising the transversal Other.
{"title":"Queering Sight: Visualising the Transversal Other in Josh Malerman’s Bird Box","authors":"Kai Tjoon Lim","doi":"10.2218/forum.1.9153","DOIUrl":"https://doi.org/10.2218/forum.1.9153","url":null,"abstract":"The gaze has hitherto occupied a contentious position within theoretical discourse. While feminist and postcolonial approaches have succeeded in productively interrogating the unequal power dynamics produced by the gaze, purely naming and uncovering how these visual oppressions function do little to conceptualise possibilities of moving beyond sight’s vilification in identity formations. Unlike other physical senses such as touch and smell that have already been theorised as bases of ethical intersubjective relationality, sight has yet to be reclaimed as part of an affirmative politics to disrupt the exclusionary processes that undergird identity politics. This article is, therefore, concerned with queer interventions to rethink sight as a possible mode of transgression from restrictive binarisms within identity formation. It argues that sight instead possesses the potential to liberate bodies and constrained subjectivities from the coercive frameworks of visual objectification. By queering sight, the article positions itself as a rejection of dualistic paradigms by subversively envisioning identities as transversal processes of liberation and becoming. To this end, I will engage with Josh Malerman’s Bird Box (2014) where mediated acts of looking represent queer(ed) sources of danger and liberation. In its peculiar and particular denial of direct visual access, the novel’s aesthetics allow for productive possibilities of visualising the transversal Other.","PeriodicalId":53229,"journal":{"name":"Forum","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135919301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Virginia Woolf often crosses the boundaries between literature and painting in her writing, masterfully combining these two realms. However, her novels are only ever read within a post-Impressionist framework. In this essay, I aim to challenge this well-established notion by translating To the Lighthouse into the terms of surrealist art. Firstly, I compare automatic writing used by surrealists and Woolf’s stream-of-consciousness technique and free indirect discourse, also reflecting on their significance in Lily Briscoe’s painting. Then, I explore the concept of the surreal house and space in both surrealism and To the Lighthouse. Lastly, I develop the notion of Mrs Ramsay as a ghost and her influence on Lily’s final piece of art. To justify my translation, I return to Freudian psychoanalysis, which was fundamental for surrealists and equally significant for Woolf, although in a less immediate way. It is essential to note that existing scholarship does not associate Woolf with surrealism at all, and, accordingly, I am not going to argue that Woolf considered herself a surrealist, nor that To the Lighthouse is representative of the movement. Instead, I plan to challenge the form of Woolf’s novel, redirecting our transfixed gaze towards new possible dimensions of this well-known, extensively interpreted text, and assist in merging the realms of literature and painting.
{"title":"Translating Virginia Woolf’s To the Lighthouse into Surrealist Art","authors":"Hanna Agnieszka Liskowska","doi":"10.2218/forum.1.9142","DOIUrl":"https://doi.org/10.2218/forum.1.9142","url":null,"abstract":"Virginia Woolf often crosses the boundaries between literature and painting in her writing, masterfully combining these two realms. However, her novels are only ever read within a post-Impressionist framework. In this essay, I aim to challenge this well-established notion by translating To the Lighthouse into the terms of surrealist art. Firstly, I compare automatic writing used by surrealists and Woolf’s stream-of-consciousness technique and free indirect discourse, also reflecting on their significance in Lily Briscoe’s painting. Then, I explore the concept of the surreal house and space in both surrealism and To the Lighthouse. Lastly, I develop the notion of Mrs Ramsay as a ghost and her influence on Lily’s final piece of art. To justify my translation, I return to Freudian psychoanalysis, which was fundamental for surrealists and equally significant for Woolf, although in a less immediate way. It is essential to note that existing scholarship does not associate Woolf with surrealism at all, and, accordingly, I am not going to argue that Woolf considered herself a surrealist, nor that To the Lighthouse is representative of the movement. Instead, I plan to challenge the form of Woolf’s novel, redirecting our transfixed gaze towards new possible dimensions of this well-known, extensively interpreted text, and assist in merging the realms of literature and painting.","PeriodicalId":53229,"journal":{"name":"Forum","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135919299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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