{"title":"The Lever as Instrument of Reason: Technological Constructions of Knowledge around 1800 By Jocelyn Holland, Bloomsbury. 2019. pp. vi + 208. $40.95 (paperback), $144.00 (hardcover), $32.36 (ebook and PDF)","authors":"Matthew Handelman","doi":"10.1111/gequ.12423","DOIUrl":"10.1111/gequ.12423","url":null,"abstract":"","PeriodicalId":54057,"journal":{"name":"GERMAN QUARTERLY","volume":"97 2","pages":"285-287"},"PeriodicalIF":0.3,"publicationDate":"2024-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141014888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
<p>Back in the late 1990s when I first read these words, they opened my eyes as to why, considering my family background, I went into the field of foreign languages. Unlike many in our profession, I was not of German heritage, my parents weren't academics, and I was and still am the first in my extended family to earn a graduate degree. Studying French and German literature allowed me to escape the culturally stultifying and sexually normative confines of late 1970s Canadian suburbia. In the essay “The Theory of Seduction and the Problem of the Other” (1999), Jean Laplanche wrote about sexuality and foreignness in a way that attractively resonates with the term queer. Destabilizing claims to an abiding, undisturbed notion of the self and sexuality, Laplanche spoke of <i>das Andere</i>—the other-thing in us, the otherness of our unconscious, the enigma of sexuality. <i>Das Andere</i> is the internal otherness that we perpetually carry within us and that de-centers us and our sexuality, but that is founded by contact with an external otherness and that we seek out.</p><p>Bob Tobin's academic adventuresomeness, his search for <i>das Andere</i>, endowed his entire scholarly project—in fact, his very presence—with lightness and brightness. His intellectual curiosity and capaciousness led to enormous insights and taught us to pursue our scholarly passions and to seek out novelty; <i>Wissenschaft</i> is <i>fröhlich</i>. Bob and I were both students of Stanley Corngold at Princeton and inherited from him, back in the 1980s, a pleasure in reading against the grain, but with utmost admiration for the texts we were deconstructing. This respect, yet also subversion, are there in Bob's extraordinary contribution to the study not just of Goethe, but also of Christoph Martin Wieland, Georg Christoph Lichtenberg, Karl Phillip Moritz, Jean Paul Richter, and Thomas Mann, among many other authors. Bob was always a dedicated Corngold protégé—both theory junkie <i>and</i> textual reader. His thinking was brilliantly counterintuitive or <i>verquert</i>; his productive attention to ambiguity made him a fabulous reader. For example, Bob strongly argued that queer desires, which Goethe called both in and against nature, repeatedly come to represent nature itself throughout Goethe's writings, so that the seemingly diametrically opposed notions of homo- and heterosexuality, natural and unnatural, poisonous and curative, inside and outside, collapse into each other.</p><p>Starting with the observation in <i>Warm Brothers</i> that Goethe connects homosexuality to the trope of writing, Bob continued with remarkable consistency in his scholarship to link aesthetics and LGBTQ+ history, as if he were determined to archeologically reconstruct the textual nature of sexuality throughout the eighteenth, nineteenth, and twentieth centuries. Taking inspiration from Jacques Derrida's “Plato's Pharmacy,” Bob repeatedly returned to the notion of writing as a <i>pharmakon</i>, as having a
上世纪 90 年代末，当我第一次读到这些文字时，它们让我大开眼界，让我明白了为什么考虑到我的家庭背景，我会投身于外语领域。与我们行业中的许多人不同，我没有德国血统，我的父母也不是学者，我过去是、现在仍然是我们大家族中第一个获得研究生学位的人。学习法语和德语文学让我摆脱了 20 世纪 70 年代末加拿大郊区的文化熏陶和性规范束缚。在《诱惑理论与他者问题》（1999 年）一文中，让-拉普兰什（Jean Laplanche）以一种与 "同性恋者"（queer）一词产生共鸣的引人入胜的方式论述了性与异国情调。拉普兰什颠覆了关于自我和性的持久、不受干扰的概念的说法，他谈到了 "他者"--我们内心的他者，我们无意识中的他者，性的谜团。他的学术冒险精神和对 "他者 "的探寻，为他的整个学术项目--事实上，他的存在--赋予了轻盈和明亮。他的求知欲和宽广的胸怀让我们获得了巨大的启示，也教会了我们要追求学术激情，寻找新颖性；学术是博学的。鲍勃和我都曾是斯坦利-康戈尔德（Stanley Corngold）在普林斯顿大学的学生，早在上世纪八十年代，我们就从他那里继承了一种反传统阅读的乐趣，同时也对我们所解构的文本极为钦佩。鲍勃不仅对歌德，而且对克里斯托夫-马丁-维兰德（Christoph Martin Wieland）、格奥尔格-克里斯托夫-利希滕贝格（Georg Christoph Lichtenberg）、卡尔-菲利普-莫里茨（Karl Phillip Moritz）、让-保罗-里希特（Jean Paul Richter）和托马斯-曼（Thomas Mann）以及其他许多作家的研究都做出了非凡的贡献。鲍勃一直是康戈德的忠实门徒--既是理论迷，又是文本读者。他的思想具有出色的反直觉性或悖论性；他对模糊性的关注使他成为一名出色的读者。例如，鲍勃极力主张，歌德所谓的 "在自然之中 "和 "违背自然 "的同性恋欲望，在歌德的著作中反复代表了自然本身，因此，同性恋和异性恋、自然和非自然、有毒和有疗效、内在和外在这些看似截然相反的概念，都相互坍塌。从《温暖的兄弟》一书中观察到歌德将同性恋与写作的特质联系在一起开始，鲍勃在其学术研究中始终如一地将美学与 LGBTQ+ 历史联系在一起，仿佛他决心要从考古学角度重建十八、十九和二十世纪性的文本性质。鲍勃从雅克-德里达（Jacques Derrida）的《柏拉图的药房》（Plato's Pharmacy）中汲取灵感，反复提到写作是药房的概念，具有诱惑和迷惑的成分。在《外围的欲望》（Peripheral Desires：德国人对性的发现》（2015年）及随后的文章中，他指出了文学在性研究中的核心地位，例如十八和十九世纪希腊、罗马和波斯文本的读者；文学家卡洛里-马里亚-凯尔泰尼（Károly Mária Kertbeny）和卡尔-海因里希-乌尔里希斯（Karl Heinrich Ulrichs）；理查德-克拉夫特-艾宾（Richard Krafft-Ebing）和他的文学来源；以及汉斯-布吕赫尔（Hans Blüher）和阿道夫-布兰德（Adolf Brand）的幻想现实。他提醒我们，正如托马斯-曼在接受弗里德里希-席勒（Friedrich Schiller）时所做的那样，过去的文化和外国文化如何提供了一个透镜，通过它来解读和赞美同性的欲望，即产生和调解渴望。他还注意到了非同步的连续性，并关注到了日耳曼文学以外的读者，因此在《温暖的兄弟》的最后一章，他写道："德国制造：现代性 "一章和 "外围的欲望 "一章，分别论述了 "德国性发现的美国遗产 "和 "外围的欲望"。最后，除了文学上的性观念，鲍勃还不断探索其政治、殖民和医学层面。我记得早在 20 世纪 90 年代初，鲍勃就鼓励我参加罗格斯大学的同性恋理论会议。那次令人兴奋的访问让我意识到，我们的学术研究必须突破界限。随后，我们与西蒙-里希特（Simon Richter）一起，组织了1994年现代语言协会（MLA）关于 "歌德及其时代"（Outing Goethe and His Age）的会议，并在1997年与斯坦福大学合作出版了这本书。宴会厅座无虚席；男人们在后面亲热；《华尔街日报》和《纽约邮报》都报道了我们。两年后，鲍勃在文学和艺术协会组织了 "歌德的受虐狂 "会议，再次声名鹊起。鲍勃和我都在 2000 年出版了书籍；他出版了《温暖的兄弟》，我出版了《同性恋德国电影》，这本书的写作离不开他的推动和对罗莎-冯-普劳恩海姆的个人介绍。2001 年，鲍勃的论文《医生的命令》（Doctor's Orders）修订版问世：歌德与启蒙思想》。
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<p>Queer people have written and read novels and scientific treatises, circulated pamphlets, found each other in classified advertisements, made albums and zines with their friends and lovers, handed out political flyers and buttons, pasted posters on walls, and created private and public archives for these often ephemeral materials. It is through print culture that queer people realized they were part of something larger than themselves. Indeed, print culture has been pivotal for creating a new vocabulary for queer sexuality and desire and has been crucial for raising key questions about identity, kinship, and citizenship. Within the German context, ephemeral handcrafted and popular printed publications have circulated throughout the twentieth century and until today, including <i>Die Freundschaft</i>, <i>Die Freundin</i>, <i>Der Kreis</i>, <i>du&ich</i>, <i>L-Mag</i>, and <i>Siegessäule</i>. These publications and many others are a testament to the diversity of voices, experiences, and positions within queer culture.</p><p>Our contribution to this forum builds upon our collaborative work on print and visual culture. We just finished editing <i>Queer Print Cultures: Resistance, Subversion, and Community</i> (University of Toronto Press). In this forthcoming volume, we wanted to expand traditional histories of printed objects, material and visual culture, publishing, and reading to show how queer people have told others about their desires, built coalitions and community, fought against oppression, and imagined different ways of being in the world since the late eighteenth century. Queerness can be found <i>everywhere</i>, but the volume is by no means comprehensive. It provides a sample of different sources, topics, and methodologies we can use to study and teach about queer material and print culture. It was very important for us that we include the voices of professors, librarians, archivists, and activists writing about print culture and queer communities, and that we acknowledge that some printed materials are collected and archived by institutions while others are not. Finally, we wanted to highlight how necessary this work is for teaching. The study of queer print culture offers students the opportunity to go into special collections and the archive, to find themselves reflected in historical materials, and to gather and share these histories with other queer community members.</p><p>Queer print culture thus expands the horizon of what we can achieve in queer German studies. Teaching and researching queer print culture forces all of us to grapple with diverse identities, histories, experiences, and politics. If we do not include queer voices and study queer texts we run the risk of misrepresenting how printed materials and cultural objects have been created, shared, and appreciated. When we turn to these otherwise understudied materials it helps us fill in gaps and silences that have been excluded from the historical record, such as th
同性恋者撰写和阅读小说和科学论文，散发小册子，在分类广告中找到彼此，与朋友和恋人一起制作相册和杂志，散发政治传单和纽扣，在墙上粘贴海报，并为这些往往昙花一现的材料建立私人和公共档案。正是通过印刷文化，同性恋者意识到他们是比自己更重要的一部分。事实上，印刷文化在为同性恋的性和欲望创造新词汇方面发挥了关键作用，在提出有关身份、亲属关系和公民身份的关键问题方面也发挥了至关重要的作用。在德国，短暂的手工制作和流行印刷出版物在整个二十世纪一直流传至今，其中包括《Die Freundschaft》、《Die Freundin》、《Der Kreis》、《du&ich》、《L-Mag》和《Siegessäule》。这些出版物和其他许多出版物证明了同性恋文化中的声音、经验和立场的多样性。我们刚刚完成了《同性恋印刷文化》的编辑工作：多伦多大学出版社）。在这本即将出版的书中，我们希望扩展传统的印刷品、物质和视觉文化、出版和阅读史，以展示自 18 世纪晚期以来，同性恋者是如何向他人讲述自己的欲望、建立联盟和社区、反抗压迫以及想象不同的世界存在方式的。同性恋随处可见，但这本书绝非包罗万象。它为我们研究和教授同性恋材料和印刷文化提供了不同来源、主题和方法的样本。对我们来说非常重要的一点是，我们收录了教授、图书馆员、档案管理员以及撰写印刷文化和同性恋社区文章的活动家的声音，而且我们承认，有些印刷材料是由机构收集和存档的，而有些则不是。最后，我们希望强调这项工作对教学的必要性。对同性恋印刷文化的研究为学生提供了进入特藏和档案馆的机会，让他们发现自己在历史资料中的反映，并与其他同性恋社区成员收集和分享这些历史。教学和研究同性恋印刷文化迫使我们所有人努力应对不同的身份、历史、经历和政治。如果我们不吸纳同性恋的声音，不研究同性恋的文本，我们就有可能歪曲印刷材料和文化物品是如何被创造、分享和欣赏的。当我们转向这些未被充分研究的材料时，它有助于我们填补被历史记录排除在外的空白和沉默，比如有色人种中同性恋和变性人的声音。此外，"同性恋印刷品研究 "使我们摆脱了将物质文本仅仅作为研究的档案信息来源，而非其本身的重要对象的性学历史。我们面临的挑战是关注形式、格式和艺术过程，以及身体和感官与手工制品之间的关系，这些手工制品照亮了同性恋者的生活。归根结底，同性恋艺术家依靠印刷品的历史和美学来了解同性恋的过去和批判现在。让-乌尔里克-德塞特（Jean-Ulrick Désert，生于 1960 年）和菲利普-古夫勒（Philipp Gufler，生于 1989 年）的近期作品就是两个典型的例子。让-乌尔里克-德塞特（生于 1960 年）和菲利普-古夫勒（生于 1989 年）是美籍海地人，在柏林从事概念和视觉艺术创作。他创作了明信片、广告牌、啤酒杯垫和大字报等短暂印刷品，以探究德国的霸权结构，包括种族和民族、社会习惯、宗教和殖民主义遗产。在他于 2023 年在 SAVVY Contemporary 举办的回顾展上，展出了他的作品 Codex Testimoniorum Amoris / The Book of the Witnesses of Love (2005)，这是一个由八幅牛皮纸数字版画组成的系列作品，探讨了性工作、暴力、移民和天主教道德（图 1）。手稿和印刷文化的格式和形式语言--典籍、大报、雕刻、排版、词汇注释、摄影、耸人听闻的报纸报道、审查--有助于表达同性恋主体在过去和现在感受欲望和面临谴责的方式的真相。Désert 将插图工艺、版面设计和忏悔叙事并置在一起，创建了一个复杂的欲望档案，而德国社会和天主教会中的许多人却宁愿将其隐藏起来。 古夫勒的艺术家书籍、电影和纺织品对同性恋杂志等同性恋印刷文化的历史元素进行了再创作，艺术家还批判了小报《图片报》对艾滋病毒/艾滋病危机的煽情和恐同报道。Gufler 的《被子 #01 - #30》（2016-）由 30 块丝网印刷织物组成，恢复了被排除在传统历史之外的政治和物质文化（图 2）。该项目不断发展壮大，但第 15 号被子《Die Freundin - das ideale Freundschaftsblatt》（2016 年）尤为引人注目（图 3）。你可能会想象被子是由布料拼接而成的图案，而古夫勒则专注于将半透明的布料印花层层叠加，再现历史资料中的图像，如魏玛共和国的女同性恋杂志《Die Freundin》。这种艺术是记忆作品。Gufler 选择了与 LGBTQ+ 权利运动有关的淡紫色织物；其质地让人联想到 Felix Gonzalez-Torres 的作品《无题（水）》（Untitled (Water)），这是一件用珠子串成的装置作品，暗示着进入一个矩形空间的门槛。这些版画的多孔性使其神秘而诱人。古夫勒的艺术作品是对欲望的邀请，是对过去的触摸和被触摸的邀请。虽然这些作品实际上不是传统意义上的被子，但它们隐喻着将同性恋和印花历史的碎片拼接在一起。它们让我们想起了旗帜和标语，这些都是同性恋政治文化的常见元素，如艾滋病纪念被和彩虹旗。古夫勒的作品既不涉及自豪感，也不涉及羞耻感。这篇论坛文章能刊登在德国研究领域最重要的期刊之一，无疑表明了同性恋研究的机构地位正在提高。我们上面列举的例子说明了同性恋档案的广阔性和丰富性，也说明了它超越了文学和电影的范畴。别误会，文学仍然非常重要。我们提倡用同性恋的方法来处理文本，因为它反映了文学，更广泛地说，印刷文化中存在的颠覆、抵抗、模糊性，以及反对规范方法和时间性的工作。拥抱印刷品的同性恋潜能意味着我们对霸权、规范和真实性提出质疑。Désert、Gufler 以及其他同性恋艺术家和制作者的作品正是这样做的。印刷文化中的同性恋意味着将我们对文本的依恋历史化，为此我们可能必须跳出传统的档案馆和机构环境。
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<p>In 2000 and early 2001, Robert Tobin's book <i>Warm Brothers: Queer Theory and the Age of Goethe</i> appeared and began to reach university libraries and bookstores. At the time, I was about to complete an undergraduate degree in German studies at a small liberal arts college in Minnesota after having fled Alaska for the intellectual, social, and sexual freedom that only somewhere else could provide. Thanks to sympathetic and open-minded professors, my exploration of German literature, history, and culture included examinations of queer sensibilities to be found in works including those of Johann Joachim Winckelmann, August von Platen, Ingeborg Bachmann, Thomas Mann, Christa Winsloe, G.W. Pabst—and Goethe. Tobin's <i>Warm Brothers</i>, which joined a couple of other innovative titles that had recently been published, including <i>Queering the Canon</i> and <i>Outing Goethe & His Age</i> (Lorey and Plews; Kuzniar), updated the study of German literature while pushing the field of gay and lesbian studies into queer studies in ways I found exhilarating. These titles put me on the road to the kind of queer media studies I discuss below, using queer sexuality and gender as a way into the medial worlds of historical figures and the eras in which they lived. One of the figures to whom <i>Warm Brothers</i> introduced me was Karl Heinrich Ulrichs (1825–1895), who was the classicist founder of a periodical in Latin, nationalistic enthusiast of <i>Großdeutschland</i>, but also an activist for queer rights and liberation. Ulrichs's appearances in <i>Warm Brothers</i> are not extensive, but the context the book provided gave me an intriguing presentation of the roles Ulrichs played in the early articulation of non-normative gender and sexual identities. For years since then, I have wanted to know more about this person who had inspired such fearful homophobic loathing in numerous readers including none other than Karl Marx and Friedrich Engels (Tobin 197; Marx and Engels 325).</p><p>Although Ulrichs's influence came primarily through the spread of his publications and eventually their citation by others, there remains much to be discovered about the ways in which Ulrichs's and his contemporaries’ extratextual activities contributed to the development of gender and sexual theories (Frackman). Public awareness of Ulrichs and his legacy has ebbed and flowed over the years (Sigusch; Stack). Various scholars have explored the role he played in the nineteenth-century articulation of non-normative gender and sexuality, which included influencing—and inspiring—other well-known figures like Richard von Krafft-Ebing and Carl Westphal as well as the British writer Edward Carpenter (Pretsell; Oosterhuis 139; Lehmstedt 60). Ulrichs's writings, most prominent of which was his twelve-volume series of short books or pamphlets, <i>Forschungen über das Räthsel der mannmännlichen Liebe</i> (1864–79), developed a congenitally determined system of gender and sexuality orga
2000 年至 2001 年初，罗伯特-托宾的著作《温暖的兄弟》（Warm Brothers：同性恋理论与歌德时代》一书问世，并开始进入大学图书馆和书店。当时，我正准备在明尼苏达州的一所小型文理学院完成德语研究的本科学位，在此之前，我逃离了阿拉斯加，寻求只有其他地方才能提供的思想、社会和性自由。多亏了富有同情心、思想开放的教授们，我对德国文学、历史和文化的探索包括对同性恋情感的研究，这些作品包括约翰-约阿希姆-温克尔曼、奥古斯特-冯-普拉滕、英格博格-巴赫曼、托马斯-曼、克里斯塔-温斯洛、G.W. 帕布斯特以及歌德的作品。托宾的《温暖的兄弟》与最近出版的其他几本创新性著作，包括《Queering the Canon》和《Outing Goethe & His Age》（Lorey and Plews; Kuzniar）一起，更新了德国文学研究，同时以我认为令人振奋的方式将同性恋研究领域推向了同性恋研究。这些著作让我走上了我将在下文讨论的同性恋媒体研究之路，将同性恋和性别作为进入历史人物及其所处时代的媒体世界的途径。卡尔-海因里希-乌尔里希斯（Karl Heinrich Ulrichs，1825-1895 年）是《温暖兄弟》向我介绍的人物之一，他是拉丁文期刊的古典主义创始人、Großdeutschland 的民族主义狂热者，同时也是同性恋权利和解放的活动家。乌尔里希斯在《温暖的兄弟》一书中出现的次数并不多，但该书提供的背景让我对乌尔里希斯在早期非规范性别和性身份的表达中所扮演的角色有了一个耐人寻味的了解。虽然乌尔里希斯的影响主要来自于他的出版物的传播以及其他人对这些出版物的引用，但关于乌尔里希斯及其同时代人的文本外活动如何促进了性别和性理论的发展（弗莱克斯曼），还有很多东西有待发现。多年来，公众对乌尔里希斯及其遗产的认识起伏不定（Sigusch; Stack）。不同的学者探讨了他在十九世纪非规范性别和性问题的阐述中所扮演的角色，其中包括影响和启发其他著名人物，如理查德-冯-克拉夫特-艾宾（Richard von Krafft-Ebing）、卡尔-韦斯特法尔（Carl Westphal）以及英国作家爱德华-卡彭特（Edward Carpenter）（Pretsell; Oosterhuis 139; Lehmstedt 60）。乌尔里希斯的著作，其中最著名的是他的十二卷本短篇丛书或小册子《Forschungen über das Räthsel der mannmännlichen Liebe》（1864-79 年），围绕着他所谓的 "乌拉宁"（Urning），发展出一套先天决定的性别和性系统。后一个术语是乌尔里希斯受柏拉图启发而提出的性别和性认同标签，已被归入同性恋、变性人和双性人等最新标签（乌尔里希斯，《Vindex》1；普雷塞尔，《Urning》1-2）。他后来关于男性和女性 Urninge 的短语--anima muliebris virili（或分别为 virilis muliebri）corpore inclusa（"女性/男性的灵魂包含在男性/女性的身体中"）--现在经常被引用，其描述性别和性身份的方式特别过时，导致人们对其思想的本质主义和 "生物根基 "持怀疑态度（乔伊斯 72）。乌尔里希斯在撰写有关性别-性行为的文章的同时，还保持着一些业余爱好和副业，其中包括养蚕业，这为乌尔里希斯的理论传播提供了一个性别-性行为的媒介世界。养蚕可以生产蚕丝和更多的蚕蛾卵，是一种多重意义上的职业，为乌尔里希斯提供了业余爱好和微薄的收入。十八和十九世纪，随着普鲁士及其他地区大量种植桑树，一些业余爱好者也有了养蚕的机会，乌尔里希斯因此受益匪浅。桑叶是蚕的唯一食物来源。他可能认为自己符合养蚕的一些常规人口统计。据说妇女以及男教师和牧师的手比较闲、比较小，非常适合这种报酬微薄的消遣（Silbermann 109）。因此，乌尔里希斯在报纸上刊登了买卖蚕蛾卵的广告。蚕丝贸易不仅仅是一种商品，它还建立了国际交流网络--对话者中就有同性恋者。在他的一些通信中，乌尔里希斯要求他的通信伙伴从他们的地区（如美国）为他采购新品种的蚕卵。 与弗里德里希-基特勒（Friedrich Kittler）一样，对于乌尔里希斯和他的网络来说，蚕构成了数据 "处理、存储和传输 "的希望（Wellbery xiii）。与计算机一样，蚕也需要硬件（饲养房和技术）和软件（使用手册）来实现人类与蚕的互动，而人类与蚕的互动则完全依赖于硬件和软件。作为媒介，蚕成为早期同性恋人际网络形成的构成部分，这不仅使构成蚕茧的纤维变得有价值，也使构成养蚕的媒介操作变得有价值。这些小动物塑造了劳动、资本、阶级、性别、建筑和技术组织。蚕需要种植成片的桑树来满足它们对特定树叶的贪婪欲望，这反过来又需要建立新的官僚机构、土地使用的农业计划和劳动标准。他的 Forschungen 文集不仅证明了丝绸作为纺织品的重要性，还证明了丝绸作为社会阶层标志和遵守性别规范信号的作用（Formatrix 26）。同时，被驯化的蚕蛾（Bombyx mori）有模仿交配的同性行为的倾向，这也引起了乌尔里希斯的注意（Critische Pfeile 22-23, 91）。在乌尔里希斯出版的诗集（《Auf Bienchens Flügeln 62》）中，蚕的茧甚至出现在书页上。蚕是人类（栽培者）和丝绸（理想产品）之间的一个接触点，一个媒介。对乌尔里希斯来说，蚕是他与世界交流的一个渠道。因此，乌尔里希斯与蚕的关系代表了一种同性恋生态学，这种生态学不仅对性别和性角色提出了质疑，也对传统的媒介类别提出了质疑。
{"title":"Karl Heinrich Ulrichs and the queer ecology of sericulture","authors":"Kyle Frackman","doi":"10.1111/gequ.12433","DOIUrl":"10.1111/gequ.12433","url":null,"abstract":"<p>In 2000 and early 2001, Robert Tobin's book <i>Warm Brothers: Queer Theory and the Age of Goethe</i> appeared and began to reach university libraries and bookstores. At the time, I was about to complete an undergraduate degree in German studies at a small liberal arts college in Minnesota after having fled Alaska for the intellectual, social, and sexual freedom that only somewhere else could provide. Thanks to sympathetic and open-minded professors, my exploration of German literature, history, and culture included examinations of queer sensibilities to be found in works including those of Johann Joachim Winckelmann, August von Platen, Ingeborg Bachmann, Thomas Mann, Christa Winsloe, G.W. Pabst—and Goethe. Tobin's <i>Warm Brothers</i>, which joined a couple of other innovative titles that had recently been published, including <i>Queering the Canon</i> and <i>Outing Goethe & His Age</i> (Lorey and Plews; Kuzniar), updated the study of German literature while pushing the field of gay and lesbian studies into queer studies in ways I found exhilarating. These titles put me on the road to the kind of queer media studies I discuss below, using queer sexuality and gender as a way into the medial worlds of historical figures and the eras in which they lived. One of the figures to whom <i>Warm Brothers</i> introduced me was Karl Heinrich Ulrichs (1825–1895), who was the classicist founder of a periodical in Latin, nationalistic enthusiast of <i>Großdeutschland</i>, but also an activist for queer rights and liberation. Ulrichs's appearances in <i>Warm Brothers</i> are not extensive, but the context the book provided gave me an intriguing presentation of the roles Ulrichs played in the early articulation of non-normative gender and sexual identities. For years since then, I have wanted to know more about this person who had inspired such fearful homophobic loathing in numerous readers including none other than Karl Marx and Friedrich Engels (Tobin 197; Marx and Engels 325).</p><p>Although Ulrichs's influence came primarily through the spread of his publications and eventually their citation by others, there remains much to be discovered about the ways in which Ulrichs's and his contemporaries’ extratextual activities contributed to the development of gender and sexual theories (Frackman). Public awareness of Ulrichs and his legacy has ebbed and flowed over the years (Sigusch; Stack). Various scholars have explored the role he played in the nineteenth-century articulation of non-normative gender and sexuality, which included influencing—and inspiring—other well-known figures like Richard von Krafft-Ebing and Carl Westphal as well as the British writer Edward Carpenter (Pretsell; Oosterhuis 139; Lehmstedt 60). Ulrichs's writings, most prominent of which was his twelve-volume series of short books or pamphlets, <i>Forschungen über das Räthsel der mannmännlichen Liebe</i> (1864–79), developed a congenitally determined system of gender and sexuality orga","PeriodicalId":54057,"journal":{"name":"GERMAN QUARTERLY","volume":"97 2","pages":"214-217"},"PeriodicalIF":0.3,"publicationDate":"2024-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/gequ.12433","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141015521","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
<p>The rise of German sexology in the nineteenth century coincides with the rise of occult discourse and practice. The former has always maintained an important status in queer German studies. Scholars have historically turned with great interest to the works of, among others, Richard von Krafft-Ebing, Albert Moll, and Magnus Hirschfeld, in order to advance the famous Foucauldian notion that the homosexual was born in the clinic. And with good reason: early sexologists produced frameworks through which to study queer life, generated discursive strategies to define and analyze it, and turned to various forms of media engagement including scientific writing and popular pamphleteering to disseminate their work to the public. No wonder, then, that their epistemic practices and broader advocacy work take center stage in scholarship on late-nineteenth and early twentieth-century queer German studies. But when it comes to occult discourse, which has likewise presented epistemic frameworks by which to define and engage queer life, queer German studies has often been somewhat hesitant to engage it seriously.</p><p>My sense is that the occult's epistemological foundations, which directly compete with and reach beyond the purview of Enlightenment epistemologies, rendered occultism as a cultural practice too fringe, even ridiculous, to warrant serious scholarly engagement. But such a view keeps scholars from a rather sizable cultural archive replete with information about how queer people navigated their lives, defined their relation to others, and conceived of how to engage with the world on terms often radically different than those that come into view when studying the history of sexuality through sexology. Occult practitioners did not favor empiricism. They instead pursued “unreasonable” methods that drew on divination, sensing, and speculation to glean information about the world. And, in so doing, they most certainly engaged queer methods and drew participation from queer people. That occult practice and queerness have a strong connection in our times today is no secret—see, for instance, Nathan Snaza's exciting new scholarship on queer feminist esotericism and contemporary liberation movements. But the connection between queer people and occult practice has a longer history, one that is particularly rich in the German-language context around 1900.</p><p>One site for scholarly engagement on matters of queer occultism in German studies is Hans Freimark's remarkable study <i>Okkultismus und Sexualität</i> (1909). For Freimark, the rise of the occult during his time is a phenomenon directly tied to a depreciation of empiricism as a guiding mechanism by which to know the world. In his assessment, occultists provided the public what science could not: access to deeper understandings of phenomena that reach beyond the capacities of scientific tools. These phenomena pertain to various discourses on human spirituality, psychic depth, and mystical forces said t
弗赖马克（Freimark）等同性恋神秘学理论家阐明了从非性别角度理解同性恋生活的框架。但是，他们的方法并非没有错误。神秘主义者有时会借鉴东方主义、种族主义以及其他排斥性和有害的话语实践，以表达他们对占卜实践的迷恋和奉献。因此，他们的技艺--以及神秘学作为一种现象的整体--需要严格的审视。但是，这种质疑必须与这样一个事实相平衡，即神秘主义--也许并非如此反直觉--从来都不是少数人的专属。它吸引了一群渴望找到工具来帮助自己阐明与世界的有意义关系的人。例如，第一本关于塔罗牌的德文书籍《Der Tarot-die kabbalistische Methode der Zukunftsforschung als Schlüssel zum Okkultismus》（1920 年）由神秘主义者恩斯特-特里斯坦-库尔扎恩（Ernst Tristan Kurtzahn）构思并撰写。作者坚持为塔罗牌的使用方式和使用对象制定明确的理论，但对他预计的偏离其规定的做法表示遗憾，因为他已经看到其他塔罗牌使用者在公共场合使用塔罗牌（Kurtzahn 84）。尽管该书以权威的口吻出现，作者也有深奥的倾向，这使得他的部分系统难以遵循，但该书再版后在国内外广受好评。无论用户的背景如何，这些卡片都具有生成功能。事实上，塔罗牌的符号顺序引发了人们的猜测，这种猜测与任何规范主义都是背道而驰的。在塔罗牌的使用过程中，主流话语被修正和动摇，从而与以前敌对的对象建立起新的关系。在这方面，神秘学思想似乎很容易受到萨拉-艾哈迈德（Sara Ahmed）所说的 "同性恋使用"（queer use）的影响，即当一个对象被用于 "与'最初意图''截然不同'的目的 "时（艾哈迈德，199）。事实上，神秘学实践者可能会通过这些实践做出非常古怪的事情，这些现象当然值得德国同性恋研究的学者们关注。
{"title":"Queer occultism","authors":"Ervin Malakaj","doi":"10.1111/gequ.12436","DOIUrl":"10.1111/gequ.12436","url":null,"abstract":"<p>The rise of German sexology in the nineteenth century coincides with the rise of occult discourse and practice. The former has always maintained an important status in queer German studies. Scholars have historically turned with great interest to the works of, among others, Richard von Krafft-Ebing, Albert Moll, and Magnus Hirschfeld, in order to advance the famous Foucauldian notion that the homosexual was born in the clinic. And with good reason: early sexologists produced frameworks through which to study queer life, generated discursive strategies to define and analyze it, and turned to various forms of media engagement including scientific writing and popular pamphleteering to disseminate their work to the public. No wonder, then, that their epistemic practices and broader advocacy work take center stage in scholarship on late-nineteenth and early twentieth-century queer German studies. But when it comes to occult discourse, which has likewise presented epistemic frameworks by which to define and engage queer life, queer German studies has often been somewhat hesitant to engage it seriously.</p><p>My sense is that the occult's epistemological foundations, which directly compete with and reach beyond the purview of Enlightenment epistemologies, rendered occultism as a cultural practice too fringe, even ridiculous, to warrant serious scholarly engagement. But such a view keeps scholars from a rather sizable cultural archive replete with information about how queer people navigated their lives, defined their relation to others, and conceived of how to engage with the world on terms often radically different than those that come into view when studying the history of sexuality through sexology. Occult practitioners did not favor empiricism. They instead pursued “unreasonable” methods that drew on divination, sensing, and speculation to glean information about the world. And, in so doing, they most certainly engaged queer methods and drew participation from queer people. That occult practice and queerness have a strong connection in our times today is no secret—see, for instance, Nathan Snaza's exciting new scholarship on queer feminist esotericism and contemporary liberation movements. But the connection between queer people and occult practice has a longer history, one that is particularly rich in the German-language context around 1900.</p><p>One site for scholarly engagement on matters of queer occultism in German studies is Hans Freimark's remarkable study <i>Okkultismus und Sexualität</i> (1909). For Freimark, the rise of the occult during his time is a phenomenon directly tied to a depreciation of empiricism as a guiding mechanism by which to know the world. In his assessment, occultists provided the public what science could not: access to deeper understandings of phenomena that reach beyond the capacities of scientific tools. These phenomena pertain to various discourses on human spirituality, psychic depth, and mystical forces said t","PeriodicalId":54057,"journal":{"name":"GERMAN QUARTERLY","volume":"97 2","pages":"222-224"},"PeriodicalIF":0.3,"publicationDate":"2024-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/gequ.12436","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141015063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
<p>Fat bodies are deviant bodies. Just like queer bodies, fat bodies and our judgment of them are tightly interwoven with prescriptive, compulsory norms that impose standards of health, body shape and function, gender, and sexuality. Fatness is judged according to unspoken norms against which certain bodies are deemed to possess too much flesh. Regardless of how these norms have been determined over time, fat bodies are always legible as different in that they do not fit into environments oriented around ostensibly normal bodies. Fatness itself is a slippery term. Just like the word queer, fat carries with it social, cultural, institutional, structural, and personal meanings, both derogatory and affirmative, that influence the ways that fat bodies interact with and in the world.</p><p>In considering these similarities, the question arises: is fat queer? In a volume of essays by queer and fat studies scholars entitled <i>Queering Fat Embodiment</i> (2015), Cat Pausé, Jackie White, and Samantha Murray examine how compulsory heterosexuality, a term popularized by Adrienne Rich, works to create and uphold compulsory thinness and to regulate fat bodies and subjects. Essays in <i>Queering Fat Embodiment</i> rely on queer theories and methodologies like Judith Butler's notion of gender performance and Sara Ahmed's queer phenomenology to demonstrate how fat bodies are othered via heterosexual, hegemonic physical spaces and their respective orientations. Queerness, as Zoe Meleo-Erwin argues, can help us to examine and dismantle dominant conceptions of health, illness, normalcy, and pathology (108-09). Queering fat makes room for difference, interdependence, and vulnerability.</p><p>Standard medical discourse assesses fat according to hierarchical binary notions of success and failure. The obsession with fat has become a phenomenon in the medical world, with the World Health Organization naming “Globesity” the most threatening growing pandemic, even in the era of Covid-19 (Branca et al. xiii; Schorb 40). In 2020, the Robert Koch Institut identified 46% of German women and 60% of German men as “übergewichtig” and 14% of Germans in total as “adipostas” (“Übergewicht und Adipostas”). Yet the dominant socio-cultural urge to pathologize fat reinforces normative able-bodiedness, scorns bodily difference, and even directly undercuts fat sexuality, as study after study attempts to correlate genital dysfunction with excess adipose tissue (White). Not only are fat individuals unable to have “successful” heteronormative sex within a medical model, but medical studies utilize normative bodily expectations in attempts to prove the failure of fat individuals’ lives, evoking false correlations between their life span and overall health (White). A shortened lifespan is that of a less than ideal citizen, one who cannot continue to be a productive member of society in ways that align with neoliberal ideologies (Pausé et al. 6). In the medical paradigm, a fat life is a miser
虽然这些著作在定义和概述 "狄更斯主义"、"侏儒症"、"脂肪接受运动 "和 "迪克森 "的社会影响方面发挥了重要作用，但它们仍然延续了丽莎-普法尔和贾斯汀-鲍威尔在德国残疾研究中发现的问题。普法尔和鲍威尔称之为该领域 "薄弱的制度化"，这意味着尽管德国有着丰富的政治活动史，但残障研究的 "地域和语言 "仍然深深植根于英美语境。同样，大多数脂肪研究专著的撰稿人都来自社会学、法学和教育学等学科，因此，那些主要研究领域不属于更传统学科的撰稿人仍然具有 "颠覆性地位"（普法尔和鲍威尔）。即使是少数几个以德语为基础进行干预的章节，也忽略了分析肥胖身体的文化表征的必要性。"相对于规范而言，被认为是过度体现的艺术表征会影响文化，并有助于创建和再造维护有害规范性理想的机构。同时，与理论和医学研究相比，这些表征揭示这些理想的方式能更清楚地强调大局（伊顿，52-54）。当代批判性视角对凯伦-杜夫（Karen Duve）的《Dies ist kein Liebeslied》（2000 年）等通俗小说或多丽丝-多里（Doris Dörrie）的《Die Friseuse》（2010 年）等电影中对肥胖身体的表现进行了探讨，探讨了肥胖表现的颠覆性和积极层面（贝特曼；莱恩）。对肥胖角色的正面描写值得关注，但这些作品中的主人公仍然会回忆起过去并不成功的性关系，而且往往带有身体疾病的特征--《Die Friseuse》中卡蒂被诊断出患有多发性硬化症就是如此。尽管这些人物形象都是成熟、完善的角色，但他们最终还是被定义为规范性失败的化身。然而，我们也可以发现一些肥胖身体的表现形式打破了肥胖失败的论述。德国电影《暴动不减肥》（Riot not Diet，2018）是一部实验短片，歌颂了肥胖身体的过剩能力。在朱莉娅-福尔曼（Julia Fuhrmann）的影片中，身体不仅仅是一个容器，而是心灵及其所感知的美好的物理标记。影片中肥胖的女性身体被描绘成美好的、令人向往的、有能力的，最重要的是，是人类的。事实上，在德国的想象力作品中，肥胖的同性恋和同性恋的肥胖可以帮助我们找到人类的内在。
{"title":"Fattening queer: Interventions in fat embodiment","authors":"Erin Ritchie","doi":"10.1111/gequ.12438","DOIUrl":"10.1111/gequ.12438","url":null,"abstract":"<p>Fat bodies are deviant bodies. Just like queer bodies, fat bodies and our judgment of them are tightly interwoven with prescriptive, compulsory norms that impose standards of health, body shape and function, gender, and sexuality. Fatness is judged according to unspoken norms against which certain bodies are deemed to possess too much flesh. Regardless of how these norms have been determined over time, fat bodies are always legible as different in that they do not fit into environments oriented around ostensibly normal bodies. Fatness itself is a slippery term. Just like the word queer, fat carries with it social, cultural, institutional, structural, and personal meanings, both derogatory and affirmative, that influence the ways that fat bodies interact with and in the world.</p><p>In considering these similarities, the question arises: is fat queer? In a volume of essays by queer and fat studies scholars entitled <i>Queering Fat Embodiment</i> (2015), Cat Pausé, Jackie White, and Samantha Murray examine how compulsory heterosexuality, a term popularized by Adrienne Rich, works to create and uphold compulsory thinness and to regulate fat bodies and subjects. Essays in <i>Queering Fat Embodiment</i> rely on queer theories and methodologies like Judith Butler's notion of gender performance and Sara Ahmed's queer phenomenology to demonstrate how fat bodies are othered via heterosexual, hegemonic physical spaces and their respective orientations. Queerness, as Zoe Meleo-Erwin argues, can help us to examine and dismantle dominant conceptions of health, illness, normalcy, and pathology (108-09). Queering fat makes room for difference, interdependence, and vulnerability.</p><p>Standard medical discourse assesses fat according to hierarchical binary notions of success and failure. The obsession with fat has become a phenomenon in the medical world, with the World Health Organization naming “Globesity” the most threatening growing pandemic, even in the era of Covid-19 (Branca et al. xiii; Schorb 40). In 2020, the Robert Koch Institut identified 46% of German women and 60% of German men as “übergewichtig” and 14% of Germans in total as “adipostas” (“Übergewicht und Adipostas”). Yet the dominant socio-cultural urge to pathologize fat reinforces normative able-bodiedness, scorns bodily difference, and even directly undercuts fat sexuality, as study after study attempts to correlate genital dysfunction with excess adipose tissue (White). Not only are fat individuals unable to have “successful” heteronormative sex within a medical model, but medical studies utilize normative bodily expectations in attempts to prove the failure of fat individuals’ lives, evoking false correlations between their life span and overall health (White). A shortened lifespan is that of a less than ideal citizen, one who cannot continue to be a productive member of society in ways that align with neoliberal ideologies (Pausé et al. 6). In the medical paradigm, a fat life is a miser","PeriodicalId":54057,"journal":{"name":"GERMAN QUARTERLY","volume":"97 2","pages":"233-236"},"PeriodicalIF":0.3,"publicationDate":"2024-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/gequ.12438","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141015325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
<p>Is it curious to argue that Adalbert Stifter's story collection <i>Bunte Steine</i> is queer? Published in December 1852 (and dated to 1853) in the wake of Stifter's ultimately critical stance toward the 1848 revolution, and introduced by a <i>Vorrede</i> that famously speaks of the story collection's search for a “sanfte[s] Gesez” (Stifter 12), it would at first glance seem to resist such a reading. Of course, for decades now, Stifter scholarship has highlighted different facets of his <i>œuvre</i>’s radicality (see, for instance, Geulen; Schößler; Downing, esp. 24–90; Begemann; Bischoff, esp. 232–76 and 328–51; MacLeod, <i>Fugitive Subjects</i>, esp. 107–42; Vogel; Nagel, esp. 80–88; Strowick, esp. 59–157; Jürjens, esp. 160–295; and Weitzman, esp. 25–48). But what about queer readings? In 2015, Erik Grell published an extensive piece on homoeroticism in Stifter's <i>Brigitta</i> (1844-1847). But it was Robert Tobin who, building on earlier readings (Owen; MacLeod, <i>Embodying Ambiguity</i>), first understood <i>Brigitta</i> as expressly queer in his seminal 2015 study <i>Peripheral Desires</i> (Tobin 127–33). A few years prior, two readings argued that one of the stories in <i>Bunte Steine</i>, namely <i>Kalkstein</i>, can be understood as a queer text, featuring as it does a poor minister with a fetishistic liking for exquisite linen undergarments gifted at the time of his death to his only male friend (Riley; Warmuth and Bugelnig). Is <i>Kalkstein</i> an outlier in <i>Bunte Steine</i>? And what of the story collection as a whole? Is it, too, curiously queer?</p><p>For all of Stifter's repeated mentions of “Gesez,” “Ordnung” (13), or “Gestalt” (13) in the <i>Vorrede</i>, and for all the efforts of the stories’ various narrators and characters to create order, to sort, to arrange, and to catalogue things, we soon get an inkling that in <i>Bunte Steine</i> “Ordnung,” such as it is, is a provisional state at turns threatened by forces of entropy and transgressed joyously. To wit, already in the <i>Einleitung</i> that follows the <i>Vorrede</i>, Stifter states that his story collection is “eine Sammlung von allerlei Spielereien und Kram für die Jugend” (18), whose eventual size is as yet undetermined (19). Thus, “das Kleine” (9), which can open a view toward the “sanfte Gesez,” may undermine this “Gesez” at least as much as it presumably testifies to its validity. We could therefore try to re-read what J. Halberstam enumerates as “the small, the inconsequential, the antimonumental, the micro, the irrelevant” as something that is best understood through the lens of the “low theory” Halberstam employs to grapple with queer failures and queer potentialities alike (<i>Queer Art</i>, 21).</p><p>And indeed, in <i>Bunte Steine</i>, a playful randomness, <i>ein Allerlei</i>, emerges repeatedly as the queer Other of <i>Ordnung</i>, instantiating cheeky infringements upon regimes of order. Already in the first narrative, <i>Granit</i>, we encounter a yo
因此，这部 "Begebenheit "的不完美之处并不在于对异性恋资产阶级婚姻誓言的普通践踏，而在于对两个男人之间同性恋纽带的背叛。因此，故事在这里中断了，但多年后又被重新拾起，只是又一次以抹杀和夷为平地而结束，这一次是伦特尔夫妇曾经居住的地方。在表现伦特赫尔的女儿时，文本所呈现的起伏不定的奇特性被提升到了哈尔伯斯塔姆所说的 "失败的奇特艺术 "的高度，她以卡斯帕-豪泽尔（Kaspar-Hauser）式的方式被锁在一个几乎空无一人的地下室里，在他准备下葬时，她的父亲每天都要求她 "beschreibe[n] den Augenblik"（173）。由于与世隔绝，女儿可以使用各种符号，却无法将它们与所指联系起来。因此，她的语言只能是怪异的。她的 Beschreibungen 必然缺乏巴特斯式的 "现实效果"，而现实主义最多只能达到这种效果，然而，在对失败的畸形拥抱中，Beschreiben 的行为必须一次又一次地重复。这种畸形的事物状态蕴含在一种畸形的时间性之中（弗里曼）：在叙述女儿对父亲想象中死亡的叙述之前，先报道了父亲实际死亡的事实；女儿从未瞥见过真实的 "Augenblik, wenn [der Vater] todt auf der Bahre lieg[t]"（173）；叙述也未能准确地再现实际死亡的确切情形。相反，我们得到的是一个关于任何现实主义尝试固有的怪异性的寓言--它总是已经注定要失败，但这种尝试又必须被强迫性地重复进行。在《伯格克里斯托尔》中，白茫茫的环境使自然变得难以辨认，根本无法找到一条 "笔直 "的道路；在《卡岑希尔伯》中，祖母关于 "das blutige Licht"(255)的故事或许最能体现有机物与无机物的纠缠、自然与人工的模糊界限、有性别区分的物质的模糊性以及自然本身的 "同性恋 "性。最后但并非最不重要的一点是，在《伯格米尔希》中，我们遇到了一个身体古怪、思想古怪的主人公，他 "生活在一个古怪的时间和地点"（哈尔伯斯塔姆，《古怪的时间》），即 19 世纪初，生活在一座被护城河环绕的城堡中--旁观者一定会觉得这是一个 "时代技术的缺陷"（斯蒂夫特，319）。用萨拉-艾哈迈德（Sara Ahmed）的话说，他没有 "皈依"，没有 "通过延长血脉来回报血脉的恩赐"（艾哈迈德，17 岁）。他用一个非血缘关系的同性恋大家庭取代了濒临灭绝的血缘关系，通过同性社会纽带框架下的非传统异性配对产生了后代。出乎意料却又恰到好处的是，这篇文字--以及整个 "Sammlung von allerlei Spielereien und Kram"--以童装的再次出现而结束，"Sachen"（即从敌人变为朋友的外衣布料上 "entstanden"（斯蒂夫特 351）的童装）的 "Sachen"（即从敌人变为朋友的外衣布料上 "entstanden"（斯蒂夫特 351）的童装）的 "Sachen "奇异地繁衍：从斯托夫（Stoff）奇异地衍生，可能会在意想不到的地方出现。这些 "Bunte Steine "被称为 "Ein Festgeschenk"，意在重新赠送，从一个同性恋的地方传递到另一个同性恋的地方。
{"title":"On the curiously queer realism of Adalbert Stifter's Bunte Steine","authors":"Imke Meyer","doi":"10.1111/gequ.12440","DOIUrl":"10.1111/gequ.12440","url":null,"abstract":"<p>Is it curious to argue that Adalbert Stifter's story collection <i>Bunte Steine</i> is queer? Published in December 1852 (and dated to 1853) in the wake of Stifter's ultimately critical stance toward the 1848 revolution, and introduced by a <i>Vorrede</i> that famously speaks of the story collection's search for a “sanfte[s] Gesez” (Stifter 12), it would at first glance seem to resist such a reading. Of course, for decades now, Stifter scholarship has highlighted different facets of his <i>œuvre</i>’s radicality (see, for instance, Geulen; Schößler; Downing, esp. 24–90; Begemann; Bischoff, esp. 232–76 and 328–51; MacLeod, <i>Fugitive Subjects</i>, esp. 107–42; Vogel; Nagel, esp. 80–88; Strowick, esp. 59–157; Jürjens, esp. 160–295; and Weitzman, esp. 25–48). But what about queer readings? In 2015, Erik Grell published an extensive piece on homoeroticism in Stifter's <i>Brigitta</i> (1844-1847). But it was Robert Tobin who, building on earlier readings (Owen; MacLeod, <i>Embodying Ambiguity</i>), first understood <i>Brigitta</i> as expressly queer in his seminal 2015 study <i>Peripheral Desires</i> (Tobin 127–33). A few years prior, two readings argued that one of the stories in <i>Bunte Steine</i>, namely <i>Kalkstein</i>, can be understood as a queer text, featuring as it does a poor minister with a fetishistic liking for exquisite linen undergarments gifted at the time of his death to his only male friend (Riley; Warmuth and Bugelnig). Is <i>Kalkstein</i> an outlier in <i>Bunte Steine</i>? And what of the story collection as a whole? Is it, too, curiously queer?</p><p>For all of Stifter's repeated mentions of “Gesez,” “Ordnung” (13), or “Gestalt” (13) in the <i>Vorrede</i>, and for all the efforts of the stories’ various narrators and characters to create order, to sort, to arrange, and to catalogue things, we soon get an inkling that in <i>Bunte Steine</i> “Ordnung,” such as it is, is a provisional state at turns threatened by forces of entropy and transgressed joyously. To wit, already in the <i>Einleitung</i> that follows the <i>Vorrede</i>, Stifter states that his story collection is “eine Sammlung von allerlei Spielereien und Kram für die Jugend” (18), whose eventual size is as yet undetermined (19). Thus, “das Kleine” (9), which can open a view toward the “sanfte Gesez,” may undermine this “Gesez” at least as much as it presumably testifies to its validity. We could therefore try to re-read what J. Halberstam enumerates as “the small, the inconsequential, the antimonumental, the micro, the irrelevant” as something that is best understood through the lens of the “low theory” Halberstam employs to grapple with queer failures and queer potentialities alike (<i>Queer Art</i>, 21).</p><p>And indeed, in <i>Bunte Steine</i>, a playful randomness, <i>ein Allerlei</i>, emerges repeatedly as the queer Other of <i>Ordnung</i>, instantiating cheeky infringements upon regimes of order. Already in the first narrative, <i>Granit</i>, we encounter a yo","PeriodicalId":54057,"journal":{"name":"GERMAN QUARTERLY","volume":"97 2","pages":"210-213"},"PeriodicalIF":0.3,"publicationDate":"2024-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/gequ.12440","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141017474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Democracy, mass hysteria, and human rights: Rereading Hermann Broch in the age of reemerging authoritarianism","authors":"Thomas Herold","doi":"10.1111/gequ.12425","DOIUrl":"10.1111/gequ.12425","url":null,"abstract":"","PeriodicalId":54057,"journal":{"name":"GERMAN QUARTERLY","volume":"97 2","pages":"249-262"},"PeriodicalIF":0.3,"publicationDate":"2024-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141017429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
<p>Robert Tobin was an astute reader of texts. In <i>Peripheral Desires: The German Discovery of Sex</i>, he summarized the long struggle within the German-speaking world to surface male-male longing, noting that some of the same tensions within the masculinist and emancipation movements continue to shape the “architecture of our most intimate desires” (Tobin 249). More recently, together with Peter Rehberg and Ivan Raykoff, he immersed himself in the playfulness of the Eurovision song contest, arguing that its strong association with LGBTQ+ communities served as a barometer of a nation's liberal values (Tobin, “Eurovision”). And yet, whereas in 2013 and then in 2020 Turkey and Hungary respectively objected to what one official called “the homosexual flotilla” dominating the song contest, the backlash against drag performers and trans masculinities and femininities today suggests the goal post has moved closer to the mainstream (Walker and Garamvolgyi). The tensions around queer and trans identities within the European Union vexed Bob in what turned out to be his final writing, on the impact of the self-made Italian philosopher Julius Evola, a central figure in conservative and far-right circles during and after World War II who networked with the homosexual rights movements of the 1920s. Bob left us with a warning: not to make facile assumptions linking same-sex sexuality to progressive values.</p><p>Evola was a staunch critic of the Enlightenment. He advanced an alternative to the race science of the Nazis and yet was also embraced by them and by Mussolini. He believed in a lost Northern culture whose descendants first built Atlantis and then Rome. He gave lecture tours and was friendly with leaders of core gentlemen's clubs in Berlin and Vienna, which included members of the conservative circles that supported Hitler.</p><p>In the postwar period, Evola's illiberal and antidemocratic thinking made him the perfect person to serve as intellectual guide for a post-Nazi far-right conservativism. He became part of a group calling themselves Traditionalists, who rejected modernity, egalitarianism, democracy, liberalism, socialism, capitalism, communism, materialism, and bourgeois values. Alain de Benoist, the founder of the French neo-fascist <i>nouvelle droite</i>, lauded Evola in an interview in 2003. Even Trump's erstwhile standard bearer Steve Bannon cited Evola in a 2014 visit to the Vatican.</p><p>Evola's mysticism and interest in medieval asceticism struck a chord not only with this small band of right-leaning illiberals; they were also attractive to the New Age and fantasy set, a group that fuels a particular contingent of those on the far right today. We might think of the self-proclaimed QAnon Shaman Jake Anjeli from the Capitol Riot and his infamous Norse tattoo, which also graces the cover of Evola's own book for Italian youth. Or Giorgia Meloni, who cut her teeth in the Italian Social Movement neo-fascist Hobbit camps which drew explicit
{"title":"The appeal of the queer right","authors":"Jennifer V. Evans","doi":"10.1111/gequ.12442","DOIUrl":"10.1111/gequ.12442","url":null,"abstract":"<p>Robert Tobin was an astute reader of texts. In <i>Peripheral Desires: The German Discovery of Sex</i>, he summarized the long struggle within the German-speaking world to surface male-male longing, noting that some of the same tensions within the masculinist and emancipation movements continue to shape the “architecture of our most intimate desires” (Tobin 249). More recently, together with Peter Rehberg and Ivan Raykoff, he immersed himself in the playfulness of the Eurovision song contest, arguing that its strong association with LGBTQ+ communities served as a barometer of a nation's liberal values (Tobin, “Eurovision”). And yet, whereas in 2013 and then in 2020 Turkey and Hungary respectively objected to what one official called “the homosexual flotilla” dominating the song contest, the backlash against drag performers and trans masculinities and femininities today suggests the goal post has moved closer to the mainstream (Walker and Garamvolgyi). The tensions around queer and trans identities within the European Union vexed Bob in what turned out to be his final writing, on the impact of the self-made Italian philosopher Julius Evola, a central figure in conservative and far-right circles during and after World War II who networked with the homosexual rights movements of the 1920s. Bob left us with a warning: not to make facile assumptions linking same-sex sexuality to progressive values.</p><p>Evola was a staunch critic of the Enlightenment. He advanced an alternative to the race science of the Nazis and yet was also embraced by them and by Mussolini. He believed in a lost Northern culture whose descendants first built Atlantis and then Rome. He gave lecture tours and was friendly with leaders of core gentlemen's clubs in Berlin and Vienna, which included members of the conservative circles that supported Hitler.</p><p>In the postwar period, Evola's illiberal and antidemocratic thinking made him the perfect person to serve as intellectual guide for a post-Nazi far-right conservativism. He became part of a group calling themselves Traditionalists, who rejected modernity, egalitarianism, democracy, liberalism, socialism, capitalism, communism, materialism, and bourgeois values. Alain de Benoist, the founder of the French neo-fascist <i>nouvelle droite</i>, lauded Evola in an interview in 2003. Even Trump's erstwhile standard bearer Steve Bannon cited Evola in a 2014 visit to the Vatican.</p><p>Evola's mysticism and interest in medieval asceticism struck a chord not only with this small band of right-leaning illiberals; they were also attractive to the New Age and fantasy set, a group that fuels a particular contingent of those on the far right today. We might think of the self-proclaimed QAnon Shaman Jake Anjeli from the Capitol Riot and his infamous Norse tattoo, which also graces the cover of Evola's own book for Italian youth. Or Giorgia Meloni, who cut her teeth in the Italian Social Movement neo-fascist Hobbit camps which drew explicit","PeriodicalId":54057,"journal":{"name":"GERMAN QUARTERLY","volume":"97 2","pages":"218-221"},"PeriodicalIF":0.3,"publicationDate":"2024-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/gequ.12442","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141018106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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