同性恋印刷文化与德国研究

IF 0.2 3区 文学 0 LANGUAGE & LINGUISTICS GERMAN QUARTERLY Pub Date : 2024-05-03 DOI:10.1111/gequ.12437
Vance Byrd, Javier Samper Vendrell
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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&amp;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 the voices of queer and trans People of Color. Queer print studies, moreover, moves us past a history of sexuality that treats material texts solely as archival sources of information for our research and not as significant objects in their own right. We are challenged to pay attention to form, format, and artistic process, as well as to the ways bodies and senses relate to handcrafted objects that illuminate queer lives. 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The formats and formal language of manuscript and print culture—codex, broadsheet, engraving, typography, glossed commentaries, photography, sensationalist newspaper reporting, censorship—help express truths about the ways in which queer subjects have felt desire and faced condemnation in the past and into the present. Désert's juxtaposition of illustration processes, page layout, and confessional narratives creates a complex archive of desire that many in German society and the Catholic Church would prefer to keep hidden.</p><p>Philipp Gufler, a German visual artist based in the Netherlands, likewise turns to print to give expression to queer politics and emotion. Gufler's artist books, film, and textiles rework historical elements of queer print culture, such as gay and lesbian magazines, and the artist also critiques sensationalist and homophobic reporting on the HIV/AIDS crisis in the tabloid newspaper <i>Bild</i>. Gufler's <i>Quilt #01 – #30</i> (2016–) consists of thirty silkscreen printed fabrics that recover political and material culture that has been excluded from traditional histories (Figure 2). The project keeps growing, but <i>Quilt #15 Die Freundin – das ideale Freundschaftsblatt</i> (2016) is particularly striking (Figure 3). While you might imagine that a quilt consists of fabric stitched together forming a pattern, Gufler focuses on layering on translucent fabric prints that reproduce images from historical sources, such as <i>Die Freundin</i>, a lesbian magazine from the Weimar Republic. This art is memory work. Gufler selected fabric in lavender, a color associated with the LGBTQ+ rights movement; its texture is reminiscent of Felix Gonzalez-Torres's <i>Untitled (Water)</i>, an installation involving strands of beads suggesting thresholds into a queered space. The porosity of these prints makes them mysterious and enticing. 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We advocate a queer approach to textuality because it reflects the subversion, the resistance, the ambiguities, and the work against normative approaches and temporalities that are present in literature and, more broadly, in print culture. Embracing the queer potentialities of print means that we call into question hegemonies, norms, and authenticity. The work by Désert, Gufler, and other queer artists and makers does exactly that. 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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&amp;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). 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Désert's juxtaposition of illustration processes, page layout, and confessional narratives creates a complex archive of desire that many in German society and the Catholic Church would prefer to keep hidden.</p><p>Philipp Gufler, a German visual artist based in the Netherlands, likewise turns to print to give expression to queer politics and emotion. Gufler's artist books, film, and textiles rework historical elements of queer print culture, such as gay and lesbian magazines, and the artist also critiques sensationalist and homophobic reporting on the HIV/AIDS crisis in the tabloid newspaper <i>Bild</i>. Gufler's <i>Quilt #01 – #30</i> (2016–) consists of thirty silkscreen printed fabrics that recover political and material culture that has been excluded from traditional histories (Figure 2). The project keeps growing, but <i>Quilt #15 Die Freundin – das ideale Freundschaftsblatt</i> (2016) is particularly striking (Figure 3). 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引用次数: 0

摘要

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&amp;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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Queer print culture and German studies

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 Die Freundschaft, Die Freundin, Der Kreis, du&ich, L-Mag, and Siegessäule. These publications and many others are a testament to the diversity of voices, experiences, and positions within queer culture.

Our contribution to this forum builds upon our collaborative work on print and visual culture. We just finished editing Queer Print Cultures: Resistance, Subversion, and Community (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 everywhere, 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.

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 the voices of queer and trans People of Color. Queer print studies, moreover, moves us past a history of sexuality that treats material texts solely as archival sources of information for our research and not as significant objects in their own right. We are challenged to pay attention to form, format, and artistic process, as well as to the ways bodies and senses relate to handcrafted objects that illuminate queer lives. Ultimately, queer artists rely on print history and aesthetics in order to come to terms with the queer past and critique the present. We can—and should—integrate their work into our research and teaching.

Two cases in point can be found in the recent work of Jean-Ulrick Désert (b. 1960) and Philipp Gufler (b. 1989). Désert is a Haitian-American, Berlin-based conceptual and visual artist who explores how German traditions are predicated on whiteness and heterosexual norms. He creates ephemeral printed objects such as postcards, billboards, beer coasters, and broadsides to probe hegemonic constructions of Germanness, including race and ethnicity, social habitus, religion, and the legacies of colonialism. On view at his 2023 retrospective at SAVVY Contemporary was his Codex Testimoniorum Amoris / The Book of the Witnesses of Love (2005), a series of eight digital prints on vellum interrogating sex work, violence, migration, and Catholic morality (Figure 1). The formats and formal language of manuscript and print culture—codex, broadsheet, engraving, typography, glossed commentaries, photography, sensationalist newspaper reporting, censorship—help express truths about the ways in which queer subjects have felt desire and faced condemnation in the past and into the present. Désert's juxtaposition of illustration processes, page layout, and confessional narratives creates a complex archive of desire that many in German society and the Catholic Church would prefer to keep hidden.

Philipp Gufler, a German visual artist based in the Netherlands, likewise turns to print to give expression to queer politics and emotion. Gufler's artist books, film, and textiles rework historical elements of queer print culture, such as gay and lesbian magazines, and the artist also critiques sensationalist and homophobic reporting on the HIV/AIDS crisis in the tabloid newspaper Bild. Gufler's Quilt #01 – #30 (2016–) consists of thirty silkscreen printed fabrics that recover political and material culture that has been excluded from traditional histories (Figure 2). The project keeps growing, but Quilt #15 Die Freundin – das ideale Freundschaftsblatt (2016) is particularly striking (Figure 3). While you might imagine that a quilt consists of fabric stitched together forming a pattern, Gufler focuses on layering on translucent fabric prints that reproduce images from historical sources, such as Die Freundin, a lesbian magazine from the Weimar Republic. This art is memory work. Gufler selected fabric in lavender, a color associated with the LGBTQ+ rights movement; its texture is reminiscent of Felix Gonzalez-Torres's Untitled (Water), an installation involving strands of beads suggesting thresholds into a queered space. The porosity of these prints makes them mysterious and enticing. Gufler's art is an invitation to desire and to touch and be touched by the past. While they are not actually quilts in a conventional sense, these artworks metaphorically stitch together pieces of queer and print history. They remind us of flags and banners, common elements of queer political culture, such as the AIDS Memorial Quilt and the rainbow flag. Gufler's work is neither about pride nor shame. It is more than an intimate encounter with the queer past—it is a celebration and politicization of these moments.

The fact that this forum essay is appearing in one of the leading journals in German studies is certainly a sign of the increased institutional status of queer studies. The examples we have given above point out how expansive and rich the queer archive is and that it extends beyond literature and film. Don't get us wrong, literature still matters a great deal. We advocate a queer approach to textuality because it reflects the subversion, the resistance, the ambiguities, and the work against normative approaches and temporalities that are present in literature and, more broadly, in print culture. Embracing the queer potentialities of print means that we call into question hegemonies, norms, and authenticity. The work by Désert, Gufler, and other queer artists and makers does exactly that. Queerness in print culture means historicizing our attachments to texts, and for this we might have to look outside traditional archives and institutional settings.

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来源期刊
GERMAN QUARTERLY
GERMAN QUARTERLY Multiple-
CiteScore
0.30
自引率
33.30%
发文量
55
期刊介绍: The German Quarterly serves as a forum for all sorts of scholarly debates - topical, ideological, methodological, theoretical, of both the established and the experimental variety, as well as debates on recent developments in the profession. We particularly encourage essays employing new theoretical or methodological approaches, essays on recent developments in the field, and essays on subjects that have recently been underrepresented in The German Quarterly, such as studies on pre-modern subjects.
期刊最新文献
Issue Information Preface: German Quarterly Special Issue on Form Intertextuelle Verhandlungen. Zur Kafka-Rezeption in der afrikanischen Literatur The Sociality of Form: Camillo Sitte's Urban Morphologies Meter Against Essentialism
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