FASoS

Wellesley College): Time of death: temporality and refugee rights Achim Rohde (Philipps-University Marburg): Restoring the honor of the nation: gendered violence and the state in Iraq before and after 2003 Comment: Andrea Fischer-Tahir (Philipps-University Marburg) 11:15 -13:15h Panel 5: MENA (Chair: Achim Rohde, Phillips-University Marburg) Jolanda Guardi (University of Milan): Female homosexuality in contemporary Arabic novels Rakefet Zalashik (Center for Jewish Studies Berlin-Brandenburg): The Bar Noar shooting of 2009 and its aftermath: LGBT and contemporary Israeli society Max Kramer (University of Saskatchewan): The Muslim closet: same-sex sexuality in Maghrebi literature Comment: Refqa Abu Remaileh (Forum Transregionale Studien, Berlin) 14:45 -16:30h Roundtable discussion: Prospects of transregional comparative sexuality studies (Chair: Stefanie Schüler-Springorum, Center for Research on Antisemitism) This workshop was made possible thanks to financial contributions of the Netherlands Organisation

Judaism, Christianity and Islam are known to privilege words over images. This book shows, however, that the reality is more complex. Figurations and Sensations of the Unseen explores the complex procedures used to render the invisible as visible and the elusive as tangible in these three traditions. Working from different disciplinary angles, contributors reflect on figuration and sensation in biblical culture, medieval Jewish culture, the imagination of the unseen in Islamic settings, Christian assaults on 'idolatry' in Africa, baroque and modern Church art, contemporary Eastern Orthodox tradition, photography on the East African coast, European opera and literature, and more. The book shows that the three religious traditions have formed sensorial regimes: embodied habits, traditions and standards for seeing sensing, displaying, and figuring that which could not, or should not, be seen. So, the desire for seeing the invisible and experiencing the beyond are paradoxically confirmed, contested and controlled, by the sensorial regimes in vogue. This carries over even into secularized use of religious figurations in arts and literature. Figurations and Sensations of the Unseen is important reading for scholars of anthropology, religious studies, Jewish studies, Christian studies, Islamic studies, art history, cultural studies, biblical studies and archaeology. Birgit Meyer is Professor of Religious Studies at

Empfohlene Zitierung / Suggested Citation: Brunotte, Ulrike: Laokoons Schmerz oder das Bild des Subjekts: Figuren hegemonialer Männlichkeit zwischen Physiologie, Ästhetik und Politik. In: Rehberg, Karl-Siegbert (Ed.) ; Deutsche Gesellschaft für Soziologie (DGS) (Ed.): Die Natur der Gesellschaft: Verhandlungen des 33. Kongresses der Deutschen Gesellschaft für Soziologie in Kassel 2006. Teilbd. 1 u. 2. Frankfurt am Main : Campus Verl., 2008. ISBN 978-3-593-38440-5, 539-554.. https://nbnresolving.org/urn:nbn:de:0168-ssoar-153259

Je tiens tout d'abord à remercier tous les professeurs qui m'ont aidé aux différentes étapes de mon travail, en particulier, Barbara Lönnqvist et Marina Nielsen, pour leur aide constante, leurs relectures et leurs questions pertinentes, Kajsa Andersson pour ses précieuses suggestions, Lars Göran Sundell, Birgitta Berglund Nielsen, Bengt Noven, Catherine Soussloff, Segolène Le Men, Lars Hertzberg et Olli Lagerspetz pour avoir nourrit ma réflexion et m'avoir posé des questions constructives. Je tiens aussi à remercier Marie Verleure, Fred Dervin et Anna Liisa Perennes pour leurs relectures attentives et leur amitié. Je remercie mes parents, Marie et Jean-Carlo, pour m'avoir nourrie de livres, emmenée tous les dimanches au musées pendant des années et soutenue quelle que soit la direction dans laquelle j'ai marché. Je profite aussi de l'occasion pour exprimer ma gratitude à ma grand-mère Renée et mes deux frères, Gaël et Benjamin, pour leur bonne humeur et leur présence chaleureuse. Un grand merci à tous mes amis et collègues pour leur amitié et leur soutien : The Society of Dix-neuviémistes,

Les  tableaux  présentés  dans 'L’Œuvre' (1886)  de  Zola  ont  été  maintes  fois  commentés. Cependant  l’évolution  artistique  du  personnage  principal,  Claude  Lantier,  reste  peu explorée.  En  effet le  personnage  de  Zola  traverse  des  périodes  diverses  qui  peuvent  être clairement  définies :  naturalisme,  impressionnisme, réalisme  moderne  (actualisme)  et finalement  symbolisme.  Pourquoi  cette  évolution  artistique  de  l’artiste  imaginaire ?  Est-ce pour utiliser le roman comme extension de la critique d’art de l’auteur ou pour tracer une  histoire  de  l’art  de  son  époque ?  Est-ce  pour  marquer  la  décadence  héréditaire  et  le génie  incomplet  de  Lantier ?  Est-ce  par  soucis  réaliste  d’ancrer  son  personnage  dans  la réalité  artistique  de  son  temps ?  Est-ce  pour  se  donner  l’occasion  d’expérimenter différents types  d’écriture picturale ?  Ou est-ce  une  simple  excuse  pour  nourrir  un  débat essentiellement littéraire ? Nous nous proposons ici de revisiter et d’analyser ces tableaux inspirés  de  tableaux  réels  ou  complètement  imaginaires  pour  tenter  d’apporter  des éléments de réponses à ces questions. 

The paintings presented in Zola’s Masterpiece (1886) have been many times commented upon and analysed. However, the artistic evolution of the main character, Claude Lantier, has  attracted  very  little  attention.  Zola’s  character  goes  through  diverse  periods  that  can clearly  be  defined:  naturalism,  impressionism,  modern  realism  (‘actualism’)  and  finally symbolism. Why does Zola present this fictional artistic evolution to his readers ? Is it to use the novel as an extension of his art criticism or to portray contemporary art history ? Is it to show Lantier’s hereditary decadence and incomplete genius ? Is it a realist process to anchor his character in the artistic reality of his time ? Is it to experiment with different types  of  pictorial  writing  ?  Or  is  it  simply  an  excuse  to  fuel  what  is  a  mostly  literary debate? In this article we revisit and analyse the real or imaginary paintings presented by Zola to try to bring elements of answer to these questions.

One literary genre has cultivated a privileged relationship with museums: the fairy tales. This article proposes to focus on the classical literary fairy tales (Perrault, Grimm and Andersen) and to explore what are the specificities of the literary fairy tales that make them particularly successful exhibition material. In these exhibitions the tension between education and entertainment, and the risks and opportunities that this entails, are particularly visible. What are the potential roles of fairy tale exhibitions and museums and what sets them apart (or what inspiration do they take) from theme parks? By exploring the various objectives of these exhibitions the article will analyse how these objectives are translated in museum/exhibition practices that are inspired by or reject the mediation strategies of the theme park. Can some of the strategies of literary fairy tales exhibitions be applied to other literary genres?

Stories are an integral part of our experience as human beings. As Roland Barthes put forward, narrative "is present at all times, in all places, in all societies; indeed narrative starts with the very history of mankind; there is not, there has never been anywhere, any people without narratives; all classes, all human groups have their stories…." 1 Narrative theories (in literature, media studies, psychology, or neurology) have explored the impacts of narratives on our ways of being, thinking, dreaming, and remembering. This article will explore the implications of narrative theories for learning in a contemporary art museum context.