Este trabalho investiga a produção em fotografia e vídeo de artistas que utilizaram o próprio corpo como objeto de representação nos anos 1970, sob um viés de análise feminista e de gênero. O objetivo principal foi o de destacar se houve ou não a influência do movimento feminista de segunda onda na obra de artistas brasileiras. As artistas Anna Bella Geiger, Anna Maria Maiolino, Iole de Freitas, Lenora de Barros, Regina Vater e Sonia Andrade fazem parte do meu escopo de estudos de caso. O desenvolvimento do trabalho foi fundamentado em entrevistas inéditas com as artistas pesquisadas e a apreciação de suas obras que atendem ao recorte escolhido. A partir da criação de três categorias baseadas no conteúdo dos trabalhos artísticos, foram definidos os seguintes temas: a esfera do privado em oposição à pública, a construção ficcional de si e a estética da violência. Cada um desses núcleos temáticos orientam os três capítulos que constituem a dissertação: “O corpo é a casa”, “O corpo é a camuflagem” e “O corpo é a fissura”, respectivamente. No primeiro capítulo, apresento obras que expõem questões relativas ao espaço doméstico e às funções gendradas vivenciadas por mulheres, por meio da interlocução teórica de Hannah Arendt e Jayne Wark. No segundo, aponto obras que se relacionam com a ideia de identidade fragmentada com base em construções ficcionais de si. Teresa de Lauretis, Donna Haraway, Luiz Sérgio de Oliveira e Janet Wolff foram as contribuições teóricas mais significativas do capítulo. Por fim, no terceiro, abordo obras produzidas no contexto da ditadura militar no Brasil, que confrontam as violências do período decorrente de censuras, torturas e cerceamento das liberdades individuais e coletivas, baseando-me em três autores que se dedicaram sobre o período: Artur Freitas, Claudia Calirman e Margareth Rago. Com o suporte metodológico de uma análise de conteúdo das entrevistas e o parecer teórico-crítico das obras, foi possível inferir que o discurso das artistas sobre os seus trabalhos não possui intenções feministas na maioria das vezes. Todavia, as ideias presentes nos seus trabalhos em fotografia e vídeo indicam preocupações comuns ao feminismo daquele período. A contradição entre o discurso e a prática foi a pergunta que guiou o processo de escrita do trabalho. / This work investigates the photography and video production of artists who used their own body as an object of representation in the 1970s, under a bias of feminist and gender analysis. The main objective was to highlight the possible influence of the second wave feminist movement on the work of brazilian artists. The artists Anna Bella Geiger, Anna Maria Maiolino, Iole de Freitas, Lenora de Barros, Regina Vater and Sonia Andrade are part of my scope of case studies. The development of the work was based on unpublished interviews with the artists researched and the appreciation of their work that meet the chosen cut. From the creation of three categories based on the content of artistic work, the following themes were defined: the private sphere as opposed to the public, the fictional construction of self, and the aesthetics of violence. Each of these thematic nuclei guide the three chapters that constitute the dissertation: "The body is the house", "The body is the camouflage" and "The body is the fissure", respectively. In the first chapter, I present works that expose questions regarding the domestic space and the gendered functions experienced by women, through the theoretical interlocution of Hannah Arendt and Jayne Wark. In the second, I point to works that relate to the idea of fragmented identity based on fictional constructions of self that artists have developed for photography and video. Teresa de Lauretis, Donna Haraway, Luiz Sérgio de Oliveira and Janet Wolff were the most significant theoretical contributions of the chapter. Lastly, in the third, I approach works produced in the context of the military dictatorship in Brazil, which confront the violence of the period resulting from censorship, torture and restriction of individual and collective freedoms, based on three authors who dedicated themselves on the period: Artur Freitas, Claudia Calirman and Margareth Rago. With the methodological support of a content analysis of the interviews and the theoretical-critical opinion of the works, it was possible to infer that the discourse of the artists about their works does not have feminist intentions in the majority of the times. However, the ideas present in their work in photography and video indicate concerns common to feminism during that period. The contradiction between discourse and practice was the question that guided the writing process of the work.

Requiem for Netted Fish is an intermedia composition for sixteen-voice SATB choir, harp, six dancers, slide projections, and lighting. The text, taken from the poetry of Anna Akhmatova and Carolyn Forche, presents a universal, womanly rage against human repression and destruction. The poetry finds aural interpretation in sound, and visual interpretation in movement and lighting. Poetic inspiration contributes to the integration of elements in the work, as does the impulse-exchange method of coordinating mediums, which allows the dancers control of the timing of events. The resultant interdependent relationships necessary for performance contribute to the integration of the composition. The duration of this intermedia work is approximately fifteen minutes.

This essay examines a movement practicing civic confirmation in Stockholm in the 1930s. Organizing the civic confirmations was The Committee for Civic Youth Education, led by civil- and human rights advocate Anna Lindhagen (1870–1941). The practice of civic confirmation is examined within the context of the early 20th century Swedish labour movement and the criticism of church and religion often expressed therein. Based on Janken Myrdal’s method of multiple sources, the essay utilizes several different kinds of sources, consisting of unpublished archival material as well as press and periodical journals, in order to examine the background, purpose and practice of civic confirmation. The origins of the civic confirmations are found within the critique of what was perceived as a too dogmatic and compulsory school education in the Christian faith, leading to a desire to politically reform the religious education of the public-school system. When this failed, Anna Lindhagen and her peers took matters into their own hands, organizing a course of lectures on religious and philosophic thinkers throughout history as well as on contemporary matters deemed important for adolescents. The purpose was to give youths a proper religious education, thus enabling them to become morally and spiritually sound members of society, and to eventually replace the practice of church confirmation. Courses were held throughout the 1930s, but the movement’s fate thereafter is unknown. The civic confirmations in Stockholm were similar to practices in southern Sweden as well as in Denmark and Norway. They were also in many ways typical of how the labour movement had organized its opposition to church practices in the late 19th and early 20th centuries. This particular instance of civic confirmation in Stockholm may have had limited effect on society, but within a broader context of secularization in northern Europe, the early and mid-20th century civic confirmations could be understood as forerunners to similar movements organizing civic or humanist youth confirmations in the 21st century.

This thesis aims to examine if and how gender is framed, presented and problematized in contemporary art exhibitions. To achieve this, exhibitions and the curatorial function at the museums Bildmuseet in Umeå and MAN (Museum Anna Nordlander) in Skellefteå are investigated through interviews and analyses. These were made from a gender theoretical perspective, guided by Judith Butler's poststructural approach, focusing especially on perfomativity and queer. The thesis describes how contemporary art exhibitions can be curated in a gender aware manner. The areas identified as important when it comes to gender aware curation are: including and problematizing gender, educating in gender issues and gender awareness during internal as well as external collaborations. All of the analysed exhibitions contain gender aspects that ​are examined deeper, even though the curators did not intend all of the exhibitions to highlight and problematize gender. In the thesis, it is also discussed what role the curator has in the gender aware work and how gender/sex are represented in the examined exhibitions. It also problematizes the lack of non-binary artist in previous exhibitions of the museums and how this, through different strategies, can be counteracted in order to create a more democratic and inclusive museum.

The flute music of Anna Bon di Venezia (1738–ca. 1767) belongs to the group of long-overlooked compositions by women composers throughout history worthy of rediscovery. This dissertation includes a discussion of Bon's life and music, as well as the artistic, historical, and theoretical significance of her compositions. It also presents biographical research on Bon, including Michaela Krucsay's dissertation, which provides new evidence of Bon's birth date, which had been uncertain up until 2015. Bon's Sonata in F Major for flute and basso continuo is analyzed to provide a more comprehensive understanding of the work. A table is provided explaining specific ornaments and articulations added to the performance edition. In addition, this dissertation includes analyses of sonatas by Carl Philipp Emanuel Bach (1714–1788) and Johann Joachim Quantz (1697–1773) to contextualize Bon's sonatas within the standard flute repertoire. This dissertation expands the music scholarship on this distinguished composer and performer and provides a historically informed performance edition of the Sonata in F Major, op. 1, no. 2, for flute and piano, to serve as a model to modern flutists for historically informed performances of Bon's entire opus 1.

Ausstellung kuratiert von Mathias Wagner / Die Ausstellungsbroschüren des „Projektraum am Weißen Hirsch. Galerie Grafikladen“ dokumentieren die Ausstellungstätigkeit eines nicht institutionellen Ausstellungsraumes in Dresden zwischen 2010 und 2016. Die Galerie widmete sich dem Werk zeitgenössischer junger Künstler, vorwiegend Meisterschüler und Absolventen, die in der Regel einen biografischen Bezug zu Dresden haben. Das Ausstellungskonzept war offen für die verschiedensten künstlerischen Ausdrucksformen – von Malerei über Fotografie bis zu performativen Ansätzen. Jährlich fanden vier bis fünf, von wechselnden Kuratoren entwickelte Ausstellungen statt. Im August 2016 eröffnete die vorerst letzte Ausstellung. / © bei den Rechteinhabern, Lizenz: Zugang frei – Rechte vorbehalten. Bitte beachten Sie unsere Hinweise zum Urheberrecht.

[pt] Esta pesquisa tem a obra de Chantal Akerman (1950 - 2015) como o seu ponto central. A proposta foi a de descrever um filme específico de Akerman – Les Rendez-vous d Anna (1978) –, em constelação com outros de seus trabalhos. Junto ao ato de descrever Les Rendez-vous d Anna, ocorre uma reflexão acerca do próprio ato de descrever enquanto um operador, um disparador teórico e artístico. Para isso, a cineasta é colocada em interlocução constante com a poeta Anne Carson (1950) e com o filósofo Ludwig Wittgenstein (1889 - 1951). Este é um estudo que traduz em sua própria composição, cujo tecido traz elementos audiovisuais e poéticos, uma crença drástica nas forças pensantes da arte. Movendo-se pela noção mais geral de descrição, debruça-se sobre os temas da experimentação artística, do possível como categoria estética, da representação, da experiência, da música, do tempo, da autobiografia e da morte. / [en] This is a research which has the oeuvre of Chantal Akerman (1950 - 2015) as its main focus. The proposal was to describe one of Akerman s specific film - Les Rendez-vous d Anna -, in constellation with other of her works. While describing Les Rendez-vous d Anna, a reflection on the act of describing as an operator, an artistic and theoretical trigger, occurs. For that, the filmmaker is put alongside with the poet Anne Carson (1950) and the philosopher Ludwig Wittgenstein (1889 - 1951). This is a study that translates in its own composition, which has in its fabric audiovisual and poetic elements, a drastic belief in the thinking forces of art. Moving through the overview notion of description, we speak of themes such as artistic experimentation, the possible as aesthetic category, representation, experience, music, time, autobiography and death.

Der Text beinhaltet eine umfangreiche Auswertung der im Hauptstaatsarchiv Dresden und anderen Archiven befindlichen und intensiv eingesehenen Akten zum Leben der Gräfin Cosel. Vorangestellt ist eine Persönlichkeitsstudie. Der Schwerpunkt liegt auf der Gefangenschaft der Gräfin und ihrem Aufenthalt auf der Burg Stolpen. Zahlreiche familien- und alltagsgeschichtliche Begebenheiten illustrieren das Geschehen.:Anna Constantia Reichsgräfin von Cosel – Eine Persönlichkeitsstudie 6 Kindheit und Jugend 10 Ehe mit Hoym 10 Scheidung 11 Gemahlin zur Linken 18 Pillnitz 25 Berlin 30 Halle 36 Leipzig 39 Nossen 40 Stolpen 43 Holzlieferungen und ein Streik 47 Krankheit 51 Zerwürfnis mit Jentzsch 56 Vormundschaft 61 Gevatterpräsent 67 Versorgung des Sohnes 71 Vermögenskommission 75 Zank und Streit in Pillnitz 82 1720 83 1721 91 Verhaftung Perlheffters 96 Generaluntersuchung auf Stolpen 99 Zwei Strafprozesse als Exempel – Leutnant Helm 114 Lakai Gäbler 117 Leibmagd Rost 119 1722 127 Verwaltungsposse 129 Hoyms Abrechnung 130 1723 132 Flammeninferno 132 1724 138 1725 149 Hochzeit 151 Dienstaufsichtsbeschwerde 158 Eine falsche Gräfin? 161 1726 165 1727 168 August der Starke in Stolpen 171 1728 174 1729 178 1730 – Hochzeit 182 1731 188 Medizinisch-philosophischer Diskurs 192 1732 194 Neuerliche Untersuchung 195 1733 200 Tod Augusts des Starken 203 Glanzvolle Mätresse am sächsisch-polnischen Hof 210 Herrschaft Pillnitz 211 Offene Vermögensforderungen 220 Cosel’sche Häuser 223 Cosel’sche Gärten 227 Weinberge und Wein 227 Vermögensauseinandersetzungen 231 Vermögensverwaltung 234 Familiäre Unterstützungen 244 Eigenbedarf und Unterhalt der Kinder 245 Juwelen, Pretiosen und Silbergegenstände 251 Kosmetik/Medizin 253 Garderobe 254 Vermögenssicherung 256 Kunstgegenstände und persönlicher Schmuck 257 Porzellan 259 Wagen und Pferde 259 Möbel und Einrichtungsgegenstände 261 Waffen 263 Druckerzeugnisse und Bilder 264 Vermögensverwertung 265 1734 268 Ein Prozess gegen die Gräfin Cosel 271 1735 276 1736 280 1737 284 1738 286 Leidenschaftliche Erinnerung 288 1739 291 1740 295 Einige Freiheiten 297 Weitere zweieinhalb Jahrzehnte Arrest 299 Hurengeschichten 303 Vermögensübertrag 304 Gut Depenau 313 Garnisonsalltag 316 Tumult in Schönfeld 318 Husarenstück 320 Testamentarische Regelungen 323 Tod und Beerdigung 328 Nachlassregulierung 330 Personenregister 336 Quellenverzeichnis 360

Under de senaste decennierna har en antigenusrörelse etablerats på allvar i Europa. En rörelse som motarbetar genusvetenskap och jämställdhetsarbete. I Sverige har vi hittills sett relativt lite av denna rörelse. Nu formulerar sig kritiken mot genusvetenskapen även i Sverige. Ordet genusdoktrin fogas till det engelska genderism och tyska Genderismus som beteckning på en konspiration mot samhället och dess institutioner. I denna uppsats har jag genomfört en diskursanalys av Ivar Arpi och Anna-Karin Wyndhamns bok Genusdoktrinen (2020) och Kajsa Ekis Ekmans bok Om könets existens (2021). Med hjälp av diskursteori enligt Laclau och Mouffe analyserar jag vilken syn på genusvetenskap, kön och jämställdhet som artikuleras i de två böckerna. En grundläggande fråga är om det handlar om en gemensam diskurs eller om artikulationerna skiljer sig åt på väsentliga punkter. De tecken som artikuleras i texterna analyserades med avseende på den vikt de har för diskursen och relationerna till varandra. I min analys framträder en gemensam grund i de två artikulationerna. Båda artikulerar en positivistisk vetenskapssyn. De menar att genusvetenskapen ifrågasätter den biologiska grunden för kön med hjälp av social-konstruktivism. De menar vidare att det är politiska beslut som lett till genusvetenskapens etablering och att ett binärt hierarkiskt kön är en förutsättning för jämställdhetsarbetet. De två artikulationerna skiljer sig åt på ett par punkter. Ekman menar i motsats till Arpi och Wyndhamn att jämställdhetsarbetet måste fortsätta. Där Arpi och Wyndhamn nöjer sig med att hävda ett binärt biologiskt kön som vetenskaplig slutpunkt menar Ekman att diskussionen fortgår och att alla feminister inte står bakom genus-vetenskapen. / There is a growing anti gender movement in Europe that fights gender science and gender equality. It has not been that prominent in Sweden. Recently a new word genusdoktrin has been added to the English genderism and German genderismus as a label for a conspiracy against society and its institutions. In this thesis I have carried out a discourse analysis of the two books Genusdoktrinen (2020) by Ivar Arpi and Anna-Karin Wyndhamns and Om könets existens (2021) by Kajsa Ekis Ekman. Using theory of discourse by Laclau and Mouffe I analyze what view of gender studies that is articulated in the two books. An important question is whether they differ or not. The articulated signs were analyzed with regard to the weight carried they in the discourse. The two books articulate a positivist science view and claim that gender science is unscientific. They argue that gender science question the biology of sex from a social constructivist point of view. Moreover, they claim that political decisions made the establishment of gender science possible in Sweden and that a binary hierarchic sex is a prerequisite for a continued gender equality work. The articulations differ in a couple points. Ekman argues contrary to Arpi and Wyndhamn that we have not yet reached gender equality and that the work must continue. Arpi and Wyndhamn says that a binary biological sex is an unquestionable scientific fact. For Ekman, the political discussion continues, and she argues that not all feminists support gender science. / <p>2022-06-02</p>

Die vorliegende Arbeit setzt sich mit dem Zusammenhang von „Rasse“- und Geschlechterdiskursen in den USA, Deutschland und England entlang der Schauspielerin Anna May Wong (1905-1961) auseinander. Anna May Wongs mehrere Jahrzehnte umspannende Karriere ist insofern außergewöhnlich, als dass sie als chinesisch-amerikanische Schauspielerin in der US-amerikanischen und europäischen Filmbranche erfolgreich war, dabei jedoch auf Widerstände stieß und sich mit diesen auf ambivalente Weise auseinandersetzte. Die Arbeit geht Anna May Wong als Kristallisationspunkt für Verhandlungen über rassifizierte und vergeschlechtlichte Grenzziehungen nach. Im Mittelpunkt stehen die Inszenierung Wongs in den Filmen, die sie von 1922-1937 in den jeweiligen Ländern gedreht hat, und ihrer Wahrnehmung durch sich selbst und das Publikum. In der Untersuchung ihrer Inszenierung und Wahrnehmung werden diskursive Verflechtungen, Unterschiede und Brüche sichtbar. Im Untersuchungszeitraum verändern sich zudem geopolitische Machtrelationen zwischen Europa, den USA und China signifikant, die auf die Konstruktion von Differenzfiguren erheblichen Einfluss haben und die in der vorliegenden Arbeit herausgearbeitet werden. Zugleich nimmt sie auch Wongs eigene Subjektivierungsstrategien in den Blick und fragt danach, in welchem Verhältnis Leben und Werk zueinander stehen. Anhand einer Mikrogeschichte entlang der Person Anna May Wong wird eine Geschichte der Abgrenzungs- und Aneignungsbewegungen zwischen Europa, USA und China erzählt. Die Untersuchung von Anna May Wong als Ausnahmephänomen verweist zum einen auf die diskursiven Regeln rassifizierter und vergeschlechtlichter Abgrenzung. Zum anderen bringt sie den spannungsreichen Überschuss zum Vorschein, der zeigt, dass das Andere im Eigenen immer schon enthalten ist. / This dissertation examines the life and work of the actress Anna May Wong (1905-1961) through the lens of discourse on race and gender in the USA, Germany, and England. Vice versa: it interrogates the discourse of race and gender by engaging the figure of Wong and her work both on screen and off. Wong’s decades-long career is extraordinary in the sense that, as a Chinese American, she achieved success in the American and European film industry in spite of gendered and racially-based resistance, an experience that her films explore in ambivalent ways. Wong serves as a prism in this dissertation to explore the ways in which racial and gendered boundaries were drawn during the span of her career, but with a specific focus on the films that she made between 1922-1937, which were shot in the United States and Europe. An interrogation of the manner in which Wong appears in these films, as well as the films’ reception(s), reveals a web of complex interweavings, intersections, and ruptures along sexual, gendered, and racialized lines. During the period on which this dissertation focuses, geopolitical power relations between Europe, China, and the United States shifted significantly with dramatic effects on the construction of difference, which the following project explores. The dissertation interrogates, therefore, the relationship between her life and the global context of her work. Her micro-history serves as a fulcrum for examining the larger history of bordering, appropriation, and identity negotiation(s) between Europe, the United States, and China. The investigation of Anna May Wong as a unique phenomenon reveals, on the one hand, a discursive and material history of raced and gendered constructions of difference. On the other hand, her work consistently engages a suspenseful type of excess, which demonstrates the ways in which the “other” is always already embedded in the “self”.