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Germany was the first country in Europe that took an important step to helping intersex people. Since the 1st of November 2013 the intersex new-born have been enacting an opportunity to withhold information about the gender in its personal documents. Germany is now among the few countries in the world that gave intersexed people the opportunity to stay for a lifetime, if they so desire, without a gender. Intersex people are classified as individuals who are born with ambiguous sex characteristics (such as genitalia, chromosomes and hormones). Therefore they can't fall into either of the male or the female sex category. Amendment to the german Civil Code, which allowed marking gender of intersex children in its personal documents with the letter "X", was preceded by intense debate in the field of professional, political and social. Partial discussions of this topic took place in Germany since the 90s and were carried out thanks to the interest groups of intersex people. The most important stimulus for the amendment to civil code was the opinion of the German Council for Ethics from February 2012. The loudest argument in discussions appeared, pointed in particular to the need to ban dangerous surgeries on intersex children, which caused them health problems in adulthood. Other reason for this...

This dissertation recasts the history of nudity in art as a history of ecology. Art historians have long emphasized that depictions of the nude body make visible social relationships structured by gender, race, and class. I contend that ecological relationships—among human beings, fellow living things, and their environments—lie latent in these same artworks. My argument unfolds in the context of the nineteenth-century United States, a place of profound and lasting change that transformed how the human body was understood and represented. Taking seriously the historical euphemism “the garb of nature,” I look anew at nudity across artistic media. Three chronological chapters expand outward in scale and engage with different aspects of the natural world: I examine an ivory miniature of a white woman’s bare breasts, a wet-collodion negative of unclothed Civil War soldiers bathing outdoors, and an enormous sculptural weathervane on the New York City skyline. In each case, I grapple with the contexts in which these artworks emerged, encompassing enslavement, war, colonialism, hunting, pollution, and industrialization—all practices premised upon social and ecological hierarchy. Yet my analysis reveals that these artworks attest not to hierarchy but to the vital interdependence of people and the natural world. Together, these case studies chart a new approach to nudity in art, attuned to both the social and ecological stakes of representation.

Der Begriff Geschlechterdispositiv verweist auf den Dispositiv-Begriff bei Michel Foucault und umfasst das machtvolle Zusammenspiel von hegemonialen Geschlechternormen in Gestalt von gesellschaftlich-kulturellen Leitbildern (Diskursen), von institutionellen Regelungen wie Geschlechtsrollenverteilungen (Institutionen), von vergeschlechtlichten Praktiken im Sinne des doing gender (Praxis) und von geschlechtlichen Identitätsangeboten (Subjektivität). Die Konstruktion von Geschlecht ist mit Machtbeziehungen und Wahrheitspolitiken verbunden. Das Geschlechterdispositiv stellt damit auch eine Analyseeinheit dar, die sich für eine empirische Forschung im Sinne einer relationalen Machtanalytik öffnet.

Unter Diversity (dt.: Vielfalt) wird die Heterogenität und Diversifizierung sozialer Lebenslagen und sozialer Zugehörigkeiten verstanden, die in Folge von unter anderem Migrationsbewegungen, veränderten Geschlechterbeziehungen und der Pluralisierung von Familienformen in westlichen Gesellschaften zunehmen bzw. stärker thematisiert werden als zuvor. Dabei ist eine Lesart vorherrschend, die Diversity als gesellschaftliche und besonders als ökonomische Ressource, als Potenzial, betrachtet.