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This book series aims at providing a platform for original and innovative scholarly research on questions of gender and sexuality in the fields of diversified arts and globalized cultures. The contributors approach their subjects within frameworks of feminist and queer thought, theories, and practice. At the same time, the research monographs and edited collections create a forum where complex disciplinary histories and methodologies entangled with powerful epistemologies can be addressed. As part of a broader critical discourse, the series explores the role of art in articulating queer and feminist politics globally in both historical and contemporary contexts and across genres, media, and audiences. Drawing inspiration from the gender fluid oyster, this book series hopes to foster new perspectives of a transnational, decolonizing, intersectional, transversal and fantastic world of arts, cultures and genders.
Hongwei Bao, University of Nottingham, UK; Susanne Huber, University of Bremen; Änne Söll, Ruhr University Bochum
Psychoanalysis, the study of the unconscious, has provided artists in the 20th and 21st centuries with both a visual language and valuable psychological tools to address the social phenomenon of violence against women. The volume presents groundbreaking research on various representations of gender-based violence in art. The book aims to examine the cultural constructions embedded in this phenomenon and to explore the different strategies that have been developed on different continents to counteract it. The artists featured are Oskar Kokoschka, María Izquierdo, Grete Stern, Dorothea Tanning, Ana Mendieta, Kiki Kogelnik, Marina Abramović, Soli Kiani, Sigalit Landau, and Hava Raucher, as well as the filmmaker Ruth Beckermann and the philosopher Hélène Cixous.
The masculine machine-man, associated with notions of a virile, hyper-muscular male body since the 1980s, is a thing of the past in contemporary art; the author shows this on the basis of representations of male, masculine and queer bodies since the 1990s. While the cyborg figure generally refers either to a militaristic, self-contained masculinity or to a feminine, fluid resolution, an analysis of male-technological bodies in contemporary art is still overdue. The author locates the bodies depicted in the debates on a post-human dissolution of body and gender, while enquiring how these are interwoven with current discussions on new concepts of masculinity and gender.
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This publication is dedicated to the changes in masculinity/ies that visual artists have been addressing since the 1970s and are currently working on more than ever. Contributions from art and other cultural studies illuminate the diverse artistic processes by which the idea of masculinity as a seemingly universal, irrefutable constant is being successively replaced by the assumption of a plurality of masculinities. The volume comprises four sections: Postphallic Masculinity, Queering Masculinities, Optimised Masculinity/ies and Vulnerability. Based on the premise that male bodies do not have an intrinsic essence but are socially constructed and thus transformable, visions of future masculinity(ies) are discussed and concretised.