Stefan Horlacher – författare

This volume brings together art, literature, and critical analyses to examine which concepts and blueprints of (re-)negotiation of national, ethnic and religious identities may pave the way towards a more inclusive yet open and plural Sri Lankan society. It looks to develop new, creative, and alternative concepts of community and nation-building as envisaged in Sri Lanka’s rich contemporary art scene, i.e. literature, theatre, film, and performing and visual arts. The individual chapters authored by prominent academics as well as renowned artists critically engage with a pertinent selection of contemporary Sri Lankan works of art and their visions of what a multi-ethnic, multi-religious Sri Lanka might look like in the aftermath of three decades of war, a severe economic crisis and the tenacious protests of 2022 (Aragalaya).The first of its kind, this volume includes analyses ranging from disciplines such as Anthropology, Literary and Cultural Studies, Film and Performance Studies, South Asian Studies and Art History to topics such as the question of truth in testimonial literature, Buddhist nationalism, Sinhala identity politics and the (im)possibility of transitional justice. It is supplemented with interviews and unpublished short stories and poetry from well-known resident and diasporic Sri Lankan writers as well as art originating from the Aragalaya.

This volume brings together art, literature, and critical analyses to examine which concepts and blueprints of (re-)negotiation of national, ethnic and religious identities may pave the way towards a more inclusive yet open and plural Sri Lankan society. It looks to develop new, creative, and alternative concepts of community and nation-building as envisaged in Sri Lanka's rich contemporary art scene, i.e. literature, theatre, film, and performing and visual arts. The individual chapters authored by prominent academics as well as renowned artists critically engage with a pertinent selection of contemporary Sri Lankan works of art and their visions of what a multi-ethnic, multi-religious Sri Lanka might look like in the aftermath of three decades of war, a severe economic crisis and the tenacious protests of 2022 (Aragalaya).The first of its kind, this volume includes analyses ranging from disciplines such as Anthropology, Literary and Cultural Studies, Film and Performance Studies, South Asian Studies and Art History to topics such as the question of truth in testimonial literature, Buddhist nationalism, Sinhala identity politics and the (im)possibility of transitional justice. It is supplemented with interviews and unpublished short stories and poetry from well-known resident and diasporic Sri Lankan writers as well as art originating from the Aragalaya.

This volume brings together art, literature, and critical analyses to examine which concepts and blueprints of (re-)negotiation of national, ethnic and religious identities may pave the way towards a more inclusive yet open and plural Sri Lankan society. It looks to develop new, creative, and alternative concepts of community and nation-building as envisaged in Sri Lanka's rich contemporary art scene, i.e. literature, theatre, film, and performing and visual arts. The individual chapters authored by prominent academics as well as renowned artists critically engage with a pertinent selection of contemporary Sri Lankan works of art and their visions of what a multi-ethnic, multi-religious Sri Lanka might look like in the aftermath of three decades of war, a severe economic crisis and the tenacious protests of 2022 (Aragalaya).The first of its kind, this volume includes analyses ranging from disciplines such as Anthropology, Literary and Cultural Studies, Film and Performance Studies, South Asian Studies and Art History to topics such as the question of truth in testimonial literature, Buddhist nationalism, Sinhala identity politics and the (im)possibility of transitional justice. It is supplemented with interviews and unpublished short stories and poetry from well-known resident and diasporic Sri Lankan writers as well as art originating from the Aragalaya.

This book takes both transgender and intersex positions into account and asks about commonalities and strategic alliances in terms of knowledge, theory, philosophy, art, and life experience.

Analyzing literary texts, plays, films and photographs within a transatlantic framework, this volume explores the inseparable and mutually influential relationship between different forms of national identity in Great Britain and the United States and the construction of masculinity in each country. The contributors take up issues related to how certain kinds of nationally specific masculine identifications are produced, how these change over time, and how literature and other forms of cultural representation eventually question and deconstruct their own myths of masculinity. Focusing on the period from the end of World War II to the 1980s, the essays each take up a topic with particular cultural and historical resonance, whether it is hypermasculinity in early cold war films; the articulation of male anxieties in plays by Arthur Miller, David Mamet and Sam Shepard; the evolution of photographic depictions of masculinity from the 1960s to the 1980s; or the representations of masculinity in the fiction of American and British writers such as Patricia Highsmith, Richard Yates, John Braine, Martin Amis, Evan S. Connell, James Dickey, John Berger, Philip Roth, Frank Chin, and Maxine Hong Kingston. The editors and contributors make a case for the importance of understanding the larger context for the emergence of more pluralistic, culturally differentiated and ultimately transnational masculinities, arguing that it is possible to conceptualize and emphasize difference and commonality simultaneously.

Analyzing literary texts, plays, films and photographs within a transatlantic framework, this volume explores the inseparable and mutually influential relationship between different forms of national identity in Great Britain and the United States and the construction of masculinity in each country. The contributors take up issues related to how certain kinds of nationally specific masculine identifications are produced, how these change over time, and how literature and other forms of cultural representation eventually question and deconstruct their own myths of masculinity. Focusing on the period from the end of World War II to the 1980s, the essays each take up a topic with particular cultural and historical resonance, whether it is hypermasculinity in early cold war films; the articulation of male anxieties in plays by Arthur Miller, David Mamet and Sam Shepard; the evolution of photographic depictions of masculinity from the 1960s to the 1980s; or the representations of masculinity in the fiction of American and British writers such as Patricia Highsmith, Richard Yates, John Braine, Martin Amis, Evan S. Connell, James Dickey, John Berger, Philip Roth, Frank Chin, and Maxine Hong Kingston. The editors and contributors make a case for the importance of understanding the larger context for the emergence of more pluralistic, culturally differentiated and ultimately transnational masculinities, arguing that it is possible to conceptualize and emphasize difference and commonality simultaneously.

Analyzing literary texts, plays, films and photographs within a transatlantic framework, this volume explores the inseparable and mutually influential relationship between different forms of national identity in Great Britain and the United States and the construction of masculinity in each country. The contributors take up issues related to how certain kinds of nationally specific masculine identifications are produced, how these change over time, and how literature and other forms of cultural representation eventually question and deconstruct their own myths of masculinity. Focusing on the period from the end of World War II to the 1980s, the essays each take up a topic with particular cultural and historical resonance, whether it is hypermasculinity in early cold war films; the articulation of male anxieties in plays by Arthur Miller, David Mamet and Sam Shepard; the evolution of photographic depictions of masculinity from the 1960s to the 1980s; or the representations of masculinity in the fiction of American and British writers such as Patricia Highsmith, Richard Yates, John Braine, Martin Amis, Evan S. Connell, James Dickey, John Berger, Philip Roth, Frank Chin, and Maxine Hong Kingston. The editors and contributors make a case for the importance of understanding the larger context for the emergence of more pluralistic, culturally differentiated and ultimately transnational masculinities, arguing that it is possible to conceptualize and emphasize difference and commonality simultaneously.

This book takes both transgender and intersex positions into account and asks about commonalities and strategic alliances in terms of knowledge, theory, philosophy, art, and life experience. It strikes a balance between works on literature, film, photography, sports, law, and general theory, bringing together humanistic and social science approaches. Horlacher adopts a non-hierarchical perspective and asks how transgender and intersex issues are conceptualized from a variety of different viewpoints and to what extent artistic and creative discourses offer their own uniquely relevant forms of knowledge and expression.

Analyzing literary texts, plays, films and photographs within a transatlantic framework, this volume explores the inseparable and mutually influential relationship between different forms of national identity in Great Britain and the United States and the construction of masculinity in each country. The contributors take up issues related to how certain kinds of nationally specific masculine identifications are produced, how these change over time, and how literature and other forms of cultural representation eventually question and deconstruct their own myths of masculinity. Focusing on the period from the end of World War II to the 1980s, the essays each take up a topic with particular cultural and historical resonance, whether it is hypermasculinity in early cold war films; the articulation of male anxieties in plays by Arthur Miller, David Mamet and Sam Shepard; the evolution of photographic depictions of masculinity from the 1960s to the 1980s; or the representations of masculinity in the fiction of American and British writers such as Patricia Highsmith, Richard Yates, John Braine, Martin Amis, Evan S. Connell, James Dickey, John Berger, Philip Roth, Frank Chin, and Maxine Hong Kingston. The editors and contributors make a case for the importance of understanding the larger context for the emergence of more pluralistic, culturally differentiated and ultimately transnational masculinities, arguing that it is possible to conceptualize and emphasize difference and commonality simultaneously.

This book is about ways to understand masculinity as systemic and corporeal, structural and performative all at once.

This book is about ways to understand masculinity as systemic and corporeal, structural and performative all at once. It argues that the tension between an understanding of “masculinity” in the singular and “masculinities” in the plural poses a problem that can better be understood in relation to a concomitant tension: between systems on the one hand, and bodies on the other - between abstract structures such as patriarchy, kinship or even language, and the various concrete forms taken by gendered, individuated corporeality.The contributions collected here investigate how masculinities become apparent, how they take shape and what systemic functions they have. What, they ask, are the relations between the abstract and corporeal, metaphorical and metonymic manifestations of masculinity? How are we to understand masculinity as a simultaneously systemic and corporeal, performative concept? 

This book is about ways to understand masculinity as systemic and corporeal, structural and performative all at once.

Männlichkeitsbilder im Wandel. Männlichkeit ist ein Forschungsfeld, das sich in den letzten drei Jahrzehnten innerhalb der Geschlechterforschung immer stärker profiliert hat. Mittlerweile ist die Beschäftigung mit Männlichkeit auch in Medizin, Psychologie, Soziologie, Film- und Literaturwissenschaft zu einem festen Bestandteil geworden. Das Handbuch stellt einen Dialog zwischen den etablierten anglo-amerikanischen Masculinity Studies und der in Europa betriebenen Männlichkeitsforschung her, beleuchtet die wissenschaftlichen Fragestellungen und führt die wichtigsten natur-, sozial- und geisteswissenschaftlichen Perspektiven in einem interdisziplinären Ansatz zusammen. Dabei wird das jeweils fachspezifisch hervorgebrachte Wissen über Männlichkeit von führenden Forschern bilanziert und weitergedacht.

Männlichkeitsbilder im Wandel. Männlichkeit ist ein Forschungsfeld, das sich in den letzten drei Jahrzehnten innerhalb der Geschlechterforschung immer stärker profiliert hat. Mittlerweile ist die Beschäftigung mit Männlichkeit auch in Medizin, Psychologie, Soziologie, Film- und Literaturwissenschaft zu einem festen Bestandteil geworden. Das Handbuch stellt einen Dialog zwischen den etablierten anglo-amerikanischen Masculinity Studies und der in Europa betriebenen Männlichkeitsforschung her, beleuchtet die wissenschaftlichen Fragestellungen und führt die wichtigsten natur-, sozial- und geisteswissenschaftlichen Perspektiven in einem interdisziplinären Ansatz zusammen. Dabei wird das jeweils fachspezifisch hervorgebrachte Wissen über Männlichkeit von führenden Forschern bilanziert und weitergedacht.