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首页> 外文学位 >Only for Convicts, Loose Women and Sailors? The Tattoo as Social, Political and Literary Practice in Germany from the 19th Century to Today.
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Only for Convicts, Loose Women and Sailors? The Tattoo as Social, Political and Literary Practice in Germany from the 19th Century to Today.

机译：仅适用于有罪的，活泼的妇女和水手吗？从19世纪到今天，德国的纹身作为社会，政治和文学实践。

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摘要

This dissertation combines readings of literary texts and films, visual analysis, and historical analysis of relevant socio-political contexts. I am particularly interested in how tattoos and texts negotiate the conceptualization and performance of gender roles and the construction of power relations. For this purpose, I conceive of the tattoo as an example of the textedness of the body and the skin as border zone between the social and the self. Situating the tattoo between commodification and self-expression, I analyze questions of gender, identity, nation, and "Otherness." Additionally, I scrutinize the power structures that become visible through the marking of the body.;Chapter 1 analyzes the discourse of the captivity tales of the tattooed circus and fairground performers against a general discourse of physical and sexual hygiene, rising nationalism, and the construction of a German identity. Building on this foundation, chapter 2 examines the representation of tattoos and body markings in Franz Kafka's In the Penal Colony and Egon Erwin Kisch's My Tattoos from his collection of reportages The Raging Reporter. I am interested in how colonial fantasies and realities, modernity and sexuality in Kafka's and Kisch's texts are played out on the body in the form of tattoos. Chapter 3 then analyzes the extreme consequences of the discourse on nationalism, hygiene, and Otherness: the forced tattooing of victims of the Holocaust, the gruesome way the Nazis flayed tattooed people, and the tattoo's symbolic meanings and ramifications in this context. The memoirs of Ruth Kluger, Primo Levi, Ka-Tzetnik 135633 (Yehiel De-Nur) and Jean Amery describe the process of tattooing in Auschwitz and analyze the impact of this practice on the victims, the Nazis, and finally the post-war population. Edgar Hilsenrath's picaresque novel Der Nazi und der Friseur (The Nazi and the Barber) finally tells the story of a con-artist, who uses the tattooed Auschwitz number for his personal benefit, and subsequently experiences identity confusions. Chapter 4 will demonstrate how such identity confusions are subverted by artists and second-generation Holocaust survivors, who use tattooing as an affirmation of their Jewish Identity. The most prominent example is L.A. based photographer Marina Vainshtein, a daughter of Ukrainian Holocaust survivors, who at the age of 25 decided to cover her body with tattoos depicting the trauma of the Holocaust, as a living reminder of "never again." Similarly, the fictional character Eve in Emily Prager's novel Eve's Tattoo claims to have an Auschwitz number tattooed on her wrist to give the Holocaust physical space and visibility in the bored Yuppie culture of New York in the 1980s. I juxtapose a visual analysis of Marina Vainshtein's tattoos with an interpretation Emily Prager's text, focusing on the politics of authenticity and situating both works within the debate on representations of the Holocaust. Chapter 5 finally scrutinizes the current renaissance of the tattoo in Germany as well as in a global context and the mushrooming of representations of tattoos, in particular, in film. Here, I focus on how Robert Schwentke's thriller Tattoo (2002) speaks to a German audience about its past through the global theme of body modification. Lastly, I investigate current discourses on tattoos and whether they are still influenced by the legacy of National Socialist body images.
机译：本文结合文学文本和电影的阅读，视觉分析以及对相关社会政治背景的历史分析。我对纹身和文字如何协商性别角色的概念和表现以及建立权力关系特别感兴趣。为此，我将纹身视为身体和皮肤的文本化示例，将其作为社交和自我之间的边界区域。我将纹身置于商品化和自我表达之间，分析性别，身份，民族和“其他”的问题。此外，我还仔细研究了通过身体标记可见的力量结构。第一章分析了纹身马戏团和游乐场表演者的囚禁故事，而不是关于身体和性卫生，民族主义兴起和建筑的一般论述。德国身份。在此基础上，第二章从弗朗兹·卡夫卡（Franz Kafka）的《在刑事殖民地》（In the Penal Colony）和埃贡·欧文·基施（Egon Erwin Kisch）的《我的纹身》（My Tattoos）中收集了纹身和身体标记的表示，这些报道来自他的报告文学《愤怒的记者》。我对卡夫卡和基希著作中的殖民幻想，现实，现代性和性如何以纹身的形式在身体上表现出来很感兴趣。第三章然后分析了关于民族主义，卫生和其他方面的论述的极端后果：大屠杀受害者的强迫纹身，纳粹剥夺纹身人的可怕方式以及在这种情况下纹身的象征意义和影响。露丝·克鲁格（Ruth Kluger），普里莫·里维（Primo Levi），卡捷兹尼克（Ka-Tzetnik）135633（耶赫·德·努尔（Yehiel De-Nur））和让·阿默里（Jean Amery）的回忆录描述了奥斯威辛集中纹身的过程，并分析了这种作法对受害者，纳粹分子以及战后人口的影响。 。埃德加·希尔森拉特（Edgar Hilsenrath）的野蛮小说《纳粹与理发师》（Der Nazi und der Friseur）最终讲述了一位画家的故事，该画家使用纹身的奥斯威辛数字为自己谋取私利，随后经历了身份混淆。第4章将展示艺术家和第二代大屠杀幸存者如何颠倒这种身份混淆，他们使用纹身来证明他们的犹太身份。最著名的例子是来自乌克兰大屠杀幸存者女儿的洛杉矶摄影师玛丽娜·范施泰因（Marina Vainshtein），她在25岁时决定用刻有大屠杀创伤的纹身遮盖她的身体，以提醒人们“永不再”。同样，艾米莉·普拉格（Emily Prager）的小说《夏娃的纹身》中的虚构角色夏娃（Eve）声称在她的手腕上刻有一个奥斯威辛数字，以赋予大屠杀的物理空间和1980年代纽约无聊的雅皮文化的可见度。我将玛丽娜·范施泰因的纹身的视觉分析与解释艾米丽·普拉格（Emily Prager）的文字并列放置，重点是真实性政治，并将这两件作品都放在关于大屠杀再现的辩论中。第五章最后详细审查了德国纹身的复兴，以及在全球范围内纹身的复兴，尤其是在电影中。在这里，我重点介绍罗伯特·施温特克（Robert Schwentke）的惊悚片《纹身》（Tattoo，2002年）如何通过全球身体修饰主题向德国观众讲述其过去。最后，我研究了有关纹身的最新论述，以及它们是否仍然受到国家社会主义人体图像遗产的影响。

著录项

  • 作者

    Hutter, Verena.;

  • 作者单位

    University of California, Davis.;

  • 授予单位 University of California, Davis.;
  • 学科 Literature Germanic.;European Studies.;Psychology Social.;Holocaust Studies.;Gender Studies.
  • 学位 Ph.D.
  • 年度 2012
  • 页码 280 p.
  • 总页数 280
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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