Cinematic narratives of eating disorders run the risk of presenting their characters as largely passive — a risk compounded by the fear of ‘contagion’ that haunt the images of bodies affected by these disorders. Paradigmatic examples are not only the images produced by the fashion industry but also the controversial photos posted online by ‘pro-ana’ communities (often presenting anorexia as a lifestyle). The mimetic aspect indeed plays an ambiguous role in drawing the contours of both the definition and the proliferation of eating disorders. For instance, after having diagnosed ‘bulimia nervosa’ in 1979, the psychiatrist Gerald Russell worried that his description of the symptoms had contributed to the dramatic spread of the pathology itself. This is a question for all newly introduced medical categories: do the symptoms proliferate or the diagnosis? But what is, in this respect, the role of cinema in recirculating both highly visible and hidden aspects of eating disorders forming such a prominent part of today’s visual culture?
Moara Passoni’s Ecstasy (2020, 80 min) tells the story of the development of the film’s protagonist Clara’s anorexia, from her childhood to her late teenage years, against the background of the political changes of 1990s Brazil. In order to find a language that speaks against visual stereotypes of eating disorders and their spectacularization, Moara shows the way Clara perceives and tries to control reality through her relationship with food. Instead of overexposing the anorectic body, or protecting it by leaving its frailty outside the frame, the Brazilian filmmaker puts the audience in front of the ecstatic spectacle Clara witnesses: her phantasies and desires, her idiosyncrasies and her fears. Thus, in Ecstasy, the overused and often obscure word ‘dysmorphia’ takes multiple forms. It does not only correspond to the discrepancy between the way one looks and the way one perceives oneself. Body dysmorphia here also takes the shape of two imaginary friends/enemies of Clara, a blue dot and an egg, revealing how magical thinking is part of eating disorders. And visually most poignant is Moara’s use of both close-ups and extreme close-ups that mirrors Clara’s morbid need to re-redit reality by cutting it into little pieces according to what she calls ‘the geometry of hunger’.
Moara Passoni is a writer-director from Brazil. She graduated from the University of São Paulo in sociology, anthropology, and political sciences, studied dance and performance at Universidade de São Paulo (USP-SP), and philosophy & aesthetics at Université de Paris 8 Vincennes-Saint-Denis. After finishing a master’s in film and documentary at, she earned an MFA in screenwriting and directing from Columbia University. Êxtase (2020) is her first non-fiction film and premiered in the CPH:DOX main competition. The film was screened, among others, at MoMA ‘DocFortnight’ and at Visions du Réel in Nyon and was awarded several prizes, including the Prix D’Innovation Daniel Langlois at the Festival du Cinema Nouveau and the Jury Award for best newcomers at the São Paulo International Film Festival. Passoni co-wrote and associate produced The Edge of Democracy (2019) by Petra Costa. In addition to the Academy Award nomination for Best Documentary, the film was nominated for best narration/writing by The Critics’ Choice Awards and the International Documentary Association.
This interdisciplinary ICI Fellow workshop will interrogate ‘reduction’ as a concept, as a method, as an experience, as a practice, and as an aesthetic, considering cases where it is taken to signify diminishment and devalorization as well as reduction’s generative potential.
How can reduction give rise to openness and inclusion? What does it mean to perform reduction? How does it relate to our world? How can it be used as a lens for research? And what can it perform as a strategy?
Sich der Sprache des Wahnsinns zu nähern, erfordert von der Psychoanalyse, sich von der Sprache der Medizin zu entfernen. Diese Aufgabe hat sie, trotz aller Bemühungen, bis heute nicht erfüllt. Sie müsste sich dazu in eine andere, auch ältere Genealogie einer ›Technik der Subjektivierung‹ einschreiben, deren Linien Foucault in seiner Vorlesung Die Hermeneutik des Subjekts nachzeichnet.
Jean Allouch ist Psychoanalytiker in Paris. Nach dem Studium der Psychologie (Montpellier) und der Philosophie (Paris Sorbonne) besuchte er von 1963 an die Seminare Lacans, der auch sein Analytiker war. Nach Auflösung der École freudienne de Paris war er Mitbegründer der Zeitschrift Littoral und kurz darauf der École lacanienne de psychanalyse (ELP). Mit der Reihe ›Les grands classiques de l’érotologie moderne‹, die er im Verlag Epel leitet, möchte er in Frankreich grundlegende Arbeiten aus dem Feld der queer und gender studies bekannt machen. Seine Bücher sind unter anderem: Lettre pour lettre (1984, 2. Auflage 2021), Marguerite, ou l’Aimée de Lacan (1990), Érotique du deuil au temps de la mort sèche (1995), La Psychanalyse, une érotologie de passage (1997), Le sexe du maître (2001), La psychanalyse est-elle un exercice spirituel? Réponse à Michel Foucault (2007; Übers.: Ist die Psychoanalyse eine geistige Übung?, 2021), L’Amour Lacan (2009), L’Autresexe (2015) sowie kürzlich: Nouvelle remarques sur le passage à l’acte (2019), Transmaître (2020).Handout (De)Eine Kooperation der Freud-Lacan-Gesellschaft mit dem ICI BerlinDepuis la publication de Histoire de la folie à l’âge classique de Foucault, les chemins de Lacan et de Foucault se sont croisés à plusieurs reprises — dans la question de ne savoir qui parle, du prix que le sujet doit payer pour dire vrai, ou des conditions dans lesquelles un sujet apparaît dans différentes formations discursives. La manière dont le sujet du désir se noue au savoir soulève également la question du lien entre spiritualité et érotisme.
S’approcher du langage de la folie exige que la psychanalyse s’éloigne du langage de la médecine. Elle n’a pas encore rempli cette tâche, même si elle s’y efforce depuis longtemps. Pour y arriver, elle devrait s’inscrire dans une autre généalogie, également plus ancienne, d’une ‹ technique de subjectivation ›, dont Foucault trace les lignes dans sa conférence L’Herméneutique du sujet.
Jean Allouch est psychanalyste à Paris. Après des études de psychologie (Montpellier) et de philosophie (Paris Sorbonne), il suit à partir de 1963 les séminaires de Lacan, qui était aussi son analyste. Après la dissolution de l’École freudienne de Paris, il a cofondé la revue Littoral et, peu après, l’École lacanienne de psychanalyse (ELP). Avec la série ‹ Les grands classiques de l’érotologie moderne ›, qu’il dirige aux Éditions Epel, il vise à faire connaître des ouvrages fondamentaux dans le domaine des queer and gender studies en France. Parmi ses livres, citons: Lettre pour lettre (1984, 2ème édition 2021), Marguerite, ou l’Aimée de Lacan (1990), Érotique du deuil au temps de la mort sèche (1995), La Psychanalyse, une érotologie de passage (1997), Le sexe du maître (2001), La psychanalyse est-elle un exercice spirituel. Réponse à Michel Foucault (2007), L’Amour Lacan (2009), L’Autresexe (2015) et plus récemment: Nouvelles remarques sur le passage à l’acte (2019) et Transmaître (2020).Handout (fr)Une coopération de la Société Freud-Lacan avec l’ICI Berlin.
In this workshop, participants are invited to respond and contribute to the Archive, with a text, image, little bit, concrete question mark, thread, or other fragment. The session will begin with a discussion of the collectively compiled materials, and then lead into an experimental writing workshop guided by a series of responsive prompts from the Hawthorn Archive’s ‘keeper’ Avery Gordon.
Avery F. Gordon is professor of sociology at the University of California, Santa Barbara and visiting professor at Birkbeck, University of London. She is the author of The Hawthorn Archive: Letters from the Utopian Margins (2018), The Workhouse: The Breitenau Room (2015, with Ines Schaber), Ghostly Matters: Haunting and the Sociological Imagination (1997/2008), and Keeping Good Time: Reflections on Knowledge, Power and People (2004), among other books and articles. Her work focuses on radical thought and practice, and she writes about captivity, enslavement, war and other forms of dispossession and how to eliminate them. She serves on the editorial committee of the journal Race & Class and is the co-host of No Alibis, a weekly public affairs radio program on KCSB FM Santa Barbara. She was for many years the Keeper of the Hawthorn Archive.
In the 1955 manifesto ‘The Camera, a Pedagogical Tool’, Deligny emphasizes that the camera is a ‘dispositif’ (apparatus) mediating collective relationships. Later he uses the neologism ‘camering’: ‘I maintain that camering doesn’t come to an end and it’s perhaps here that it differs from filming’. He favours the tool over the finished object (the film) a non-subjective and endless action, cinema as process.
In his social, pedagogical, and clinical experimentations, the energy mobilized through the cinematographic practice does not exhaust itself in the effort of creating a film-object. Freed from the need to produce a finished film, it is the ‘film to come’ that is emphasized. The film projects in turn structure Deligny’s experimentations inasmuch as they emancipate them from their supposed aim — that of normalizing psychotic or re-educating deviant subjects.
This workshop proceeds from the idea that tools can establish new forms of mediation between the members of a group, installing a scene and a milieu. The presence of the tool — the camera in first place, even when used ‘without film’ (taking over thus the gesture of the Russian filmmaker Lev Kuleshov) — prepares and structures modes of action, it installs the milieu ‘there’, wherever it is wielded. Can Deligny’s practice, with all its implications, suggest new forms of social, political, clinical, and pedagogical interventions through mediation that construct or assemble milieus?
Die internationale Tagung zielt auf eine medienanthropologische Betrachtung von Schlüsselbegriffen wie Conatus und Lebensnot und regt zu einer vertieften Diskussion und zu einem verstärkten interdisziplinären Austausch an.
Conatus and Lebensnot stand for those binding forces of life that, since the emergence of anthropology, have regularly been the subject of philosophical and psychological theory. Spinoza defined Conatus as ‘the striving by which each thing strives to persevere in its being’. As changing conditions of life, Conatus and its counter-concept Lebensnot – which takes the need of life as its starting point – are also at the center of current media-anthropological discussions about the relationship between life and media. With the ascendence of the life sciences, the human has become more than ever the subject of science and the product of its technologies – in fact, in many respects the human has become a being split between living and surviving. This shift also appears in the turn to affect theory, new materialism, and speculative philosophy. Here the human appears as a sensing, affective being and no longer as a primarily cognitive, communicative, symbolizing, or laboring being. Philosophical approaches of immanence orient themselves around vitalistic concepts (rhythm, movement, sensation, intensity), the notion of a living materiality, and the knowledge of physics (as well as of biology and neuroscience). Michel Foucault still assumed that the human – as object of knowledge, together with the order of the modern episteme – could dissolve, and yet the finitization of the human object of knowledge has so far failed.
The international conference aims at a media-anthropological consideration of key concepts (Conatus and Lebensnot) and encourages deepened discussion as well as amplified interdisciplinary exchange.
Keynote Lectures by Simon Njami and Ann L. Stoler
18:00 Simon Njami: In the Heart of the Lights
Simon Njami – curator of the exhibition WIR SIND ALLE BERLINER: 1884-2014 at SAVVY Contemporary – will deliberate on the concept of the exhibition and the role and importance of artistic and cultural interventions in the context of shifting historical discourses and investigating politics of memory.
Simon Njami is a writer and an independent curator, lecturer, art critic and essayist. He curated many international exhibitions, being among the first ones to think and show African contemporary artists’ work on international stages. He curated Africa Remix (2004-07 in Düsseldorf, London, Paris, Tokyo, Johannesburg) and co-curated the first African Pavilion at the 52nd Venice Biennale. His exhibition The Divine Comedy – Heaven, Hell, Purgatory by Contemporary African Artists is currently touring after stations in Frankfurt a.M. and Savannah (USA) to Washington D.C and Lisbon. Njami is the co-founder of Revue Noire, a journal of contemporary African and extra-occidental art. His latest book publication is a biography of Léopold Sédar Senghor.
19:00 Ann L. Stoler: Imperial Debris and Why it Matters Now
Ann Stoler’s keynote lecture will set the framework of the discursive programme by redirecting the attention of critical engagement with colonial aftermaths towards the “less dramatic durabilities of duress” , the less visible and perceptible repercussions of imperial dispositions and the complex ways in which they shape not only the material but also the psychic space in which we live today. Stoler’s shift of focus from “left over” relics (ruins) as evidence of the past to what we are “left with” – the ongoing process of ruination through which imperial power occupies the present – allows for an account of those subtle durabilities. She challenges established assumptions about the way colonial pasts and colonial presents relate to each other, about the remnants of empire that do not only persist, but also continue to be reanimated.
Stoler’s lecture will take place against the backdrop of a Germany – and a Europe – that is experiencing protests and attacks against foreigners of an unforeseen magnitude and a sharpening of public anti-foreigner rhetoric. It will provide a crucial starting point to reflect upon the complexity of colonial presents and a basis to rethink contemporary socio-political developments in order to shift them.
Ann L. Stoler is the Willy Brandt Distinguished University Professor of Anthropology and Historical Studies at the New School for Social Research.
Sontag combined ingenuity and a boundless curiosity with unconventional critical analyses and avantgarde commitments; open towards all things new in culture and art, she supported many artists just breaking onto the scenes of literature, fine art, and film from the early 1960s onwards and helped them gain worldwide recognition. The two-day symposium at the ICI Berlin featured lectures, conversations, talks, and film essays by artists and scholars who were closely connected to Susan Sontag and have dealt with her work intensively.
The symposium accompanied the exhibition WIR SIND ALLE BERLINER: 1884-2014 at SAVVY Contemporary. The discursive programme took place from 26 February – 1 March 2015 at three different locations: ICI Berlin, KuLE Theater, and SAVVY Contemporary.
Dagmar Herzog is Distinguished Professor of History and the Daniel Rose Faculty Scholar at the Graduate Center, City University of New York. She has published widely in the history of religion in Europe and the U.S., on the Holocaust and its aftermath, and on the histories of gender and sexuality. She completed Sexuality in Europe: A Twentieth-Century History (2011) and is currently at work on a new project on the European and American histories of psychoanalysis, trauma, and desire. She is also the author of Sex in Crisis: The New Sexual Revolution and the Future of American Politics (2008), Sex after Fascism: Memory and Morality in Twentieth-Century Germany (2005), and Intimacy and Exclusion: Religious Politics in Pre-Revolutionary Baden (1996/2007). She is the editor and co-editor of six anthologies, including, most recently, Brutality and Desire: War and Sexuality in Europe’s Twentieth Century (2009) and Lessons and Legacies VII: The Holocaust in International Perspective (2007).
Diaspora designates those who are ‘loose in the world’ (James Clifford) and encapsulates variegated historical, post-colonial, political, and cultural contexts. Contemporary uses of the term extend well beyond the classical Jewish-oriented one and are more accommodating of a multiplicity of experiences. Accordingly, it has emerged as a means of expressing the negotiations of non-Jewish groups with the impossibilities of belonging. In this sense, the question of diaspora, today, is inflected by the relationship between its Jewish and non-Jewish iterations: In what sense does the former provide a paradigm for the term’s general meaning? And in what sense might non-Jewish diasporas press us to rethink such a paradigm?
Furthermore, the ontological, rhetorical, and embodied aspects of diaspora – which are marked by displacement, exile, and the transnationalization of identity politics, and which are informed by histories of persecution and violence – raise questions about the relationships between queer subjects and notions of belonging, whether to a collective, a family, a nation, or a ‘home’. What are the ways in which queerness emerges and exists? How does it enable and enact migration, identity trans/formation, and political affiliation along racial and affective trajectories? And while diaspora cannot (and should not) be reduced to geopolitical entities or categories, how do the uses of this term by different groups – racial, national, and sexual – occupy, refuse, and shape the public? These questions indicate the complexities of narrating an existence that does not belong where it is supposed to belong. Faced with narrative’s promise of making belonging – or its impossibility – recognizable, diaspora is bound to a certain error, or experimentation.
Dominique Scarfone ist Professor der Psychologie und Psychiatrie an der Université de Montréal, wo er psychoanalytische Theorie lehrt, als Supervisor arbeitet und Begriffsforschung betreibt. Er ist Lehr- und Kontrollanalytiker und Mitglied der Canadian Psychoanalytic Society. Bis vor kurzem war er Mitherausgeber des International Journal of Psychoanalysis und Mitglied der Conceptual Integration Project Group der IPA. Seine Publikationen umfassen: Jean Laplanche (Paris 1997; auf Englisch: Laplanche: An Introduction, New York 2015), Oublier Freud? Mémoire pour la psychanalyse (Montréal 1999), Les Pulsions (Paris 2004) und Quartiers aux rues sans nom (Paris 2012). Scarfone hat zusammen mit Howard Levine und Gail Reed Unrepresented States and the Construction of Meaning (London 2013) herausgegeben.
are embedded already in the dominant and that power
is never total or consistent; indeed failure can exploit
the unpredictability of ideology and its indeterminate qualities.
J. J. Halberstam
Revolutionaries are everywhere,
but nowhere is there any real revolution.
The word resistance usually evokes images of struggle, of opposition, but also of power, of domination, and oppression. In its concrete manifestations, however, resistance is more of a process of trial and error; it is often a story of failures intersecting, weaknesses combining and of building precarious solidarities in times of crisis. In this sense, revolution is never a simple story of ‘success’.
This one-day conference aimed at exploring resistances as a multiplicity, as practices and modes of thinking that challenge normative values of success and failure. Resistances act on the mechanisms of power in particular places, in concerted actions, as well as in daily routines of living, being, working, imagining, and organizing. They can manifest as coalitions of the weak and dispossessed but also as coagulations in that in-between, uncomfortable space of the semi-peripheral. The panels investigated resistances in the decolonial queer context, the cultural field at large, protest politics, and sex work, and involved researchers alongside activists and other agents.
Jafari S. Allen is Associate Professor of African American Studies and Anthropology. He works at the intersections of (queer) sexuality, gender, and blackness, and teaches courses on the cultural politics of race, sexuality, and gender in Black diasporas; Black feminist and queer theory. Allen is the author of ¡Venceremos?: The Erotics of Black Self-Making in Cuba (Duke UP, 2011) and editor of Black/Queer/Diaspora – a special issue of GLQ: A Journal of Lesbian and Gay Studies (18:2-3, 2012).
Serena O. Dankwa earned her PhD from the Institute of Social Anthropology at the University of Berne. Specialized in the study of gender and sexuality in West Africa, her doctoral project focused on practices of female friendship and same-sex intimacy in postcolonial Ghana. In 2010-2011, she was the Sarah Pettit Fellow in LGBT Studies at Yale University. Besides her academic work, she freelances as a music journalist and broadcaster with SRF2 Kultur.
This two-day symposium explores this multi-faceted nature of the defect, starting from two distinct, but subtly related epistemological and social sites—one ancient, one modern. In addressing the gaps and overlaps between biological and technical conceptions of deficiency, error, and impairment, we will have occasion to consider the complex imbrications of medical discourse and imagery with its philosophical, social and technological registers. We will ask whether and how the category of the defective might be reclaimed as a source of errant potential, rather than remaining confined within teleological frameworks of development, necessity, and reproduction.
Mara Mills is an Assistant Professor of Media, Culture, and Communication at New York University and a Humboldt Fellow at the Max Planck Institute for the History of Science. Her first book project details the significance of phonetics and deaf education to the emergence of “communication engineering” in early twentieth-century telephony. Her second book project, Print Disability and New Reading Formats, examines the reformatting of print over the course of the past century by blind and other print disabled readers.
Emanuela Bianchi is Assistant Professor in Comparative Literature, with affiliations in Classics and the Program in Gender and Sexuality Studies, at NYU. She is the author of The Feminine Symptom: Aleatory Matter in the Aristotelian Cosmos (Fordham, 2014). She works at the intersection of ancient Greek philosophy, contemporary continental philosophy, and feminist and queer theory.
The first presentation of the collective work undertaken as part of the ICI’s core project ERRANS ventured beyond any straightforward negative determination of error and erring, challenging the roles they are assigned in mainstream politics and thought. ERRANS opens up a rich field of associated terms, invoking notions such as errantry and errancy, in order to explore the close connection between error and wandering.
Many of today’s radical and critical projects seek to invert culturally dominant hierarchies of value involving some figure of imperfection or failure. Drawing on such chiasmatic operations, we examined how historically valued categories such as truth, reason, nature, the human are not only dependent on, but haunted by reconfigured engagements with their errant others – falsity, madness, the monstrous, the inhuman. We want to free the images of disorder, failure, and ruin from the teleological frames within which they remain confined by neoliberal discourses of achievement and progress.
Yet sometimes what appears to be a radical challenge runs the risk of leaving underlying structures intact. Thus we are interested in the strategic potential of errancy as an alternative to direct assault or radical critique: what might be gained by eschewing a logic of opposition in favor of one of deviation, deviance, going astray, or swerving? How and where might radical interests be best served not by transgressing into a new territory, but by strategies of tinkering, irritation, small acts of sabotage – of queering in every sense? When might the pressure to follow established pathways be effectively interrupted not by a direct reversal, but by straying from the course, losing one’s way, or simply pausing in hesitation? This workshop explores the zones in which binary oppositions begin to fade and the spaces where new meanings and values have not yet emerged: New margins of – and for – error.
Teresa de Lauretis is Distinguished Professor Emerita of the History of Consciousness at the University of California, Santa Cruz. She has written on cinema, semiotics, psychoanalysis, literary theory, and feminist theory. She is the editor of the special issue of the journal differences with the title “Queer Theory”, where the words first appeared together (1991). Her books include Technologies of Gender (1987), Figures of Resistance (2007) and Freud’s Drive: Psychoanalysis, Literature and Film (2008). Her works translated into German include Die andere Szene: Psychoanalyse und lesbische Sexualität (1996, 1999) and “Freuds Bildersprache”, Zeitschrift für psychoanalytische Theorie und Praxis 27.1 (2012).
Unter dem Motto ‘Die Bibliothek als Idee’ will das Symposium die Bibliothek als traditionsreiche Wissensinstitution unter verschiedenen Aspekten in den Blick nehmen: als transdisziplinäre Einrichtung, als Ort und Ordnungssystem mit spezifischen Normen (in Anlehnung an Foucaults Begriff der Heterotopie) sowie als Projektionsfläche für populäre Unterhaltung. Dabei wird das Spannungsfeld zwischen Bibliotheksidealen und Erfahrungen aus der Praxis, gesellschaftlichem Auftrag und konkreten Handlungsmöglichkeiten ausgelotet.
Das Symposium wendet sich an ein interdisziplinäres Publikum und steht allen an Bibliotheken und Bibliotheksideen Interessierten offen. Geplant ist, die Ergebnisse des Symposiums in einer LIBREAS Jubiläumsausgabe zu veröffentlichen.
In this workshop we will take up, through a selection of brief excerpts, a recurring theme of the ‘Exegesis’, that of nonhuman subjectivity. Drawing on ideas from theology, mysticism, psychology, information theory and modern science, Dick engages in a seemingly interminable effort to think the notion of a perceiving, communicating, feeling being that would not be bound to human modes of existence, bodily, psychological or social, thus destabilizing the ontologies of both subject and object. We will attend not only to the ideas and figures that emerge, but to the effects of Dick’s aberrant method – or lack of method – as he tinkers, in a manner Erik Davis has referred to as ‘garage philosophy’, with bits and pieces of ideas snatched from encyclopedias, fiction, and various other readily available sources of information – not the least being his own dreams and visions.The significance of Dick’s science fiction for posthumanist thought is reflected in his influence on cultural theory, notably Katherine Hayles’ How We Became Posthuman. Yet it can be argued that Dick does not develop a coherent posthumanist perspective by design, but rather arrives at something like one by default, through repeatedly setting out to find the human and stumbling across the absence at its core. In this sense, the repeated inversions and superimpositions of humans and androids found in many of his narratives seem to suggest that the human was only ever an artificial construct – literally an android – to begin with. The panel will feature three short presentations and a discussion of Dick’s continuing significance for contemporary posthumanism and its ethical, ontological, and political stakes.
Followed by the book launch of James Burton’s The Philosophy of Science Fiction (2015) and The World According to Philip K. Dick (2015), edited by Alexander Dunst and Stefan Schlensag.
Annamarie Jagose is a professor in the School of Letters, Art and Media at the University of Sydney. Internationally known as a scholar in feminist studies, lesbian/gay studies, and queer theory, she has published four monographs: Orgasmology (2013); Inconsequence: Lesbian Representation and the Logic of Sexual Sequence (2002); Introduction to Queer Theory (1998), and Lesbian Utopics (1994). She co-edited the Routledge Queer Studies Reader (2013) with Donald E. Hall. She has previously held research fellowships at Johns Hopkins University, New York University, Northwestern University, and the University of Manchester. From 2003-2011, she co-edited the leading humanities sexuality studies journal GLQ: A Journal of Lesbian and Gay Studies with Ann Cvetkovich. Jagose is an editorial board member of a number of international journals in gender studies and sexuality studies. She is also an award-winning novelist.
Hält Literatur Möglichkeiten bereit, Aporien, die sich aus der Begegnung von Eigenem und Fremden ergeben, zu überwinden? Etwa durch die Vorstellung anderer Formen von Gemeinschaft, durch die Dekonstruktion scheinbar klarer Grenzziehungen, durch Subversion der Unterscheidung zwischen Eigenem und Fremdem? Können in der Literatur Strategien des Zusammenlebens außerhalb eines juristischen Paradigmas verhandelt werden? Oder besteht das Potential von Literatur gerade darin, diese Aporien nicht auflösen zu wollen, sondern zuzuspitzen?
»Er tut uns nichts, aber er ist uns lästig, das ist genug getan«, heißt es in einem kurzen Text Kafkas, den Max Brod mit Gemeinschaft betitelte. Indem wir vorschlagen, im Blick auf die Literatur dezidiert ästhetische Strategien von Exklusion, vorgetäuschter Legitimation und von selbstentlarvender Scheinargumentation zu untersuchen und zu diskutieren, wollen wir nach alternativen Formen des Umgangs mit Anderen fragen.