Else Lasker-Schüler's Visual Artwork

拉斯克-舍勒被认为是二十世纪初德国先锋派的主要诗人和作家之一。在被纳粹强迫移民后，拉斯克-舍勒的文字和图像被禁止、焚烧并被宣布为“堕落”，她在20世纪50年代被“重新发现”。从那时起，她的抒情、散文和戏剧作品以各种形式出版，并产生了大量的二手文学。Lasker-Schüler的素描、版画和拼贴画--她自己认为这些都是她艺术作品中不可或缺的--却远没有得到很好的记录。到目前为止，已知的作品约有200件，其中大部分未注明日期。此外，她的书还有100多幅插图、封面插图和封面插图，当这些插图由拉斯克-舍勒自己手工上色和拼贴时，这些插图部分成为了原版。虽然已经举办了一些展览，但到目前为止，还没有全面的清单(Werkverzeichnis)，也没有一本认真审查拉斯克-舍勒其他艺术作品的专著。我与里卡达·迪克共同撰写的专著/目录旨在填补这一空白。我的作品是一篇长达25000字的文章，将探讨拉斯克-舍勒的视觉作品在理解艺术家整体作品方面的重要性。它将仔细研究拉斯克-舍勒大胆勾勒的用粉笔和铅笔上色或用金属纸拼贴的绘画，并考虑这幅作品与恩斯特·路德维希·基什内尔、埃里希·赫克尔、弗朗茨·马克、加布里埃尔·明特、玛丽安·冯·韦里夫金、雅各巴·范·海姆斯凯克等同时代人作品之间的多重相互关系。我特别感兴趣的是Else Lasker-Schüler的东方主义，这符合她那个时代的时尚。她不仅在绘画和作品中使用了东方主义和圣经的主题，而且实际上在工作和生活中扮演了埃及(男性)王子Jussuf von Theben--一名德国犹太妇女。阅读拉斯克-舒勒的视觉作品与她的写作和公开变装有关，如何扩大我们对她多样化的创作实践如何破坏固定类别的稳定并体现她的不同的理解？受东方主义(Edward Said，Homi Bhabha，Lisa Lowe，Ali Behda，Reina Lewis)，特别是现代德国文化(Jill Lloyd，Nina Berman，Shulamith Behr，Sylke Kirschnick)的著作的启发，我的文章将探索Lasker-Schüler如何在当代殖民欧洲中心话语的塑造下，将他者作为自我的具体挪用，既对抗德国人对犹太人是东方人的刻板印象，又质疑犹太人融入德国文化的愿望。在此背景下，我还将探讨拉斯克-舒勒的东方主义与20世纪初在犹太巴勒斯坦工作的艺术家的东方主义之间的可能联系，那里是这位艺术家幻想的重要场所，也是她从纳粹德国流亡的最后几年的住所。此外，我将探讨Lasker-Schüler参与英国Shalom圈子(Arthur Ruppin，Martin Buber等人)，倡导在巴勒斯坦的犹太人和阿拉伯人共同的双民族家园，是否影响了她对主题和风格的选择。考察Lasker-Schüler对《东方他者》的挪用，如何帮助我们更细致地洞察她对德国和犹太社会构成的挑战？

Else Lasker-Schüler is regarded as one of the major poets and writers of the early twentieth century avant-garde in Germany. Having been forced into emigration by the Nazis, her texts and images having been banned, burnt, and declared 'degenerate', Lasker-Schüler was 'rediscovered' in the 1950s. Since then, her lyric, prose, and dramatic works have been published in numerous forms and a vast body of secondary literature has been produced. Lasker-Schüler's drawings, prints, and collages - which she herself regarded as integral to her artistic output - are, however, far less well documented. So far, about 200 works, mostly undated, are known. In addition, there are more than 100 illustrations, frontispieces and cover illustrations for her books, which partly became 'originals' when they were hand-coloured and collaged by Lasker-Schüler herself. Although a few exhibitions have been mounted, there is, to date, no comprehensive list (Werkverzeichnis), nor a monograph that seriously examines Else Lasker-Schüler's artworks. The monograph/catalogue that I am co-authoring with Ricarda Dick, aims to fill that gap. My contribution, an extended essay (25 000 words), will explore the importance of Lasker-Schüler's visual work in understanding the artist's oeuvre as a whole. It will closely examine Lasker-Schüler's boldly outlined drawings coloured in with chalks and pencils or collaged with metallic paper and consider the multiple interrelationships between the work and that of contemporaries such as Ernst Ludwig Kirchner, Erich Heckel, Franz Marc, Gabriele Münter, Marianne von Werefkin, Jacoba van Heemskerck, and others. My particular interest lies in Else Lasker-Schüler's Orientalism, which was in accordance with the fashion of her time. She did not only use orientalist and biblical motifs in her drawings and writings, but actually staged herself - a German Jewish woman - in work and life as Prinz Jussuf von Theben, an Egyptian (male) prince. How might a reading of Lasker-Schüler's visual works in relation to her writing and public cross-dressing expand our understanding of the ways in which her diverse creative practice destabilised fixed categories and embodied her difference? Informed by writings on Orientalism in general (Edward Said, Homi Bhabha, Lisa Lowe, Ali Behdad, Reina Lewis) and in modern German culture in particular (Jill Lloyd, Nina Berman, Shulamith Behr, Sylke Kirschnick), my essay will explore how Lasker-Schüler's specific appropriation of the Other as Self - while being shaped by contemporary colonial Eurocentric discourses - both confronted the German stereotype of the Jew as Oriental and called into question the Jews' desire to assimilate into German culture. In this context, I shall also probe possible links between Lasker-Schüler's Orientalism and that of the artists working in early twentieth century Jewish Palestine, which was an important site of the artist's fantasies and became her abode in the last years of her exile from Nazi Germany. Furthermore, I shall explore whether Lasker-Schüler's involvement with the Brit Shalom circle (Arthur Ruppin, Martin Buber, and others), which advocated a common bi-national homeland for Jews and Arabs in Palestine, influenced her choice of motifs and style. How might an examination of Lasker-Schüler's appropriation of the Oriental Other help us gain more nuanced insights into the challenges she posed to both German and Jewish society?