Else Lasker-Schüler's Visual Artwork

Else Lasker-Schüler 的视觉艺术作品

• 批准号: AH/H006184/1
• 负责人: Astrid Schmetterling
• 金额: $ 3.47万
• 依托单位: Goldsmiths University of London
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2010
• 资助国家: 英国
• 起止时间: 2010 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FH006184%2F1
• 关键词: Else; Lasker; Sch; ler; Visual

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?

埃尔莎·拉斯克-舒勒是世纪早期德国先锋派的主要诗人和作家之一。由于纳粹的迫害，她的作品和图像被禁止、烧毁，并被宣布为“堕落”，拉斯克-舒勒在20世纪50年代被“重新发现”。从那时起，她的抒情诗，散文和戏剧作品已经以多种形式出版，并产生了大量的二手文学作品。拉斯克-舒勒的绘画、版画和拼贴画--她自己认为是她艺术作品的组成部分--却没有得到很好的记录。到目前为止，大约有200件作品，大部分没有日期，是已知的。此外，她的书中还有100多幅插图、卷首插图和封面插图，其中部分是由拉斯克-舒勒自己手工上色和拼贴而成的。虽然已经举办了一些展览，但迄今为止，没有全面的清单（Werkverzeichnis），也没有认真审查Else Lasker-Schüler作品的专著。我与Ricarda Dick共同撰写的专著/目录旨在填补这一空白。我的贡献，一个扩展的文章（25000字），将探讨拉斯克-舒勒的视觉作品在理解艺术家的作品作为一个整体的重要性。它将仔细研究拉斯克-舒勒的大胆概述的图纸彩色粉笔和铅笔或拼贴与金属纸，并考虑工作之间的多重相互关系和同时代的人，如恩斯特路德维希基什内尔，埃里希海克尔，弗朗茨马克，加布里埃尔明特，玛丽安冯韦雷夫金，雅各布货车Heemskerck，和其他人。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。她不仅在她的绘画和作品中使用东方主义和圣经主题，而且实际上将自己-一个德国犹太妇女-在工作和生活中扮演埃及（男性）王子王子Jussuf von Theben。阅读拉斯克-舒勒的视觉作品与她的写作和公共变装之间的关系，会如何扩大我们对她多样化的创作实践打破固定类别并体现她的差异的方式的理解？一般以东方主义著作为依据（爱德华·萨义德，霍米·巴巴，丽莎·洛，阿里·贝格尔，雷纳·刘易斯），特别是在现代德国文化中（Jill Lloyd，Nina Berman，Shulamith Behr，Sylke Kirschnick），我的文章将探讨拉斯克-舒勒如何具体挪用他者作为自我-同时受到当代殖民欧洲中心论的影响-两者都直面德国人对犹太人作为东方人的刻板印象，并对犹太人融入德国文化的愿望提出质疑。在此背景下，我也将探讨拉斯克-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之间可能存在的联系，巴勒斯坦是艺术家幻想的重要场所，并成为她从纳粹德国流亡的最后几年的住所。此外，我还将探讨拉斯克-舒勒与英国沙洛姆集团（亚瑟·鲁平、马丁·布伯等人）的关系是否影响了她对主题和风格的选择。沙洛姆集团主张在巴勒斯坦为犹太人和阿拉伯人建立一个共同的双民族家园。考察拉斯克-舒勒对东方他者的挪用，如何帮助我们更细致地洞察她对德国和犹太社会提出的挑战？