Journal articles on the topic 'Wolff, Theodor'

Der Wunsch und das ,,Bedürfniss, mich mit dir zu unterhalten“ (S. 55)2 veranlassen Theodor Wolff (1868–1943), 1906 bis 1933 Chefredakteur des ,,Berliner Tageblatts“, an sein erstgeborenes Kind Richard wenige Tage nach dessen Geburt einen langen Brief in Gestalt eines Vatertagebuches zu beginnen, den er erst sieben Jahre später abbricht – der letzte Eintrag ist vom 1. August 1913 (S. 124–126). In dieser Zeit sind zwei weitere Geschwister, Rudolf und Lilly, hinzugekommen, und bedingt durch den Ersten Weltkrieg mußte der an sich schon vielbeschäftigte politische Journalist seine Aufmerksamkeit vollständig der Schilderung des Weltgeschehens widmen. Im Folgenden sollen die Tradition, in der das Wolff’sche Tagebuch steht, sowie die Ausprägungen dieser Gattung mit Schwerpunkt auf dem Vatertagebuch vorgestellt werden, dies vor allem im Hinblick darauf, wo es sich in diese Gattung einfügt und wo es davon abweicht. Ein Fazit läßt sich hier schon ziehen: Das Wolff’sche Tagebuch berichtet wie alle Elterntagebücher vom Aufwachsen des Kindes bzw. der Kinder mit allen dazugehörenden Ereignissen und Erlebnissen, ist aber bei weitem nicht so ,,buchhalterisch“ angelegt wie manche anderen Diarien. Die auch durch die großen Pausen bedingte Distanz sowie Wolffs journalistische Sprachbegabung ermöglichen die Entstehung eines Textes, der sich einerseits durch einen fesselnden, oft ironischen und auch poetisch anspruchsvollen Stil auszeichnet, sich dadurch von anderen Elterntagebüchern abhebt, sich aber andererseits durch die Beobachtung der Kindesentwicklung und vor allem durch die in allen Zeilen durchschimmernde und auch offen formulierte liebevolle Zuneigung in die Tradition einbettet.

There has been a burgeoning interest in the sociology of the Frankfurt School as well as the oeuvre of Theodor W. Adorno since the 2016 presidential campaign of Donald J. Trump. The objectives of this study are to both illustrate the enduring importance of Adorno and to provide an important theoretical outline in making sense of Trump’s 2016 United States presidential campaign. Using Adorno’s understudied textual analysis of the radio addresses of Martin Luther Thomas and data from Trump’s 2016 US presidential campaign, we find that Trump’s own discourse can be condensed into three of Adorno’s rhetorical devices: (1) the lone wolf device or anti-statism/pseudo-conservatism, reflecting his criticism of “special interests” and his appraisal of business and (self-)finance; (2) the movement device, which amounted to glorification of action; and (3) the exactitude of error device which amounted to xenophobic, ethnonationalist hyperbole.

Pablo Neruda es un gran lector de obras en diferentes idiomas. Conoce la literatura norteamericana y menciona a estos escritores en bastantes fases de su propia obra. La crítica literaria no ha tratado este asunto en profundidad. Este artículo revisa las menciones de Neruda a narradores como Edgard A. Poe, Norman Mailer, Theodore Dreiser, Thomas Wolfe, Lockridge o Howard Fast. Se analizan las causas que impulsan a Neruda a incluirlos en sus poemas y en sus prosas de reflexión. Sobre todo los motivos son estéticos e ideológicos. El estudio manifiesta el valor que adquiere la literatura norteamericana en la poética del autor chileno, como punto de referencia del compromiso literario. Además, aporta una dimensión amplia de América en la poesía de Neruda, quien rechaza el imperialismo, pero defiende a los escritores que denuncian con la palabra.

ABSTRAK This study reveals kinds of gender discrimination experienced by female characters and their efforts against gender discrimination in Hidden Figures movie by Theodore Melfi. The purpose of this study is to find kinds of gender discrimination happen towards female characters and their effort to against gender discrimination based on power feminism which applied in this problem to show that they are strong female character. In analyzing the movie the researcher applied qualitative method and applies feminism approach especially liberal feminism theory by Naomi Wolf (1997). The data were collected by reading the movie script comprehensively and identify the utterances based on the problems. After that the data were analyzed by applying Wolf’s theory. The results show that the female characters experience gender discrimination in work and gender discrimination in education because their gender as woman. Meanwhile although the female characters experience gender discriminations, the female characters in Hidden Figures movie also shows their power to have equal rights such as rejecting the help of man and proving themselves to be capable of man’s work, making direct verbal objection and protest toward male character, explaining about the importance of woman in work place, and also taking legal solution to fight for the fairness in education. The efforts apply power feminism concepts as Wolf suggest. Key words: Gender discrimination, liberal feminism, power feminism

Abstract Background: As the development and use of oral anticancer agents increases, it is critical to understand patient adherence to both standard and investigational agents. The open label, phase 3 multicenter PALLAS trial investigates whether adding 2 years of the CDK4/6 inhibitor palbociclib (P) to adjuvant endocrine therapy (ET) improves invasive disease-free survival (iDFS) over adjuvant ET alone in patients (pts) with HR- positive, HR2-negative, stage II-III breast cancer. Pts were randomly assigned to either Palbociclib (125 mg/day, 3 weeks on, 1 week off, in a 28-day cycle) plus ongoing provider/patient-choice adjuvant ET (P+ET) versus ET alone. We examined patient-reported adherence to ET +/- P during the first two years of study treatment. Methods: Adherence outcomes were measured in English-speaking pts in the U.S., UK, Ireland and Australia, Spanish-speaking pts in Spain and Mexico, and German-speaking pts in Germany and Austria. Adherence measures included drug diaries completed at each cycle, pill counts (for P only) collected at each study visit, and the Morisky Medication Adherence Scale-4 item and the McHorney Adherence Estimator questionnaires completed at cycles 2, 3, 6, 12, 18, and 24 (22 months). Mean adherence for each cycle was defined as the average proportion of prescribed pills taken (via drug diary) across all patients who initiated that cycle. Persistence was defined as the duration of drug initiation to treatment cessation (via drug diary). Generalized estimating equations were used to model the “most adherent” pts on the Morisky (score = 5 vs score <5) and “low risk” for adherence problems on the McHorney (score=0 vs score >0) to compare the average difference between arms over time for ET, adjusting for baseline demographic and clinical variables. Results: 81% (N=4688) of PALLAS pts were included in this analysis. Median persistence to ET was 23.6 months in P + ET (n=2169), 23.7 months in ET alone (2136) and 20.4 months for P (n=2194). The number of pts who initiated each cycle for ET declined over time and was similar between arms; the decline was more marked for P (Table 1). Mean adherence range as measured by drug diary was 98.2-99.3% for ET in P+ET and 98.0 - 99.4% in ET alone; and for P, ranged from 93.4 - 98.8%. The adherence and persistence results were nearly identical whether measured by drug diary or pill count for P. The observed percent “most adherent” for P measured by the Morisky scale ranged from 71.9% - 79.6% and the percent “low risk” for adherence problems measured by the McHorney scale, 64.0% - 73.4%. The percent of pts “most adherent” and “low risk” for adherence problems to ET was higher, on average over time, in the P+ET group compared to ET alone (75% vs 68%, p<0.01; 75% vs 72%, p=.05, respectively). Conclusions: Self-reported mean adherence for both P + ET and ET alone was strikingly high for pts who remained on therapy; persistence was also high with ET during the 2-year treatment period. Current analyses suggest that nonadherence to either P or ET was likely not a major contributor to the iDFS results seen in the overall PALLAS trial. These results illustrate the importance of measuring and monitoring patient adherence to oral study agents. Support: AFT, Pfizer; ClinicalTrials.gov (NCT02513394) and EudraCT (2014-005181-30). https://acknowledgments.alliancefound.org Table 1.Adherence and persistence in PALLAS over the 24 month treatment periodPalbocicilb + ETETPalbociclibETETTreatment cycleMean Adherence (SD)N*Mean Adherence (SD)NMean Adherence (SD)N193.4 (13.8)229098.7 (6.1)230999.0 (5.2)2343294.7 (13.3)218198.8 (6.4)220398.4 (7.1)2206397.4 (10.1)211298.7 (7.3)214298.8 (6.3)2168497.6 (10.2)203598.6 (7.8)211099.0 (5.7)2154597.6 (11.1)197598.3 (7.9)209398.1 (8.3)2148698.1 (8.7)189998.7 (6.6)203798.5 (8.2)2116798.1 (9.3)185599.0 (6.3)201298.6 (7.3)2102898.0 (9.1)181098.2 (8.2)199798.1 (8.2)2092998.4 (7.4)173399.0 (6.4)196298.8 (6.8)20511098.3 (8.6)171499.2 (4.9)194699.0 (5.5)20381198.3 (8.0)169198.5 (7.3)193798.2 (8.2)20311298.7 (6.2)161299.1 (5.3)191098.7 (7.5)19861398.5 (7.7)159698.9 (6.4)189398.8 (7.1)19691497.9 (9.3)157698.4 (7.3)188298.0 (9.1)19611598.5 (6.9)151499.2 (4.6)185499.0 (6.0)19281698.2 (8.7)148699.1 (4.6)183599.1 (5.7)19131798.1 (9.8)147998.3 (7.8)182698.5 (6.4)19031898.7 (6.8)141699.3 (4.1)176899.2 (5.3)18601998.7 (7.3)140899.3 (3.8)175699.4 (3.1)18482098.4 (8.9)139798.9 (5.3)174298.7 (5.8)18382198.5 (7.5)130199.0 (6.1)167698.8 (7.1)17842297.8 (9.7)124698.8 (6.2)164799.2 (5.7)17692398.1 (8.8)118098.2 (8.5)161998.4 (8.0)17552498.8 (7.2)108699.0 (6.3)146898.9 (7.1)16192598.8 (6.7)99699.2 (5.2)143298.8 (7.1)15892697.9 (11.2)84599.1 (5.7)140998.6 (8.8)1578ET=Endocrine therapy * Number of pts who initiated the treatment cycle. Citation Format: Eileen Shinn, David Zahrieh, Angela DeMichele, Nick Zdenkowski, Julie Lemieux, Jun Mao, Vesna Bjelic-Radisic, Michelle Naughton, Georg Pfeiler, Karen Gelmon, Ingrid Mayer, Daniel Egle, Gabriele Zoppoli, Tiffany Traina, Miguel Martin Jiménez, Silvia Antolin Novoa, Tufia Haddad, Arlene Chan, Alistair Edward Ring, Antonio Wolff, Jose JuanPonce Lorenzo, Dhanusha Sabanathan, Hal Burstein, Zbigniew Ireneusz Nowecki, Gunda Pristauz-Telsnigg, Adam Brufsky, Meritxell Bellet-Ezquerra, Theodoros Foukakis, Yelena Novik, Gabor Rubovszky, Karoline Muehlbacher, Otto Metzger, Theodora Goulioti, Ernest Law, Ann Partridge, Lisa Carey, Alex Zoroufy, Dominik Hlauschek, Christian Fesl, Erica Mayer, Michael Gnant. Adherence with adjuvant endocrine therapy with or without Palbociclib in the PALLAS trial [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr P4-12-01.

About the Grundtvig Debate, with Answers to my CriticsBy William MichelsenThis article has been written from the general principle that a distinction must be made between ascertaining what Grundtvig wrote in poetry or prose, and the individual scholars’ personal (existential) attitudes to it, even though such attitudes will inevitably colour their mode of expression. The essential thing is to maintain the fundamentally objective attitude as crucial to research. Kim Arne Pedersen's »Hermeneutic Reflections« in »Grundtvig Studier«, 1991, on the articles in Grundtvig’s »Danne-Virke«, 1816-19, consist by and large in an excellent summary of my introductions to these articles. The English summary, however, claims that it was his intention to give »a new interpretation« of these articles. As a matter of fact, the main view in his interpretation is the same as that taken by Henning Høirup in his thesis »Grundtvig’s view of faith and cognition« from 1949, viz. that Grundtvig’s thinking is influenced by the philosophy which he had learned at the University of Copenhagen, and which mainly reflected Leibniz and Wolff, while not including Kant’s philosophy. - However, Kim Arne Pedersen claims himself that he is »fascinated« by the post-Kantian idealistic philosophy, thus siding with Grundtvig’s contemporaries.He is right, of course, that this is an existential question. I can only answer that as far as I myself am concerned. I do not consider it possible to combine pre-Kantian thinking with a post-Kantian philosophy of idealism. In fact, I do not believe it is at all possible to combine the Christian faith or a Christian view of life with an idealistic philosophy.I think I have learned this from Grundtvig whom I regard as the best guide I know, if - that is true - the development that he underwent through his lifetime is carefully followed. A religion which builds its truth on a philosophy of one kind or the other, is no genuine religion. It will collapse the moment this philosophy is contradicted by reality. In his »Prospect of the World Chronicle« 1817, Grundtvig writes about Leibniz referring to his Theodic.: »..Pillars may collapse, and what rests on them totters, when they are shaken; thus also a disciple of Leibniz nearly tore them down before they had been erected, and this disciple, who meant to surpass his master by tearing down the Church and building a world on the remains, was, as is well-known, nobody else but Christian Wolff from Breslau« (p.409).With these words in mind, it seems impossible to me to regard Grundtvig as only a pupil of Leibniz and Wolff, though his teacher in philosophy undeniably was. The only contemporary thinker that absorbed Grundtvig for a short time, was Schelling. Grundtvig’s relationship to him has been discussed in C.I. Scharling’s book »Grundtvig and Romanticism« (1947), which was reviewed by me in Grundtvig Studier 1948. The book is important because it definitely refutes the view claimed by Edvard Lehmann in 1931, viz. that Grundtvig was actually a pupil of Schelling, and thus a philosophical idealist. But, as does Grundtvig himself, Scharling points out that even after 1810 Grundtvig could give credit to Schelling where he found he was right.As a literary historian with the methodology of the history of ideas as the foundation for my work, I must of course record these essential prerequisites for Grundtvig’s thinking and writings. My overall approach is this: What was the peculiar character of Grundtvig’s work and thought? From such an approach it seems to me quite reasonable that in my discussion of the manuscript »Grenzen der Menschheit« I distinguish between what Grundtvig accepts in Schelling, and what as a Christian he must reject.Grundtvig’s relationship to Kant depends on what he has read from him, and when he read it. He does not enter into a philosophical critique of Kant, of whom he had shown unreserved recognition in »Brief View of the World Chronicle« 1812. He confines himself to proposing an alternative to Kant’s philosophy, which, it is true, is founded on pre-Kantian philosophy, but at the same time - and this is crucial - in the faith in the Almighty Trinity who allows of no selfcontradiction, and whose power Grundtvig thought, as late as 1817, could be demonstrated through the course of world history.As long as Grundtvig only knew Kant’s philosophy of religion, i.e., in 1812, he thought that the reservation implied in the title, »Die Religion innerhalb der Grenzen der blo.en Vernunft« was enough to ensure that faith did not succumb to reason. When, in 1815, he read »Die Kritik der reinen Vernunft« he understood that faith had succumbed to reason, that man’s limitation had been exceeded, and that the maxim of contradiction had been reduced to a rule of formal logic. That is why his evaluation of Kant, in the World Chronicle of 1817, turns out to be very different.The intention of my article in Grundtvig Studier 1991 about .The Way from Force to Freedom in Grundtvig’s Life and Writings. was not to contradict Kaj Thanings thesis »Man first... « (1963), as it is claimed in the »Reply«, preceeding the present article. My approach in that article was a different one from Thaning’s; hence the difference in the treatment of the same texts which anyone can see, and which it would be absurd of me to deny. We see the texts from different points of view, and that is why they look different.In the view of both Thaning and myself, the watershed in Grundtvig’s body of work is .Norse Mythology., 1832. What I have added is the essential explanation of why this is so, viz. that after becoming a clergyman in 1811, Grundtvig found himself compelled to dissociate himself from the view that had taken him back to a religious view of life in the first place, namely Norse mythology. Thaning is right in claiming that it was internal causes that led to the ruptures that occurred in Grundtvig’s development. But they were provoked by external circumstances. I am not just referring to his parents’ demands on him in 1810, but also to the demands of the State Church on anyone who is a clergyman.I agree with Thaning that the relation between human life and Christianity was the main problem in Grundtvig’s life. When one is a clergyman, this relation becomes a theological problem, which it does not necessarily have to be if one is not a clergyman. I would describe what happened in Grundtvig’s life in 1832 like this: »The scales fell from Grundtvig’s eyes when he decided to write his new Norse Mythology«. He now dared to write that book without being afraid of losing his Christianity in doing so. He was free and could freely accept becoming a vicar to a congregation that wanted him. He was free to describe Norse mythology as a language of symbols which lent itself to historical explanation and to poetical consideration, without, in so doing, making it into his religion. The essential thing, in my view, is that he had given up wanting to demonstrate the truth of Christianity by means of history. Christianity remains a faith which is inextricably bound up with the Mosaic-Christian view, which is therefore the »only divine, true, and eternal one«. This new attitude depends on his discovery that faith must be a free matter if it is to be honest and true at all.In my opinion, it is no weakness to admit the justification of other views than one’s own. It is a prerequisite for cooperation and team-work.

Hänsel, Jessica / Haspel, Jörg / Salge, Christiane / Wittmann-Englert, Kerstin (Hrsg.), Baumeister – Ingenieure – Gartenarchitekten, Berlin: Duncker & Humblot 2016, 671 S. (Ingo Sommer, Kleinmachnow b. Berlin) Horowski, Leonhard, Das Europa der Könige. Macht und Spiel an den Höfen des 17. und 18. Jahrhunderts, Reinbek bei Hamburg: Rowohlt 2017, 1120 S., zahlr. Abb. (Hendrik Thoß, Chemnitz) Jauch, Ursula Pia, Friedrichs Tafelrunde & Kants Tischgesellschaft. Ein Versuch über Preußen zwischen Eros, Philosophie und Propaganda, Berlin: Matthes & Seitz 2014, 374 S. (Heide Barmeyer, Detmold) Kuhle, Arthur, Die preußische Kriegstheorie um 1800 und ihre Suche nach dynamischen Gleichgewichten, Berlin: Duncker & Humblot 2018, 419 S. (Rüdiger von Voß, Berlin) Szulc, Michał, Emanzipation in Stadt und Staat. Die Judenpolitik in Danzig 1807 – 1847 ( = Hamburger Beiträge zur Geschichte der deutschen Juden, Bd. 46), für die Stiftung Institut für die Geschichte der deutschen Juden hrsg. v. Andreas Brämer und Miriam Rürup, Wallstein: Göttingen 2016. 352 S. (Ruth Leiserowitz, Warschau) Quellen zur Geschichte des Deutschen Bundes. Für die Historische Kommission bei der Bayerischen Akademie der Wissenschaften hrsg. v. Lothar Gall, Abt. I. Quellen zur Entstehung und Frühgeschichte des Deutschen Bundes 1813 – 1830, Bd. 2. Organisation und innere Ausgestaltung des Deutschen Bundes 1815 – 1819, bearb. v. Eckhardt Treichel, Berlin/Boston: de Gruyter Oldenbourg 2016, CL, 1148 S. (Wolfgang Elz, Mainz) Mettele, Gisela / Schulz, Andreas (Hrsg.), Preußen als Kulturstaat im 19. Jahrhundert (= Otto-von-Bismarck-Stiftung, Wissenschaftliche Reihe, Bd. 20), Paderborn: Schöningh 2015, 188 S. (Pauline Puppel, Berlin-Dahlem) Radtke, Wolfgang, Brandenburg im 19. Jahrhundert (1815 – 1914/18). Die Provinz im Spannungsfeld von Peripherie und Zentrum (= Brandenburgische Geschichte in Einzeldarstellungen, Bd. 5), Berlin: Berliner Wissenschaftsverlag 2016, 886 S. (Monika Wienfort, Berlin) Fischer, Hubertus, Märkisches und Berlinisches. Studien zu Theodor Fontane, Berlin: Stapp Verlag 2014, 393 S. (Hans-Christof Kraus, Passau) Rathgeber, Christina (Bearb.), Von der Kirchengesellschaft zur Kirche in der Gesellschaft. Frömmigkeit, staatliches Handeln und frühe Politisierung preußischer Katholiken (1815 – 1871) (= Acta Borussica, Neue Folge, Reihe 2: Preußen als Kulturstaat, hrsg. von der Berlin-Brandenburgischen Akademie der Wissenschaften unter der Leitung von Wolfgang Neugebauer, Abteilung II: Der Preußische Kulturstaat in der politischen und sozialen Wirklichkeit, Bd. 8), Berlin/Boston: De Gruyter 2016, 545 S. (Markus Schubert, Passau) Haas, Sebastian, Die Preußischen Jahrbücher zwischen Neuer Ära und Reichsgründung (1858 – 1871) (= Quellen und Forschungen zur Brandenburgischen und Preußischen Geschichte, hrsg. im Auftrag der Preußischen Historischen Kommission von Wolfgang Neugebauer und Frank-Lothar Kroll, Bd. 47), Berlin: Duncker & Humblot 2017, 535 S. (Wolf Nitschke, Winsen (Aller)) Auge, Oliver / Lappenküper, Ulrich / Morgenstern, Ulf (Hrsg.), Der Wiener Frieden 1864. Ein deutsches, europäisches und globales Ereignis (= Otto-von-Bismarck-Stiftung, Wissenschaftliche Reihe, Bd. 22), Paderborn: Schöningh 2016, 395 S. (Jes Fabricius Møller, Kopenhagen) Winzen, Peter, Friedrich-Wilhelm von Loebell. Erinnerungen an die ausgehende Kaiserzeit und politischer Schriftwechsel (= Schriften des Bundesarchivs, Bd. 75), Düsseldorf: Droste 2016, 1256 S. (Manfred Kittel, Berlin) Kaster, Gert, Die Vogelschaupläne von Tsingtau, Kiel: Verlag Ludwig 2018, 248 S., 85 S/W- und 82 Farbabbildungen (Ingo Sommer, Kleinmachnow b. Berlin)

In Feminist theory: from margin to center, bell hooks puts into question the works by reformist feminists who happens to be mostly white, privileged women. She insists that these reformists do not address the plight of other oppressed women who were subjugated not only by their sex alone but by other factors such as race and class. Consequently, she proposes a cultural criticism that investigates the systems of domination in place through a disruption and deconstruction of cultural productions. This paper aims to critically evaluate hooks’ radical feminism and cultural criticism, and show its philosophical heritage through an engagement with the key ideas of critical theory and postmodernism. References Ackerly, Brooke A. Political theory and feminist social criticism. Cambridge: Cambridge University Press, 2000. Adorno, Theodor W., and Anson G. Rabinbach. “Culture industry reconsidered.” New German Critique 6 (1975): 12-19. Ahmed, Sara. Differences that matter: Feminist theory and postmodernism. Cambridge: Cambridge University Press, 1998. Anderson, Pamela Sue. “Feminism and philosophy.” In Gamble, Sarah, ed. The Routledge companion to feminism and postfeminism. London: Routledge, 2006, 117-124. Berger, Arthur Asa. Cultural criticism: a primer of key concepts. California: Sage Publications, 1995. Brezina, Corona. Sojourner Truth’s “ain't I a woman?” speech: A primary source investigation. New York: The Rosen Publishing Group, 2005. Bronner, Stephen Eric, and Douglas Kellner, eds. Critical theory and society: A reader. New York: Psychology Press, 1989. Brooks, Ann. Postfeminisms: feminism, cultural theory and cultural forms. London: Routledge, 1997. Cavallaro, Dani. Critical and cultural theory. London: The Athlone Press, 2001. Cott, Nancy F. The grounding of modern feminism. Boston, Mass.: Yale University Press, 1987. del Guadalupe Davidson, Maria, and George Yancy, eds. Critical perspectives on bell hooks. London: Routledge, 2009. Devereux, Cecily. “New woman, new world: maternal feminism and the new imperialism in the white settler colonies.” In Women's studies international forum, vol. 22, no. 2, pp. 175-184. Pergamon, 1999. Dicker, Rory, and Alison Piepmeier, eds. Catching a wave: Reclaiming feminism for the 21st century. Northeastern University Press, 2016. Foucault, Michel. The history of sexuality: An introduction. Vintage, 1990. Friedan, Betty. The feminine mystique. New York: WW Norton & Company, 2010. Gamble, Sarah, ed. The Routledge companion to feminism and postfeminism. London: Routledge, 2006. Genz, Stéphanie and Benjamin Brabon. Postfeminism: cultural texts and theories. Edinburgh: Edinburgh University Press, 2009. Geuss, Raymond. The idea of a critical theory. Cambridge: Cambridge University Press, 1981. hooks, bell. Outlaw culture: resisting representations. London: Routledge, 2006. __________. Salvation: Black people and love. New York: Harper Perennial, 2001. __________. Yearning: Race, Gender, and Cultural Politics. Boston, Mass.: South and Press, 1990. __________. Feminist theory: from margin to center. Boston, Mass.: South End Press, 1984. __________. Ain't I a woman: Black women and feminism. Boston, Mass.: South End Press, 1981. Horkheimer, Max. Between philosophy and social science: selected early writings. Cambridge, MA: MIT Press, 1995. Leitch, Vincent B., and William E. Cain, eds. The Norton anthology of theory and criticism. New York: WW Norton & Company, 2010. McLaren, Peter, and Nathalia E. Jaramillo. “Borderlines: bell hooks and the Pedagogy of Revolutionary Change.” In Critical Perspectives on bell hooks, pp. 31-47. Routledge, 2009. Kellner, Douglas. Baudrillard: A critical reader. Massachusetts: Basil Blackwell Inc., 1995. May, Tim, and Jason Powell. Situating social theory. London: McGraw-Hill Education, 2008. Nussbaum, Martha C. “Human Functioning and Social Justice: In Defense of Aristotelian Essentialism.” Political Theory 20, no. 2 (1992): 202-46. Rush, Fred, ed. The Cambridge companion to critical theory. Cambridge: Cambridge University Press, 2004. Guy-Sheftall, Beverly. "Forty Years of Women’s Studies." Ms. Magazine online. Spring Issue. http://www. msmagazine. com/womensstudies/FourtyYears.asp (2009). Walters, Suzanna Danuta. Material girls: Making sense of feminist cultural theory. California: University of California Press, 1995. Watkins, S. Craig, and Rana A. Emerson. “Feminist media criticism and feminist media practices.” The ANNALS of the American Academy of Political and Social Science 571, no. 1 (2000): 151-166. Wolf, Naomi. The beauty myth: How images of beauty are used against women. New York: Random House, 1991.

Classen, Albrecht (Hrsg.), Travel, Time, and Space in the Middle Ages and Early Modern Time. Explorations of World Perceptions and Processes of Identity Formation (Fundamentals of Medieval and Early Modern Culture, 22), Boston / Berlin 2018, de Gruyter, XIX u. 704 S. / Abb., € 138,95. (Stefan Schröder, Helsinki) Orthmann, Eva / Anna Kollatz (Hrsg.), The Ceremonial of Audience. Transcultural Approaches (Macht und Herrschaft, 2), Göttingen 2019, V&R unipress / Bonn University Press, 207 S. / Abb., € 40,00. (Benedikt Fausch, Münster) Bagge, Sverre H., State Formation in Europe, 843 – 1789. A Divided World, London / New York 2019, Routledge, 297 S., £ 120,00. (Wolfgang Reinhard, Freiburg i. Br.) Foscati, Alessandra, Saint Anthony’s Fire from Antiquity to the Eighteenth Century, übers. v. Francis Gordon (Premodern Health, Disease, and Disability), Amsterdam 2020, Amsterdam University Press, 264 S., € 99,00. (Gregor Rohmann, Frankfurt a. M.) 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A slash manip is a photo remix that montages visual signs from popular media with those from gay pornography, creating a new cultural artefact. Slash (see Russ) is a fannish practice that homoeroticises the bonds between male media characters and personalities—female pairings are categorised separately as ‘femslash’. Slash has been defined almost exclusively as a female practice. While fandom is indeed “women-centred” (Bury 2), such definitions have a tendency to exclude male contributions. Remix has been well acknowledged in discussions on slash, most notably video remix in relation to slash vids (Kreisinger). Non-written slash forms such as slash vids (see Russo) and slash fanart (see Dennis) have received increased attention in recent years. This article continues the tradition of moving beyond fiction by considering the non-written form of slash manips, yet to receive sustained scholarly attention. Speaking as a practitioner—my slash manips can be found here—I perform textual analysis from an aca–fan (academic and fan) position of two Merlin slash manips by male Tumblr artist wandsinhand. My textual analysis is influenced by Barthes’s use of image semiotics, which he applies to the advertising image. Barthes notes that “all images are polysemous”, that underlying their signifiers they imply “a ‘floating chain’ of signifieds, the reader able to choose some and ignore others” (274). That said, the advertising image, he argues, constructs an “undoubtedly intentional […] signification”, making it ideally suited for analysis (270). By supplementing my analysis with excerpts from two interviews I conducted with wandsinhand in February and April 2013 (quoted here with permission), I support my readings with respect to the artist’s stated ‘intentional reading’. I then contextualise these readings with respect to canon (Merlin) representations and gay pornography—via the chosen sexual acts/positions, bukkake and doggystyle, of the pornographic base models, as selected by the artist. This approach allows me to examine the photo remix qualities of slash manips with respect to the artist’s intentions as well as how artistic choices of inclusion function to anchor meaning in the works. I describe these choices as the ‘semiotic significance of selection’. Together the readings and interviews in this article help illustrate the value of this form and the new avenues it opens for slash scholars, such as consideration of photo remix and male production, and the importance of gay pornography to slash. My interviews also reveal, via the artist’s own assessment of the ‘value’ of his practice, a tendency to devalue or overlook the significance of this particular slash form, affirming a real need for further critical engagement with this under-examined practice. Slash Photo Remix: Famous Faces, Porny Bodies Lessig defines remix culture as based on an activity of “rip, mix and burn” (12–5); while Navas describes it as a “practice of cut/copy and paste” (159)—the latter being more applicable to photo remix. Whereas Lessig is concerned primarily with issues of copyright, Navas is interested in remix’s role in aesthetics and the political economy. Within fan studies, slash vids—a form of video remix—has been a topic of considerable academic interest in recent years. Slash manips—a form of photo or image remix—however, has not attracted the same degree of interest. Stasi’s description of slash as “a non-hierarchical, rich layering of genres” points to the usefulness of slash manips as an embodiment of the process of slash; whereby artists combine, blend and mutate graphic layers from popular media with those from gay pornography. Aesthetics and the slash manip process are central concerns of this article’s consideration of slash photo remix. Slash manips, or slash photo montage, use image manipulation software (Adobe Photoshop being the community standard, see wandsinhand’s tutorial) to layer the heads of male fictional characters from stills or promotional images with scenes—static or moving—from gay pornography. Once an artist has selected pornographic ‘base models’ anatomically suited to canon characters, these models are often then repositioned into the canon universe, which in the case of Merlin means a medieval setting. (Works not repositioned and without added details from canon are generally categorised as ‘male celebrity fakes’ rather than ‘slash manips’.) Stedman contends that while many fan studies scholars are interested in remix, “studies commonly focus on examples of remixed objects rather than the compositional strategies used by remix composers themselves” (107). He advocates moving beyond an exclusive consideration of “text-centred approaches” to also consider “practice-” and “composer-centred” approaches. Such approaches offer insight into “the detailed choices composers actually make when composing” (107). He refers to recognition of the skills required by a remix composer as “remix literacy” (108). This article’s consideration of the various choices and skills that go into the composition of slash manips—what I term the ‘semiotic significance of selection’—is explored with respect to wandsinhand’s practice, coupling my reading—informed by my experience as a practitioner—with the interpretations of the artist himself. Jenkins defines slash as “reaction against” constructions of male sexuality in both popular media and pornography (189). By their very nature, slash manips also make clear the oft-overlooked connections between slash and gay pornography, and in turn the contributions of gay male participants, who are well represented by the form. This contrasts with a tendency within scholarship to compare slash with heterosexual female forms, such as the romance genre (Salmon and Symons). Gay pornography plays a visible role in slash manips—and slash vids, which often remix scenes from popular media with gay cinema and pornography. Slash as Romance, Slash as Pornography Early scholarship on slash (see Russ; Lamb and Veith) defines it as a form of erotica or pornography, by and for women; a reductive definition that fails to take into account men’s contribution, yet one that many researchers continue to adopt today. As stated above, there has also been a tendency within scholarship to align the practice with heterosexual female forms such as the romance genre. Such a tendency is by and large due to theorisation of slash as heterosexual female fantasy—and concerned primarily with romance and intimacy rather than sex (see Woledge). Weinstein describes slash as more a “fascination with” than a “representation of” homosexual relationships (615); while MacDonald makes the point that homosexuality is not a major political motivator for slash (28–9). There is no refuting that slash—along with most fannish practice—is female dominated, ethnographic work and fandom surveys reveal that is the case. However there is great need for research into male production of slash, particularly how such practices might challenge reigning definitions and assumptions of the practice. In similar Japanese practices, for example, gay male opposition to girls’ comics (shōjo) depicting love between ‘pretty boys’ (bishōunen) has been well documented (see Hori)—Men’s Love (or bara) is a subgenre of Boys’ Love (or shōnen’ai) predominately created by gay men seeking a greater connection with the lived reality of gay life (Lunsing). Dennis finds male slash fanart producers more committed to muscular representations and depiction of graphic male/male sex when compared with female-identifying artists (14, 16). He also observes that male fanart artists have a tendency of “valuing same-sex desire without a heterosexual default and placing it within the context of realistic gay relationships” (11). I have observed similar differences between male and female-identifying slash manip artists. Female-identifying Nicci Mac, for example, will often add trousers to her donor bodies, recoding them for a more romantic context. By contrast, male-identifying mythagowood is known for digitally enlarging the penises and rectums of his base models, exaggerating his work’s connection to the pornographic and the macabre. Consider, for example, mythagowood’s rationale for digitally enlarging and importing ‘lips’ for Sam’s (Supernatural) rectum in his work Ass-milk: 2012, which marks the third anniversary of the original: Originally I wasn’t going to give Sammy’s cunt any treatment (before I determined the theme) but when assmilk became the theme I had to go find a good set of lips to slap on him and I figured, it’s been three years, his hole is going to be MUCH bigger. (personal correspondence, used with permission) While mythagowood himself cautions against gendered romance/pornography slash arguments—“I find it annoying that people attribute certain specific aspects of my work to something ‘only a man’ would make.” (ibid.)—gay pornography occupies an important place in the lives of gay men as a means for entertainment, community engagement and identity-construction (see McKee). As one of the only cultural representations available to gay men, Fejes argues that gay pornography plays a crucial role in defining gay male desire and identity. This is confirmed by an Internet survey conducted by Duggan and McCreary that finds 98% of gay participants reporting exposure to pornographic material in the 30-day period prior to the survey. Further, the underground nature of gay pornographic film (see Dyer) aligns it with slash as a subcultural practice. I now analyse two Merlin slash manips with respect to the sexual positions of the pornographic base models, illustrating how gay pornography genres and ideologies referenced through these works enforce their intended meaning, as defined by the artist. A sexual act such as bukkake, as wandsinhand astutely notes, acts as a universal sign and “automatically generates a narrative for the image without anything really needing to be detailed”. Barthes argues that such a “relation between thing signified and image signifying in analogical representation” is unlike language, which has a much more ‘arbitrary’ relationship between signifier and signified (272). Bukkake and the Assertion of Masculine Power in Merlin Merlin (2008–12) is a BBC reimagining of the Arthurian legend that focuses on the coming-of-age of Arthur and his close bond with his manservant Merlin, who keeps his magical identity secret until Arthur’s final stand in the iconic Battle of Camlann. The homosexual potential of Merlin and Arthur’s story—and of magic as a metaphor for homosexuality—is something slash fans were quick to recognise. During question time at the first Merlin cast appearance at the London MCM Expo in October 2008—just one month after the show’s pilot first aired—a fan asked Morgan and James, who portray Merlin and Arthur, is Merlin “meant to be a love story between Arthur and Merlin?” James nods in jest. Wandsinhand, who is most active in the Teen Wolf (2011–present) fandom, has produced two Merlin slash manips to date, a 2013 Merlin/Arthur and a 2012 Arthur/Percival, both untitled. The Merlin/Arthur manip (see Figure 1) depicts Merlin bound and on his knees, Arthur ejaculating across his face and on his chest. Merlin is naked while Arthur is partially clothed in chainmail and armour. They are both bruised and dirty, Arthur’s injuries suggesting battle given his overall appearance, while Merlin’s suggesting abuse, given his subordinate position. The setting appears to be the royal stables, where we know Merlin spends much of his time mucking out Arthur’s horses. I am left to wonder if perhaps Merlin did not carry out this duty to Arthur’s satisfaction, and is now being punished for it; or if Arthur has returned from battle in need of sexual gratification and the endorsement of power that comes from debasing his manservant. Figure 1: wandsinhand, Untitled (Merlin/Arthur), 2013, photo montage. Courtesy the artist. Both readings are supported by Arthur’s ‘spent’ expression of disinterest or mild curiosity, while Merlin’s face emotes pain: crying and squinting through the semen obscuring his vision. The artist confirms this reading in our interview: “Arthur is using his pet Merlin to relieve some stress; Merlin of course not being too pleased about the aftermath, but obedient all the same.” The noun ‘pet’ evokes the sexual connotations of Merlin’s role as Arthur’s personal manservant, while also demoting Merlin even further than usual. He is, in Arthur’s eyes, less than human, a sexual plaything to use and abuse at will. The artist’s statement also confirms that Arthur is acting against Merlin’s will. Violence is certainly represented here, the base models having been ‘marked up’ to depict sexualisation of an already physically and emotionally abusive relationship, their relative positioning and the importation of semen heightening the humiliation. Wandsinhand’s work engages characters in sadomasochistic play, with semen and urine frequently employed to degrade and arouse—“peen wolf”, a reference to watersports, is used within his Teen Wolf practice. The two wandsinhand works analysed in this present article come without words, thus lacking a “linguistic message” (Barthes 273–6). However even so, the artist’s statement and Arthur’s stance over “his pet Merlin” mean we are still able to “skim off” (270) the meanings the image contains. The base models, for example, invite comparison with the ‘gay bukkake’ genre of gay pornography—admittedly with a single dominant male rather than a group. Gay bukkake has become a popular niche in North American gay pornography—it originated in Japan as a male–female act in the 1980s. It describes a ritualistic sexual act where a group of dominant men—often identifying as heterosexual—fuck and debase a homosexual, submissive male, commonly bareback (Durkin et al. 600). The aggression on display in this act—much like the homosocial insistency of men who partake in a ‘circle jerk’ (Mosher 318)—enables the participating men to affirm their masculinity and dominance by degrading the gay male, who is there to service (often on his knees) and receive—in any orifice of the group’s choosing—the men’s semen, and often urine as well. The equivalencies I have made here are based on the ‘performance’ of the bukkake fantasy in gay niche hazing and gay-for-pay pornography genres. These genres are fuelled by antigay sentiment, aggression and debasement of effeminate males (see Kendall). I wish here to resist the temptation of labelling the acts described above as deviant. As is a common problem with anti-pornography arguments, to attempt to fix a practice such as bukkake as deviant and abject—by, for example, equating it to rape (Franklin 24)—is to negate a much more complex consideration of distinctions and ambiguities between force and consent; lived and fantasy; where pleasure is, where it is performed and where it is taken. I extend this desire not to label the manip in question, which by exploiting the masculine posturing of Arthur effectively sexualises canon debasement. This began with the pilot when Arthur says: “Tell me Merlin, do you know how to walk on your knees?” Of the imported imagery—semen, bruising, perspiration—the key signifier is Arthur’s armour which, while torn in places, still ensures the encoding of particular signifieds: masculinity, strength and power. Doggystyle and the Subversion of Arthur’s ‘Armoured Self’ Since the romanticism and chivalric tradition of the knight in shining armour (see Huizinga) men as armoured selves have become a stoic symbol of masculine power and the benchmark for aspirational masculinity. For the medieval knight, armour reflects in its shiny surface the mettle of the man enclosed, imparting a state of ‘bodilessness’ by containing any softness beneath its shielded exterior (Burns 140). Wandsinhand’s Arthur/Percival manip (see Figure 2) subverts Arthur and the symbolism of armour with the help of arguably the only man who can: Arthur’s largest knight Percival. While a minor character among the knights, Percival’s physical presence in the series looms large, and has endeared him to slash manip artists, particularly those with only a casual interest in the series, such as wandsinhand: Why Arthur and Percival were specifically chosen had really little to do with the show’s plot, and in point of fact, I don’t really follow Merlin that closely nor am I an avid fan. […] Choosing Arthur/Percival really was just a matter of taste rather than being contextually based on their characterisations in the television show. Figure 2: wandsinhand, Untitled (Arthur/Percival), 2012, photo montage. Courtesy the artist. Concerning motivation, the artist explains: “Sometimes one’s penis decides to pick the tv show Merlin, and specifically Arthur and Percival.” The popularity of Percival among manip artists illustrates the power of physicality as a visual sign, and the valorisation of size and muscle within the gay community (see Sánchez et al.). Having his armour modified to display his muscles, the implication is that Percival does not need armour, for his body is already hard, impenetrable. He is already suited up, simultaneously man and armoured. Wandsinhand uses the physicality of this character to strip Arthur of his symbolic, masculine power. The work depicts Arthur with a dishevelled expression, his armoured chest pressed against the ground, his chainmail hitched up at the back to expose his arse, Percival threading his unsheathed cock inside him, staring expressionless at the ‘viewer’. The artist explains he “was trying to show a shift of power”: I was also hinting at some sign of struggle, which is somewhat evident on Arthur’s face too. […] I think the expressions work in concert to suggest […] a power reversal that leaves Arthur on the bottom, a position he’s not entirely comfortable accepting. There is pleasure to be had in seeing the “cocky” Arthur forcefully penetrated, “cut down to size by a bigger man” (wandsinhand). The two assume the ‘doggystyle’ position, an impersonal sexual position, without eye contact and where the penetrator sets the rhythm and intensity of each thrust. Scholars have argued that the position is degrading to the passive party, who is dehumanised by the act, a ‘dog’ (Dworkin 27); and rapper Snoop ‘Doggy’ Dogg exploits the misogynistic connotations of the position on his record Doggystyle (see Armstrong). Wandsinhand is clear in his intent to depict forceful domination of Arthur. Struggle is signified through the addition of perspiration, a trademark device used by this artist to symbolise struggle. Domination in a sexual act involves the erasure of the wishes of the dominated partner (see Cowan and Dunn). To attune oneself to the pleasures of a sexual partner is to regard them as a subject. To ignore such pleasures is to degrade the other person. The artist’s choice of pairing embraces the physicality of the male/male bond and illustrates a tendency among manip producers to privilege conventional masculine identifiers—such as size and muscle—above symbolic, nonphysical identifiers, such as status and rank. It is worth noting that muscle is more readily available in the pornographic source material used in slash manips—muscularity being a recurrent component of gay pornography (see Duggan and McCreary). In my interview with manip artist simontheduck, he describes the difficulty he had sourcing a base image “that complimented the physicality of the [Merlin] characters. […] The actor that plays Merlin is fairly thin while Arthur is pretty built, it was difficult to find one. I even had to edit Merlin’s body down further in the end.” (personal correspondence, used with permission) As wandsinhand explains, “you’re basically limited by what’s available on the internet, and even then, only what you’re prepared to sift through or screencap yourself”. Wandsinhand’s Arthur/Percival pairing selection works in tandem with other artistic decisions and inclusions—sexual position, setting, expressions, effects (perspiration, lighting)—to ensure the intended reading of the work. Antithetical size and rank positions play out in the penetration/submission act of wandsinhand’s work, in which only the stronger of the two may come out ‘on top’. Percival subverts the symbolic power structures of prince/knight, asserting his physical, sexual dominance over the physically inferior Arthur. That such a construction of Percival is incongruent with the polite, impeded-by-my-size-and-muscle-density Percival of the series speaks to the circumstances of manip production, much of which is on a taste basis, as previously noted. There are of course exceptions to this, the Teen Wolf ‘Sterek’ (Stiles/Derek) pairing being wandsinhand’s, but even in this case, size tends to couple with penetration. Slash manips often privilege physicality of the characters in question—as well as the base models selected—above any particular canon-supported slash reading. (Of course, the ‘queering’ nature of slash practice means at times there is also a desire to see such identifiers subverted, however in this example, raw masculine power prevails.) This final point is in no way representative—my practice, for example, combines manips with ficlets to offer a clearer connection with canon, while LJ’s zdae69 integrates manips, fiction and comics. However, common across slash manip artists driven by taste—and requests—rather than connection with canon—the best known being LJ’s tw-31988, demon48180 and Tumblr’s lwoodsmalestarsfakes, all of whom work across many fandoms—is interest in the ‘aesthetics of canon’, the blue hues of Teen Wolf or the fluorescent greens of Arrow (2012–present), displayed in glossy magazine format using services such as ISSUU. In short, ‘the look’ of the work often takes precedent over canonical implications of any artistic decisions. “Nothing Too Serious”: Slash Manips as Objects Worth Studying It had long been believed that the popular was the transient, that of entertainment rather than enlightenment; that which is manufactured, “an appendage of the machinery”, consumed by the duped masses and a product not of culture but of a ‘culture industry’ (Adorno and Rabinbach 12). Scholars such as Radway, Ang pioneered a shift in scholarly practice, advancing the cultural studies project by challenging elitism and finding meaning in traditionally devalued cultural texts and practices. The most surprising outcome of my interviews with wandsinhand was hearing how he conceived of his practice, and the study of slash: If I knew I could get a PhD by writing a dissertation on Slash, I would probably drop out of my physics papers! […] I don’t really think too highly of faking/manip-making. I mean, it’s not like it’s high art, is it? … or is it? I guess if Duchamp’s toilet can be a masterpiece, then so can anything. But I mainly just do it to pass the time, materialise fantasies, and disperse my fantasies unto others. Nothing too serious. Wandsinhand erects various binaries—academic/fan, important/trivial, science/arts, high art/low art, profession/hobby, reality/fantasy, serious/frivolous—as justification to devalue his own artistic practice. Yet embracing the amateur, personal nature of his practice frees him to “materialise fantasies” that would perhaps not be possible without self-imposed, underground production. This is certainly supported by his body of work, which plays with taboos of the unseen, of bodily fluids and sadomasochism. My intention with this article is not to contravene views such as wandsinhand’s. Rather, it is to promote slash manips as a form of remix culture that encourages new perspectives on how slash has been defined, its connection with male producers and its symbiotic relationship with gay pornography. I have examined the ‘semiotic significance of selection’ that creates meaning in two contrary slash manips; how these works actualise and resist canon dominance, as it relates to the physical and the symbolic. This examination also offers insight into this form’s connection to and negotiation with certain ideologies of gay pornography, such as the valorisation of size and muscle. 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