2024-03-29T15:19:33Z
https://journals.sub.uni-hamburg.de/index/oai
oai:ojs.journals.sub.uni-hamburg.de:article/539
2016-10-19T06:26:51Z
aethiopica:ART
doc-type:Article
status-type:publishedVersion
ddc:320
ddc:380
ddc:770
ddc:900
ddc:910
ddc:960
open_access
Die befreiten Geiseln Kaiser Tewodros' II. Aus dem Photoalbum der Royal Engineers 1867/68
History
Photography
Museology
Politics
Magdala
Napier
Mission
The famous Robert Lebeck Collection of historical photographs, which has been preserved in the Agfa Foto-Historama in the Wallraf-Richartz Museum/ Museum Ludwig, Cologne, since 1994, contains an album entitled “Views of the Abyssinian Campaign – presented by Lord Napier of Magdala”. With its 78 albumen prints, taken by the photographers of the 10th Company, Royal Engineers–Great Britain, it seems to be a unique but scarcely known source for Ethiopian studies. To our present knowledge, they are the earliest photographic documents related to Ethiopia.In this article the author gives a detailed analysis of three prints (Nr.: 58, 59, 60) showing the released captives on whose behalf the “crusade” of the Magdala-expedition was undertaken in 1867/68, and makes an attempt to identify the persons on the photos. Many of these persons left an indelible impact on the 19th century Ethiopian history through their roles as counsellors, missionaries, scientists or artisans.
Universität Hamburg, Hiob Ludolf Centre for Ethiopian and Eritrean Studies
2013-08-06
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
doc-type:Article
status-type:publishedVersion
application/pdf
https://journals.sub.uni-hamburg.de/aethiopica/article/view/539
10.15460/aethiopica.2.1.539
urn:nbn:de:gbv:18-8-5392
Aethiopica; Bd. 2 (1999); 159-182
Aethiopica; Vol. 2 (1999); 159-182
2194-4024
1430-1938
10.15460/aethiopica.2.1
deu
https://journals.sub.uni-hamburg.de/aethiopica/article/view/539/543
Copyright (c) 2013 Gerd Gräber
https://creativecommons.org/licenses/by-sa/4.0
oai:ojs.journals.sub.uni-hamburg.de:article/721
2016-10-19T06:27:06Z
aethiopica:REV
doc-type:Article
status-type:publishedVersion
ddc:320
ddc:350
ddc:380
ddc:390
ddc:700
ddc:770
ddc:900
ddc:960
open_access
Estelle Sohier: Le roi des rois et la photographie. Politique de l’image et pouvoir royal en Éthiopie sous le règne de Ménélik II
Ancel, Stéphane
History
Politics
Royal Court
Representations
Photography
Promotion
Iconography
Review
Universität Hamburg, Hiob Ludolf Centre for Ethiopian and Eritrean Studies
2014-03-09
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
doc-type:Article
status-type:publishedVersion
application/pdf
https://journals.sub.uni-hamburg.de/aethiopica/article/view/721
10.15460/aethiopica.16.1.721
urn:nbn:de:gbv:18-8-7214
Aethiopica; Bd. 16 (2013); 275-277
Aethiopica; Vol. 16 (2013); 275-277
2194-4024
1430-1938
10.15460/aethiopica.16.1
eng
https://journals.sub.uni-hamburg.de/aethiopica/article/view/721/734
Copyright (c) 2014 Stéphane Ancel
https://creativecommons.org/licenses/by-sa/4.0
oai:ojs.journals.sub.uni-hamburg.de:article/887
2016-10-19T06:27:07Z
aethiopica:REV
doc-type:Article
status-type:publishedVersion
ddc:770
ddc:960
ddc:380
open_access
Hugues Fontaine, African Train/Un train en Afrique, Djibouti~ Éthiopie: ጂቡቲ፥ ኢትዮጵያ የባቡር ወጎች/African Train
Ancel, Stéphane
Djibouti
photography
railway
Review
Universität Hamburg, Hiob Ludolf Centre for Ethiopian and Eritrean Studies
2014-12-19
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
doc-type:Article
status-type:publishedVersion
application/pdf
https://journals.sub.uni-hamburg.de/aethiopica/article/view/887
10.15460/aethiopica.17.1.887
urn:nbn:de:gbv:18-8-8877
Aethiopica; Bd. 17 (2014); 298-299
Aethiopica; Vol. 17 (2014); 298-299
2194-4024
1430-1938
10.15460/aethiopica.17.1
eng
https://journals.sub.uni-hamburg.de/aethiopica/article/view/887/856
Copyright (c) 2014 Stéphane Ancel
https://creativecommons.org/licenses/by-sa/4.0
oai:ojs.journals.sub.uni-hamburg.de:article/1407
2020-07-13T14:23:16Z
apropos:EC
doc-type:Annotation
status-type:publishedVersion
ddc:440
ddc:770
ddc:700
ddc:791
open_access
Étrange Miroir: Présentation
Arlais, Marie
Rialland, Raphaël
Le collectif Étrange miroir expérimente des formes artistiques qui croisent les sciences humaines, le reportage, le spectacle vivant, la vidéo, la création numérique et les arts plastiques dans le but de proposer à un large public des espaces de réflexions qui questionnent notre société.
Redaktion apropos [Perspektiven auf die Romania], Universität Rostock - Institut für Romanistik
2019-07-12
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
doc-type:Annotation
status-type:publishedVersion
application/pdf
https://journals.sub.uni-hamburg.de/apropos/article/view/1407
10.15460/apropos.0.1407
urn:nbn:de:gbv:18-8-14070
apropos [Perspektiven auf die Romania]; Nr. 2 (2019): Rugbykultur (in) der Romania; 178-189
apropos [Perspektiven auf die Romania]; No. 2 (2019): Rugbykultur (in) der Romania; 178-189
apropos [Perspektiven auf die Romania]; Núm. 2 (2019): Rugbykultur (in) der Romania; 178-189
apropos [Perspektiven auf die Romania]; No 2 (2019): Rugbykultur (in) der Romania; 178-189
2627-3446
10.15460/apropos.0
fra
https://journals.sub.uni-hamburg.de/apropos/article/view/1407/1238
Copyright (c) 2019 Marie Arlais, Raphaël Rialland
https://creativecommons.org/licenses/by/4.0/
oai:ojs.journals.sub.uni-hamburg.de:article/1746
2021-07-19T13:17:14Z
apropos:EC
doc-type:Article
status-type:publishedVersion
ddc:460
ddc:770
open_access
About the Artist
Coca, Diana
Self-Portait of the artist and some of her works.
Redaktion apropos [Perspektiven auf die Romania], Universität Rostock - Institut für Romanistik
2021-07-20
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
doc-type:Article
status-type:publishedVersion
application/pdf
https://journals.sub.uni-hamburg.de/apropos/article/view/1746
10.15460/apropos.6.1746
urn:nbn:de:gbv:18-8-17468
apropos [Perspektiven auf die Romania]; Nr. 6 (2021): Varia; 315
apropos [Perspektiven auf die Romania]; No. 6 (2021): Varia; 315
apropos [Perspektiven auf die Romania]; Núm. 6 (2021): Varia; 315
apropos [Perspektiven auf die Romania]; No 6 (2021): Varia; 315
2627-3446
10.15460/apropos.6
eng
https://journals.sub.uni-hamburg.de/apropos/article/view/1746/1564
Copyright (c) 2021 Diana Coca
https://creativecommons.org/licenses/by/4.0/
oai:ojs.journals.sub.uni-hamburg.de:article/1747
2021-07-19T14:13:20Z
apropos:EC
doc-type:Article
status-type:publishedVersion
ddc:460
ddc:770
open_access
Sobre la artista
Coca, Diana
Autodescripción de la artista y de su obra
Redaktion apropos [Perspektiven auf die Romania], Universität Rostock - Institut für Romanistik
2021-07-20
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
doc-type:Article
status-type:publishedVersion
application/pdf
https://journals.sub.uni-hamburg.de/apropos/article/view/1747
10.15460/apropos.6.1747
urn:nbn:de:gbv:18-8-17475
apropos [Perspektiven auf die Romania]; Nr. 6 (2021): Varia; 289
apropos [Perspektiven auf die Romania]; No. 6 (2021): Varia; 289
apropos [Perspektiven auf die Romania]; Núm. 6 (2021): Varia; 289
apropos [Perspektiven auf die Romania]; No 6 (2021): Varia; 289
2627-3446
10.15460/apropos.6
spa
https://journals.sub.uni-hamburg.de/apropos/article/view/1747/1597
Copyright (c) 2021 Diana Coca
https://creativecommons.org/licenses/by/4.0/
oai:ojs.journals.sub.uni-hamburg.de:article/1748
2021-07-19T14:37:56Z
apropos:EC
doc-type:Article
status-type:publishedVersion
ddc:460
ddc:770
open_access
Corporealities to the limit : The female body as border territory from artistic practice as research
Coca, Diana
I propose a theoretical-practical approach to the presentation and representation of the female body in artistic creation. That is, the use of the body as a space at the limit, liminal, of danger and transgression, with the consequent potentially re-signifying effects of territory and common space through art. This narration is accompanied by the dissection of the creative process in phases and its final product, where I start from my own body, as testimony, meeting place, object and subject, studying its relationship with the context in an act of defiance to patriarchal authority. In this sense, we could relate it to the de-hierarchisation and proximity to others, in an unregulated but vital encounter of desiring, non-docile subjectivities, which eroticize politics with their irruption into the public sphere, with the intention of living, creating, loving, inventing another society, another perception of the world and other value systems.
Redaktion apropos [Perspektiven auf die Romania], Universität Rostock - Institut für Romanistik
2021-07-20
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
doc-type:Article
status-type:publishedVersion
application/pdf
https://journals.sub.uni-hamburg.de/apropos/article/view/1748
10.15460/apropos.6.1748
urn:nbn:de:gbv:18-8-17486
apropos [Perspektiven auf die Romania]; Nr. 6 (2021): Varia; 336
apropos [Perspektiven auf die Romania]; No. 6 (2021): Varia; 336
apropos [Perspektiven auf die Romania]; Núm. 6 (2021): Varia; 336
apropos [Perspektiven auf die Romania]; No 6 (2021): Varia; 336
2627-3446
10.15460/apropos.6
eng
https://journals.sub.uni-hamburg.de/apropos/article/view/1748/1565
Copyright (c) 2021 Diana Coca
https://creativecommons.org/licenses/by/4.0/
oai:ojs.journals.sub.uni-hamburg.de:article/1749
2021-07-19T14:52:08Z
apropos:EC
doc-type:Article
status-type:publishedVersion
ddc:460
ddc:770
open_access
Corporeidades al límite: El cuerpo femenino como territorio fronterizo desde la práctica artística como investigación
Coca, Diana
Planteo una aproximación teórico-práctica de la presentación y representación del cuerpo femenino en la creación artística. Esto es, la utilización del cuerpo como espacio al límite, liminal, de peligro y transgresión, con los consecuentes efectos potencialmente resignificadores del territorio y del espacio común a través del arte. Esta narración va acompañada de la disección del proceso creativo en fases y su producto final, donde parto de mi propio cuerpo, como testimonio, lugar de encuentro, objeto y sujeto, estudiando su relación con el contexto en un acto de desafío a la autoridad patriarcal. En ese sentido, podríamos relacionarlo con la desjerarquización y la proximidad hacia los otros, en un en-cuentro no reglamentado pero vital de subjetividades deseantes, no dóciles, que erotizan la política con su irrupción en lo público, con la intención de vivir, crear, amar, inventar otra sociedad, otra percep-ción del mundo y otros sistemas de valores.
Redaktion apropos [Perspektiven auf die Romania], Universität Rostock - Institut für Romanistik
2021-07-20
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
doc-type:Article
status-type:publishedVersion
application/pdf
https://journals.sub.uni-hamburg.de/apropos/article/view/1749
10.15460/apropos.6.1749
urn:nbn:de:gbv:18-8-17491
apropos [Perspektiven auf die Romania]; Nr. 6 (2021): Varia; 332
apropos [Perspektiven auf die Romania]; No. 6 (2021): Varia; 332
apropos [Perspektiven auf die Romania]; Núm. 6 (2021): Varia; 332
apropos [Perspektiven auf die Romania]; No 6 (2021): Varia; 332
2627-3446
10.15460/apropos.6
spa
https://journals.sub.uni-hamburg.de/apropos/article/view/1749/1568
Copyright (c) 2021 Diana Coca
https://creativecommons.org/licenses/by/4.0/
oai:ojs.journals.sub.uni-hamburg.de:article/1750
2021-07-19T22:50:54Z
apropos:EC
doc-type:Article
status-type:publishedVersion
ddc:460
ddc:770
open_access
Playing between concealment and presence
Coca, Diana
Photoperformance
body
woman
feminism
travel
identity
affects
This article is based on the methodology of art-practice-as-research, which departs from my artistic productionWhere is Diana?, a series of photoperformances and videos made between Beijing, Tijuana and City Mexico during 2013-2015. Aware of the obsession with identity, with this proposal I raise the question of whether it is possible to transcend physical and intellectual borders. In my work I include the dynamics of recognition in a paradoxical way, as I present myself hooded, unrecognizable, without identity, placing myself on the border, on the margins, on the limit and in precariousness, through a body that transgresses its place and moves from the private to the public. This theoretical-practical perspective considers the gender perspective, as well as the conceptual tools that feminisms have created to rethink the female subject and de-center it, through a displacement towards what is non-hegemonic or predetermined by biology. The characteristics that are defined as masculine and feminine must be questioned because their meaning is the result of a historical and social practice that has artificially naturalized them.
So I propose axes of resistance to subvert gender and national identities, which I argue are fluid and modifiable. Creating this de-centre may lead to the construction of new subjectivities, a framework that expands the possibilities of action and recognition. To achieve this, I relate my artistic process to politics through the reconstruction of the sensible in social space, in the way bodies and their meanings act in that space. The relationship between art, politics, and representation that I propose here does not have to do with a discursive level but focuses on the artistic gesture and how to communicate the affects that are imprinted in the bodies, which have a sensorial and political implication.
Redaktion apropos [Perspektiven auf die Romania], Universität Rostock - Institut für Romanistik
2021-07-20
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
doc-type:Article
status-type:publishedVersion
application/pdf
https://journals.sub.uni-hamburg.de/apropos/article/view/1750
10.15460/apropos.6.1750
urn:nbn:de:gbv:18-8-17506
apropos [Perspektiven auf die Romania]; Nr. 6 (2021): Varia; 359
apropos [Perspektiven auf die Romania]; No. 6 (2021): Varia; 359
apropos [Perspektiven auf die Romania]; Núm. 6 (2021): Varia; 359
apropos [Perspektiven auf die Romania]; No 6 (2021): Varia; 359
2627-3446
10.15460/apropos.6
eng
https://journals.sub.uni-hamburg.de/apropos/article/view/1750/1567
Copyright (c) 2021 Diana Coca
https://creativecommons.org/licenses/by/4.0/
oai:ojs.journals.sub.uni-hamburg.de:article/1751
2021-07-20T08:35:47Z
apropos:EC
doc-type:Article
status-type:publishedVersion
ddc:460
ddc:770
ddc:860
ddc:100
open_access
Jugando entre la ocultación y la presencia
Coca, Diana
Fotoperformance
cuerpo
mujer
feminismo
viaje
frontera
identidad
afectos
Este artículo se basa en la metodología de práctica artística como investigación, que parte de mi producción artística Where is Diana?, una serie de fotoperformances y vídeos realizados entre Beijing, Tijuana y Ciudad de México durante 2013-2015. Consciente de la obsesión por la identidad, con esta propuesta sugiero la hipótesis de si es posible trascender las fronteras físicas e intelectuales. En mi trabajo incluyo la dinámica del reconocimiento de manera paradójica, ya que me presento encapuchada, irreconocible, sin identidad, ubicándome en la frontera, en los márgenes, en el límite y en la precariedad, a través de un cuerpo que traspasa su lugar y transita de lo privado a lo público. Esta perspectiva teórico-práctica tiene en cuenta la perspectiva de género, así como las herramientas conceptuales que ha creado el feminismo para repensar el sujeto femenino y descentrarlo, mediante un desplazamiento hacia lo no hegemónico o predeterminado por la biología. Las características que se definen como masculinas y femeninas deben ser cuestionadas porque su significado es el resultado de una práctica histórica y social que las ha naturalizado artificialmente.
Con esto propongo ejes de resistencia para subvertir las identidades de género y nacionales, que defiendo son fluidas y modificables. Este salir fuera del centro conduciría a la construcción de nuevas subjetividades, creando un marco que amplíe las posibilidades de acción y reconocimiento. Para lograrlo, relaciono mi proceso artístico con la política a través de la reconstrucción de lo sensible en el espacio social, en la forma en que los cuerpos y sus significados actúan en ese espacio. La relación entre arte, política y representación que propongo aquí no tiene que ver con un nivel discursivo, sino que se centra en el gesto artístico y en cómo comunicar los afecto que se imprime en los cuerpos, que tienen una implicación sensorial y política.
Redaktion apropos [Perspektiven auf die Romania], Universität Rostock - Institut für Romanistik
2021-07-20
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
doc-type:Article
status-type:publishedVersion
application/pdf
https://journals.sub.uni-hamburg.de/apropos/article/view/1751
10.15460/apropos.6.1751
urn:nbn:de:gbv:18-8-17518
apropos [Perspektiven auf die Romania]; Nr. 6 (2021): Varia; 340
apropos [Perspektiven auf die Romania]; No. 6 (2021): Varia; 340
apropos [Perspektiven auf die Romania]; Núm. 6 (2021): Varia; 340
apropos [Perspektiven auf die Romania]; No 6 (2021): Varia; 340
2627-3446
10.15460/apropos.6
spa
https://journals.sub.uni-hamburg.de/apropos/article/view/1751/1569
Copyright (c) 2021 Diana Coca
https://creativecommons.org/licenses/by/4.0/
oai:ojs.journals.sub.uni-hamburg.de:article/1934
2022-07-22T01:50:04Z
apropos:VAR
doc-type:Article
status-type:publishedVersion
ddc:840
ddc:440
ddc:700
ddc:770
ddc:790
open_access
Romance (Catherine Breillat, 1999): Der Film als Ideogramm
Belot, Sophie
Junkerjürgen, Ralf
Catherine Breillat
Romance
Pornographie
romance
Sexualität
ddc:840
ddc:440
ddc:700
ddc:770
ddc:790
Catherine Breillat
Romance
pornography
romance
sexuality
Der vorliegende Beitrag analysiert die Entwicklung der Figur Marie in Catherine Breillats Film Romance (1999), die sowohl aus einer kulturellen (Romanze und Pornografie), als auch einer sozialen Perspektive (männliche Dominanz) dargestellt wird. Breillats Film wird oft von (Nicht-)Feministinnen kritisiert. Die vorliegende Untersuchung möchte dieser Kritik entgegenwirken und aufzeigen, dass Romance ein System permanenter und gewalttätiger Gegensätze angreift, um die Frau von unterwürfigen und feindlichen Darstellungen (wie Pornografie und Romanze) zu befreien, die ein entfremdetes Bild von ihr entwerfen. Es soll gezeigt werden, dass Breillat mit Romance die männliche Dominanz über die Frau anprangert. Dabei, so die Argumentation, konzentriert sich die Filmemacherin auf die Darstellung der Jungfräulichkeit oder Reinheit der weiblichen Figur, um weibliche Sexualität als ein tabuisiertes Thema zu entlarven.
Aus dem Französichen von Ralf Junkerjürgen
This article suggests a reading of Catherine Breillat's film Romance (1999) by focusing on Marie’s sexual development. Often criticised by feminists as well as non-feminists, this study will show how Romance challenges dominant forms of representations of women as found in pornography and in romance. Breillat aims to denounce masculine domination as pervading pornography and romance, both of which foreground female sexuality as a taboo as well as an ‘abused’ subject, keeping women as pure and alienated beings.
Translated (French) by Ralf Junkerjürgen
Redaktion apropos [Perspektiven auf die Romania], Universität Rostock - Institut für Romanistik
2022-07-26
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
doc-type:Article
status-type:publishedVersion
application/pdf
https://journals.sub.uni-hamburg.de/apropos/article/view/1934
10.15460/apropos.8.1934
urn:nbn:de:gbv:18-8-19342
apropos [Perspektiven auf die Romania]; Nr. 8 (2022): Toponyme und Erinnerungskultur in der Romania; 229-244
apropos [Perspektiven auf die Romania]; No. 8 (2022): Toponyme und Erinnerungskultur in der Romania; 229-244
apropos [Perspektiven auf die Romania]; Núm. 8 (2022): Toponyme und Erinnerungskultur in der Romania; 229-244
apropos [Perspektiven auf die Romania]; No 8 (2022): Toponyme und Erinnerungskultur in der Romania; 229-244
2627-3446
10.15460/apropos.8
deu
https://journals.sub.uni-hamburg.de/apropos/article/view/1934/1763
Copyright (c) 2022 Sophie Belot
https://creativecommons.org/licenses/by/4.0