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Konstruktion hegemonialer Männlichkeit, auf: aim/pdfs/Meuser.pdf vom 23.02.2011. 29 | Vgl. Kosofsky Sedgwick, Eve: Between Men: English Literature and Male Homosocial Desire, New York 1985, S. 1-20. Zur Bedeutung dieser Arbeit für die aktuellen Queer Studies vgl. Barber, Stephen M./Clark, David L. (Hg.): Regarding Sedgwick: Essays on Queer Culture and Critical Theory, New York/London 2002. 30 | Sehr fundiert mit zahlreichen Quellen zum semantisch weiten Thema von Männerfreundschaften siehe Pfisterer, Ulrich: Lysippus und seine Freunde. Lie

docile body of difference, that reproduces a relation of domination and is the most serious indictment of the institutional powers of critical theory.“ Ebd., S.31 55 „The pact of interpretation is never simply an act of communication between the I and the You designated in the statement. The production of meaning requires that these two places be mobilized in the passage through a Third Space, which represents both the general condi- tions of language and the specific implication of the utterance in a performative and institu- tional strategy of which it cannot

of Culture: City, Nation, World, London: Sage 1999, 194-213. Online unter URL: http:/ ; www2. u ni-jena .dejwelsch/ Papersj transcultSociety. html [ 17.03.2 0 11] ). 161 I Vgl. Castro Varela/ Dhawan, Postkoloniale Theorie, S. 58. 162 I Vgl. Gayatri Chakravorty Spivak: Death of a Discipline, New York: Colum- bia University Press 2003, S. 9. Das Buch basiert auf ihren im Jahr 2000 an der University of California im Rahmen der Wellek Ubrary Lectures in Critical Theory gehaltenen Vorlesungen. 163 I »This learning to ask is •literacy• in the articulation of the

world would be a good place to link Alpers’ model with the critical theories of the subject and authorship proposed by Foucault and Barthes. Apart from a cursory refer- ence to Foucault’sThe Order of Things, however, Alpers herself does not situate her approach within a structuralist or poststructuralist context. Interesting here is Louis Marin’s review of her book, under the ambiguous title “In Praise of Appearance”. Marin sees parallels and differences between Alpers’ model and structuralism. As one key difference he cites the fact that Alpers does not abstractly

Journal of Visual Culture 1, no. 3 (2002), 267-278: 267. On the conference, see Hal Foster (ed.), Vision and Visuality (Seat- tle 1988). Those involved were Martin Jay, Jonathan Crary, Rosalind Krauss, Norman Bryson and Jacqueline Rose. 29 Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth Century Thought (Berke- ley, Los Angeles 1993). I do not share Jay’s position on French post-structuralism; it should be taken with a grain of salt, bearing in mind Jay’s roots in critical theory. 30 Martin Jay, “Scopic Regimes of Modernity” in Foster, Vision and

challenging gender stereotypes. A critique of Critical Theory Gablik also confronts how the art world of contemporary art, and especially the “critical theory” circles, have tended to reject work such as Dominique Mazeaud’s, which Gablik characterizes as not-based on the transgression of prior aesthetic codes, but based on “another integrating myth entirely: com- passion” (ibid., p. 121). Gablik tells how Dominique Mazeaud began in 1987, “The Great Cleansing of the Rio Grande River”, ritually (but also concretely) removing trash and pollutants from the river once

Emergence of Cultural Studies and the Crisis of the Humanities”, in October 53 (1990), 16. See also chapter 4, first section, in this book. 6 A concept from critical theory that can be applied here. 7 “À partir de cemoment, la société immonde se rua, comme un seul Narcisse, pour con- templer sa triviale image sur lemétal.” Charles Baudelaire, “Le Salon de 1859” in Baude- laire, Curiosités esthétiques, (Paris 1890). 8 Maurice Merleau-Ponty, The Visible and the Invisible (Evanston 1968), 139. Original French: “il y a un narcissisme fondamental de toute vision”, in Le

should be drawn to conventions among the group in which an artist tends to belong. It is no news to the art sociologists, nor to critical theory in art (and especially artists practicing Institutional Critique) that the production of art does not exist in a conventions-free vacuum. The processes taking place within such groups constrain both the thinking and actions of the artists, whether we describe this social reality in terms of Pi- erre Bourdieu’s fields, Howard Becker’s art worlds, subcultures or smaller “circles of recognition” i.e. smaller specific