| Abstract: | 種族議題為德國猶太作家和畫家艾爾澤.拉斯克-舒勒爾 （克萊斯特獎得主）藝術生產中一個重要的概念。這個概 念藉由分化從規範中產生。拉斯克-舒勒爾的散文、詩歌、 素描和油畫等都可見到外國民族的形象，例子如其作品中 印第安人，黑人和東方風格的形象。另一方面，種族也可 作為他者的象徵，作為一位藝術家，拉斯克-舒勒爾的文本 及繪畫中的自我呈現可作為與她的民族及藝術家身分的連 結。 在我的研究中，我將嘗試分析論述模式、互動式的對 應、脈絡化，及現代主義美學與論述間的連結如何作為理 解拉斯克-舒勒爾作品中種族概念的方法。先前分散在世界 各地展出的繪畫展覽和最新出版的“艾爾澤.拉斯克-舒勒 爾–圖片＂ 1 中的部分不知名圖像與其畫的綜合列表 為這項 研究提供新的動力。 莉卡達迪克在序言中寫道：“拉斯克-舒勒爾去世後， 德國、以色列及瑞士不再有其繪畫展出，而在少數關於她 的繪畫研究中也沒有可以借鑒的畫作。＂ 現在，我想將我的研究貢獻專注於分析她文本與圖畫 的關連，這些繪畫作品先前被認為不足（它們遍布59 地 點，其中33 份只有一張畫紙），在我的研究中，我將視這 些原本個自獨立的作品為一完整集合。
Ethnicity appears in the excellent German-Jewish writer and painter Else Lasker-Schüler (a Kleist Prize receiver) as an important concept for her artistic production. It is produced in various ways by differentiation from a supposed norm. On the one hand, there are figurations of foreign ethnicity in Else Lasker-Schüler`s prose and her poetry, but also in her drawings and paintings. For example, American Indians, colored (“black”) people and oriental-style figures can be found. On the other hand, ethnicity is a characteristic of the Other, and plays an important role for Else Lasker-Schüler as an artist, particularly her self-figurations in her texts and paintings appear to be linked to her ethnicity and her existence as an artist. In my research I will try to analyze discursive patterns and inter-media correspondences, contextualization, and connections to the discourse and the aesthetics of modernism as an approach to Else Lasker-Schüler’s concept of ethnicity in her texts and images. The new exhibition of paintings previously scattered in the world and partly unknown images respectively the newly published catalog "Else Lasker-Schüler - The pictures" (Else Lasker-Schüler – Die Bilder1, September 8, 2010 - January 9, 2011 in Frankfurt, and 21 January to May 1, 2011 in Berlin) with the first comprehensive list of her paintings will provide new impetus for this research. Ricarda Dick writes in the preface: “Lasker-Schüler herself had to flee Germany in 1933 (...) After the Second World War the paintings of Else Lasker-Schüler again drew attention. (...) But none of these and other exhibitions, which were established in Germany, Israel or Switzerland after the death of Lasker-Schüler, and also none of the few studies that exist on her drawings could draw on a stock of paintings that had been secured and made accessible (…)”. I would now like to make a contribution to research that her written texts are to be analyzed in connection with her pictures, which previously could only perceived insufficiently (spread over 59 locations, 33 of which have only one sheet), and assessed in their interdependence as collective works of Else Lasker-Schüler. |
