1. Stereotype: Versuche einer Definition

1. Einführung in die Methoden und Grundbegriffe der Literatur- und Kulturwissenschaft:Stereotypisierung 1. Stereotype: Versuche einer Definition 2. Wie funktionieren Stereotype? 3. Stereotype in literarischen Texten: Analyse ausgewählter Beispiele in drei Kategorien (Race, Sexuality, Pathology) --------------------------------------------------PD Dr. Stefan Brandt, Abt. Kultur, John F. Kennedy-Institut

2. Was ist ein Stereotyp? • ein Konzept, ein Terminus, oder eine Beschreibung, die relativ festgefügt und unveränderbar ist, üblicherweise mit negativer Konnotation (herkömmliche Definition) • um 1800 als technische Bezeichnung für die Vervielfältigung von Papiermaché-Kopien mit Hilfe einer Matrize eingeführt • abstrakt: Verallgemeinerung, gebunden an existierende “Texte” und Bedeutungen

3. Stereotype… … sind einfache, innerpsychische Symbolisierungen der Welt. Sie sind Palimpseste, in denen die ursprünglichen bipolaren Repräsentationen noch undeutlich hervorscheinen. In ihnen findet sich die notwendige Unterscheidung zwischen dem Selbst und dem Objekt, welches zum “Anderen” wird, ihre Fortsetzung. Sander L. Gilman, Rasse, Sexualität und Seuche (1992), S. 10 - Subjektkonstitution durch Verinnerlichung von ideologischen Kategorien (Interpellation)

4. Wir können und müssen unterscheiden zwischen pathologischer Stereotypisierung und der Stereotypisierung, die für uns alle notwendig ist. Sander L. Gilman, Rasse, Sexualität und Seuche (1992), S. 10 Heterostereotypen vs. Autostereotypen Stereotypes are usually seen as expression of racism and defamation, but they also play a role in cognition and contribute to the processes of perceiving and understanding other social groups and cultures. Astrid Franke, Keys to Controversies (1999)

5. Wie funktionieren Stereotype? As a form of splitting and multiple belief, the stereotype requires, for its successful signification, a continual and repetitive chain of other stereotypes. The process by which the metaphoric “masking” is inscribed on a lack which must then be concealed gives the stereotype both its fixity and its phantasmaticquality – the same old stories of Negro’s animality, the Coolie’s inscrutability or the stupidity of the Irish must be told (compulsively) again and afresh, and are differently gratifying and terrifying each time. Homi K. Bhabha, The Location of Culture (1994)

6. Drei Kategorien der Stereotypenbildung Da das Andere den Gegensatz zum Selbst bildet, muss die Definition des Anderen die Grundkategorien, durch welche das Selbst definiert ist, verkörpern. Meiner Meinung nach sind drei Kategorien dieser Art durch unser Wissen um unsere eigene Veränderbarkeit bedingt sowie durch unsere notwendige Beziehung zu einer anderen Gruppe. Sander L. Gilman, Rasse, Sexualität und Seuche (1992), S. 16 Gilmans drei Kategorien: 1. Race, 2. Sexuality, 3. Pathology

7. 1. Race "Hulloa, Jim Crow!" said Mr. Shelby, whistling, and snapping a bunch of raisins towards him, "pick that up, now!" The child scampered, with all his little strength, after the prize, while his master laughed. "Come here, Jim Crow," said he. The child came up, and the master patted the curly head, and chucked him under the chin. "Now, Jim, show this gentleman how you can dance and sing." The boy commenced one of those wild, grotesque songs common among the negroes, in a rich, clear voice, accompanying his singing with many comic evolutions of the hands, feet, and whole body, all in perfect time to the music. "Bravo!" said Haley, throwing him a quarter of an orange. Harriet Beecher Stowe, Uncle Tom‘s Cabin (1852)

8. 1. Race Besides being so bow-legged that his walk was a moving joke, he was so striking a negro in his personal appearance, he seemed to the young Northerner almost a distinct type of man. His head was small and seemed mashed on the sides until it bulged into a double lobe behind. […] His thin spindle-shanks supported an oblong, protruding stomach, resembling an elderly monkey‘s, which seemed so heavy it swayed his back to carry it. The animal vivacity of his small eyes and the flexibility of his eyebrows, which he worked up and down rapidly with every change of countenance, expressed his eager desires. Thomas Dixon, The Clansman (1905)

9. 1. Race [He] had a violent distaste for all the stock things that “coons“ are supposed to like to the point of stealing them. He would not eat watermelon, because white people called it “the niggers‘ ice-cream.“ […] Oh, chef was big and haughty about not being “no regular darky“! And though he came from the Alabama country, he pretended not to know a coon tail from a rabbit foot. Claude McKay, Home to Harlem (1928)

10. 2. Sexuality A crowd of young men, some in jerseys and some in their shirtsleeves, got out. I could see their hands and newly washed, wavy hair in the light from the door. The policeman standing by the door looked at me and smiled. They came in. As they went in, under the light I saw white hands, wavy hair, white faces, grimacing, gesturing, talking. With them was Brett. She looked very lovely and she was very much with them. […] I was very angry. Somehow they always made me angry. I know they are supposed to be amusing, and you should be tolerant, but I wanted to swing on one, any one, anything to shatter that superior, simpering composure. Ernest Hemingway, The Sun Also Rises (1926)

11. 2. Sexuality I remember that the bar, that night, was more than ordinarily crowded and noisy. […] There were, of course, les folles, always dressed in the most improbable combinations, screaming like parrots the details of their latest love-affairs – their love-affairs always seemed to be hilarious. Occasionally one would swoop in, quite late in the evening, to convey the news that he – but they always called each other ‚she‘ – had just spent time with a celebrated movie star, or boxer. James Baldwin, Giovanni‘s Room (1956)

12. 3. Pathology I saw the best minds of my generation destroyed by madness, starving hysterically naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelhearted hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night […] yacketayakking screaming vomiting whispering facts and memories and anecdotes and eyeball kicks and shocks of hospitals and jails and wars whole intellects disgorged in total recall for seven days and nights with brilliant eyes, meat for the Synagogue cast on the pavement […] Allen Ginsberg, „Howl“ (1956)

13. 3. Pathology [T]he only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centrelight pop and everybody goes „Awww!“ Jack Kerouac, On the Road (1958)

14. - Gender -