Kambriel: Rappaccini's Daughter Veil

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

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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)
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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)
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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 phantasmatic quality the
same old stories of Negros animality, the
Coolies 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)
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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
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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 Toms Cabin (1852)
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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
monkeys, 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)
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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)
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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)
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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, Giovannis Room (1956)
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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)
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3. Pathology
The 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)
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• - Gender -