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ESSAY: terms of power and domination in Weber, Elias and Foucault

Here is an essay by the 06th SS To be understood as a small theoretical introduction of the concept of power. In the BA thesis I will use the term for reasons of space do not discuss in such detail. Also mentioned in the work of other authors such as BA-Mann and Parsons. Click

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Call for Papers

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live queer
21st and 22 September 2007
RAW-Tempel, Berlin


The conference, live queer 'is from Projekttutorium to queer spaces' at the Humboldt University of Berlin emerged and takes place in cooperation with the queer feminist days. The aim of the conference is to address the current state of queer theory and queer practices especially in Germany. We hope that through workshops, short presentations and discussions, an exchange beyond the academic field and also a reflection on policies may arise. This is, among other things, the question of the boundaries between 'theory' and 'practice' is important. The conference is running under the name 'queer live' to create a space that can be practiced in the queer realities and reflected.

We welcome proposals for papers and workshops, including the following questions:

- Survey:
How and by whom the term 'queer' is defined today, compared to the last two decades? Where is the Queer Theory in German-speaking? What is the basis and where there are vacancies? What is the relationship with the English language Theory? Where and by whom Queer Theory is run?
What queer practices are there? What are they referring to? Where they take place (set, everyday life, subcultural spaces, etc.)? Who are the Akteur_Innen? What are
queer spaces are there? What the term queer spaces may be taken (for example, really existing ', discursive, utopian spaces)? How and by whom these queer spaces be created?

- 'theory' and 'practice':
Along which lines, boundaries between 'theory' and 'practice' can be drawn? Who can draw those limits, who claims the power of interpretation of the respective Fields? What are the struggles for authority between it an academic, Theorie' field and a sub-cultural, Praxis' field? Those who express such claims to authenticity and politics? Which queer identities are set out here?

- visibility: Which
queer queer spaces and practices are in the 'mainstream' (the hetero-normative culture, and also the gaylesbianmainstream) visible? What can be called a queer practice? Who decides? What is the status of everyday practices in relation to stage performances in terms visibility? What conflicts arise from the demand for visibility as a central political goal?
What is the relationship visibility to uncertainty or Veruneindeutigungsstrategien? What Veruneindeutigungen can ever be seen in what contexts?

- intersectionalities:
What contradictions arising from competing identity politics? Which categories of difference hides the focus on visibility and Veruneindeutigung, especially in that the Veruneindeutigung is usually made in terms of gender and sexuality? Who can afford a policy of Veruneindeutigung, '? What other approaches queer practice it? What can be conceived?

- political strategies:
What is 'queer' Policy? What problems and conflicts, queer politics' facing up to date? How can visibility to everyday practices "be developed? How can the relationship between 'theory' and 'practice' to be rethought? What role does the production of utopian spaces for queer politics? What networking strategies are possible?

We welcome proposals for papers and workshops (title and max. 1-page abstract). Please
the proposals by 30 June 2007 queerleben@gmx.net to email.

Website coming soon ...

-----------------------------------------------

live queer / queer living
21st and 22nd September, 2007
RAW-Tempel, Berlin


The conference ‘queer leben’ (‘living queer’) emerged from a project tutorial on ‘Queer Spaces’ at Humboldt University Berlin and is being held in cooperation with the Queer-Feminist Days. The aim of the conference is to engage discussions on current issues of Queer Theory and queer practice in the German-speaking world specifically. We hope that workshops, presentations and debates will facilitate an exchange traversing the boundaries of academia and a reflection on political strategies. Among other things, we consider it fundamental to question the boundaries between ‘theory’ and ‘practice’. The conference is being held under the name ‘queer leben’/’living queer’ in order to create a space for the practice of and the reflection on realities of queer life/lives.

We are looking forward to propositions for presentations and workshops. Suggested topics include, but are not limited to, the following questions:

- Taking Stock
How, and by whom, is the term ‘queer’ defined today compared to the past two decades? What is the situation of Queer Theory in the German-speaking world? What is being discussed and where are the gaps? What is the relation to theory in English? Where, and by whom, is Queer Theory “done”?
Which queer practices exist? What are they referring to? Where are they happening (the stage, every-day life, subcultural spaces, etc.)? How and by whom are those queer spaces created?

- Theory and Practice
Along which lines are boundaries between ‘theory’ and ‘practice’ established? Who can draw those lines, who can claim interpretative authority of the respective fields? Which battles for authority exist between an academic ‘theoretical’ field and a subcultural ‘practical’ field? Who is claiming authenticity and politics, and how? Which queer identities are being defined in the process?

- Visibilities
Which queer practices are visible in queer spaces and the mainstream (of heteronormative culture as well as the gay and lesbian mainstream/s)? What can be classified as queer practice? Who decides? Which status do every-day practices have in comparison to stage performances when it comes to visibility? Which conflicts arise out of the demand for visibility as a central political goal? What is the relation between visibility and strategies of uncertainty and ambiguity? Which ambiguities can be visible, and in which contexts?

- Intersectionalities
Which contradictions are created by conflicting identity politics? Which categories of difference are obliterated by the focus on visibility and ambiguity, especially considering the fact that ambiguity is mostly created with regard to gender and sexuality? Who can ‘afford’ a politics of ambiguity? What are other approaches toward queer practices? Which ones are thinkable?

- Political Strategies
What are ‘queer’ politics? Which problems and conflicts are ‘queer politics’ currently facing? How can visibility for every-day practices be created? How can the relationship between ‘theory’ and ‘practice’ be rethought? What is the role of utopian spaces in queer politics? Which strategies of networking are possible?

We are looking forward to receiving proposals for workshops and lectures (title plus abstract of 1 A4-page max.)
Please e-mail your proposals to queerleben@gmx.net until the 30th of June.

More information: www.queerleben.blogspot.com
Website coming soon ...

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current

Call for papers

queer life

The conference "live queer" is derived from a Projekttutorium to 'queer spaces "at the Humboldt University in Berlin and takes place in cooperation with the queer feminist days. The aim of the conference is to address the current state of queer theory and queer practices especially in Germany. We hope that through workshops, short presentations and discussions, an exchange can arise as to the boundaries of the academic field and also a reflection on political strategies. This is, among other things, the question of the boundaries between "theory" and "practice" is important. The conference is running under the name "queer life" to create a space for practicing and for reflecting on queer life realities.


We welcome proposals for papers and workshops, including the following questions:

• inventory

defined how and by whom the term "queer" today, compared to the last two decades? Where is the Queer Theory in German-speaking? What is the basis and where there are vacancies? What is the relationship with the English theory? Where and by whom Queer Theory is run? What queer practices it? What belong they? Where they take place (set, everyday life, subcultural spaces, etc.)? Who are the Akteur_Innen? What queer spaces are there? What the term queer spaces may be taken (such as "really existing", discursive, utopian spaces)? How and by whom these queer spaces be created?

• "theory" and "practice"

Along which lines are drawn boundaries between "theory" and "practice"? Who can draw those limits, who claims the power of interpretation of the relevant fields? What are the struggles for authority between it an academic "theory" field and a sub-cultural "practice" field do? Who collects such right to Authenticity and politics? Which queer identities are set out here?

• visibilities

What practices are queer in queer spaces or in the "mainstream" (the hetero-normative culture, and also the gaylesbianmainstream) visible? What can be called a queer practice? Who decides? What is the status of everyday practices in relation to stage performances in terms visibility? What conflicts arise from the demand for visibility as a central political goal? What relationship is visibility to uncertainty or Veruneindeutigungsstrategien? What Veruneindeutigungen can ever be seen in what contexts?

• intersectionalities

What contradictions arising from competing identity politics? Which categories of difference hides the focus on visibility and Veruneindeutigung, especially in that the Veruneindeutigung is usually made in terms of gender and sexuality? Who can a policy of Veruneindeutigung "afford"? What other approaches queer practice it? What can be conceived?

• policies

What is "queer" politics? What problems and conflicts "queer politics" is facing up to date? How can visibility to everyday practices "be developed? How can the relationship between "theory" and "practice" be re-thought? What role does the production of utopian spaces for queer politics? What networking strategies are possible?

proposals for lectures and workshops (title and max. 1-page abstract) please to 30 June 2007 queerleben@gmx.net.

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The 20s - One of the first books with the word "Jazz" in the title comes from Germany. This book relates the concept even a dance. In the early 20's played the clarinet and saxophone player Eric Borchard insert their own photographs that were included with those of American jazz greats comparable. The greater part of Europe and thus also the first German musicians, however, could do little with this music movement. Above all, the defining element of improvisation was in this country, where they have always played according to specific requirements, unusual. Jazz was still in Germany in the 20s Years have been very popular and a kind of fashion music. He was available on records, there was grade editions and musicians from many musical camps to classical composers took up the style. You could see the genre in general not only as a fashion and entertainment, but as a real art.

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time of National Socialism - in neighboring European countries continued the trend in the 1930s. There were fan magazines for jazz and so-called "hot club". The Nazi regime, however, persecuted and banned the broadcasting of jazz on the radio. First, because of the African roots of jazz. Second, because it goes with this music in a way, to personality and to adapt. Although it was still pursuing at least in large cities still possible to buy jazz records, development and contact with the American jazz world, however, was severely disrupted. By the Reich Music Chamber Music officially supported, however, had striking features of American swing. In Germany, knew at that time, relatively few people, like the jazz music in America - and that it was listened to jazz elements - at that time so the swing. There were even pieces that were by the Nazis in specially designed studios producing new and equipped with new text. One example is the title of "Black Bottom" is, presented as a "black soil". For some Germans, the Allies banned stations with music programs were popular. They were disturbed by the Nazis on the one hand, on the other hand, also mimics. Here, the jazz singing was provided with provocative propaganda texts.

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post-war and 50s - After the war, many musicians and music fans for nearly 20 years of isolation, missed very interested in the movements. Especially in the American occupation zones after the war could develop good jazz. Especially Berlin, Bremen and Frankfurt were strongholds. Young German musicians were in American GI localities big audiences auftreten.Bis late 50s, the German jazz scene strongly fixated on imitating the American jazz and make up the missed development. However, there have since 1954 first soft steps of the musical emancipation. It played the Quintet and the pianist and composer Jutta Hipp a central role. For this formation included the saxophonist Emil Mangelsdorff, Joki Freund, who also contributed compositions. Although their music was heavily oriented toward the American model, were American jazz critic unusually impressed by the sovereign performances with its own style note. The special feature was a heavy punk reduction to linear improvisations in the melody with a beginning and end in unusual places. The rhythmic and rhythmically innovative bebop was in America until the mid-50s are high. With him were the European musicians start with the less than booming in the 50's cool jazz. Cool jazz was less explosive, more gently and slowly with an emphasis on brass melodies. He was, both in terms of the interaction and the intonation, ease of integration among the German musicians.

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The 60s - In the 60 years was a conscious, but cautious emancipation from the American model. The three groups were first significant jazz quintets of Albert Mangelsdorff (with Heinz Sauer, Günter Kronberg) and Michael Naura (Wolfgang Schlueter) and the quartet of Klaus Doldinger (with Ingfried Hoffmann). Examples are the groups to Joki Freund (Yogi Jazz) (with Emil Mangelsdorff) and the trio by Wolfgang Dauner (with Eberhard Weber) (Dream Talk). Naura unfortunately had to withdraw because of illness from the active life of a musician. Doldinger and Mangelsdorff was a pleasing continuity with related experience abroad and published plates. A very important musician the bass player Peter Trunk, who played not only with Mangelsdorff and Doldinger, but because of its musicality, soundness and versatility, was also in demand as a studio musician extremely. 1965 entered the quintet of Gunter Hampel, with the likes of Manfred Schoof, Alexander von Schlippenbach, Buschi Niebergall and Pierre Courbois the German jazz scene. The LP Heartplants is considered the first German free jazz record, with the music from today's perspective, but it still sounds quite reasonable. Radical sounds were heard from the then quintet of Manfred Schoof (Voices) and an octet by Peter Brötzmann (Machine Gun).

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The 70s - In the 70 years was the international movement entered the German jazz world that jazz has been combined with various other musical genres. Successful jazz musicians like Klaus Doldinger, Volker Kriegel and the United Jazz and Rock Ensemble followed this trend. It is noteworthy that these musicians were just as successful with the local audience as American jazz musician. Acoustic-like romantic performances were by Joachim Kühn and Rainer Brüninghaus the mainstream in the U.S. also. During this time, developed in the GDR in the Jazz own forms, especially in free jazz, but also in other directions. To independence was marked here than in West Germany. This music spoke there to a very wide audience and was very successful. Among the better-known artists of this era include Conny Bauer, Ulrich Gumpert (central quartet), Manfred Hering and some more. The 80s - In the 80 years of jazz in Germany was split in several directions. There were both formations, came up with the traditional jazz repertoire, directions, other currents of free jazz and fusion, turning to the emerging Neo Bop as well as combinations of different directions. 90 today - The jazz researchers Ekkehard Jost presented in 1992 identified two main trends of the jazz scene as a jazz repertoire and jazz music in constant and dynamic development. The latter live in musical practice and based on the origins of jazz. In the 90 years dominated, even more than back in the '80s, the effect of commercialization on the music styles. Especially the Jazz was affected. In addition, there was a convergence between East and West Germany, much to the detriment of the East German jazz culture. Over time, often utilizing elements of jazz into other genres like hip-hop, later incorporated into drum 'n' bass, and others.

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The origin of the term jazz is unclear. In 1909 the term appeared in the song "Uncle Josh in Society" to: "One lady asked me if I danced the jazz-meaning ...", probably a kind of ragtime dance. 1913 is the term assigned to designate a type of music, possibly as a term for the music to that ragtime dance. Perhaps it is derived from a word "jass" from the Creole patois, "jass", for "energetic activity", especially sexual intercourse. Given a source: "If the truth were known about the origin of the word 'jazz' it would never be Mentioned in polite society." ["Étude," Sept. 1924]. (In German: "If the truth about the origin of the word 'jazz' is known, it would are not mentioned in polite society. ") From the latest 1915 are bands from New Orleans bearing the word Jass or Jazz in the band name and / or refer to their music. It is also a derivation of the word Jass or Jazz from the use of the term JASM (French dictionary of 1860) for energy, dynamism and vitality, as a suitable substitute term for African dance names such as Mandingo jasi or Temne yas), at least, a different slang word (jism) also derived therefore. Jasi is not only the Name of a dance, but also stands for "put in excitement." Another possibility is that "Jazz" by Creole "jizz" comes, which is the same with the Ki-Kongo word "dinza" used means and ejaculation. New Orleans is in the second half of the 18th Century was strongly influenced by the Spaniards. It is therefore possible that the word jazz by English payoso (jester) is derived. The German word clown (jester) or the Yiddish Pojaz (clown) has indicated. Perhaps the first jazz music left the audience at the time the impression that they would witness a funny parody. Some sources do in "Jazz is a corruption of the French-Creole chasse seen hunting for: a reference to the collective improvisation of the instruments in the New Orleans-style. Others derive the word more from beau-chasse, a dance figure in Cakewalk, or a famous dancer with a Minstrelshow who called himself Jasbo, and the audience shouted "We want more Jasbo. Still others refer to a sexual connotation or mocked version of the name "Jezebel" was reinterpreted to jazz Belle ("Jazz" Beautiful): So they called a popular prostitute in the old New Orleans. Possible means "stupid stuff" in the contemptuous phrase is "... and all that jazz. So will the White Americans have called the first musical steps of their slaves, from which the Jazz later developed. Jass is a card game that will have been known by immigrants in New Orleans. Jas is a slang word which may have sexual significance of the Senegalese. The English verb "to jazz" for "to speed or liven up", faster, or revive, get going, is occupied from 1917. In another theory, the origin of the word "Jazz" from the word "Jass" is described. This is the origin of "Jass" different explanations. The best-known shortening of the term "Jackass" is ("dog") because the then established music scene, said that the new improvised Playing "like a bunch of ass" sounded. The term "Jass" was, however, the musicians a favor - after all you could do by omitting the first letter of the word "ass" of it. Then converted the last two letters of "ss" to "zz".

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These results are in sufficient gerzählt Jazzlastigkeit entender Acid Jazz. Jazz is found today in many known and unknown music production again, in German Hip-Hop, in House, Drum 'n' bass, in other dance music and many other music styles. A well-known entertainer is understood to incorporate the jazz in his own way in his comedy-Art: Helge Schneider. This has allowed him to take the pulse of the consumers. And Helge Schneider - perhaps contrary to his reputation as a comedian - a professional, talented and recognized musicians in jazz. Another famous German jazz musician is idol Alsmann. have long appreciated in the background and worked with international stars, the German jazz pianist Frank Chastenier. Even more successful is his friend and producer, trumpeter Till Brönner. Besides Chastenier Brönner and there are a number of other jazz musicians who have been in the scene with a name entertainment Jazz. However, it is not just the musicians who make the jazz scene in Germany essential. Training and support - from the mid-70s saw the formation of strong growth in the field of jazz. There are sometimes emerged academic training directions. The young jazz musicians today are generally fixed at a very good technical state, some of these young artists mainly on the imitation. Others, however, also set confidently about their own ideas of musical design.

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Wednesday 16 May 2007 - JazzTalk 061 - The Soul Jazz Dynamiters - The critic Tim Gorbauch wrote in the Frankfurter Rundschau: "It swirls around the Hammond B3, her bass falls head held high and soft hip by Soul landscape, the guitar zündelt with the radio, the hoarse saxophone lines. Life must have been so beautiful earlier. "The band of the Frankfurt guitarist Martin LeJeune and the Heidelberg keyboardist Jo Bartmes (hammomd B3) present with their retro-project mainly original compositions, which are based on the past and throw it a sharp look into the future. reason enough for talking jazz talk about the dance ability in jazz, is the presence of the past or just about why the Groove is so important to the music.

born on the East Coast Shelly Manne was one of the " founding fathers "of the West Coast jazz and as a typical example of the close cooperation of jazz with the enclave Studios in Hollywood. His connection to the film and television world was already subject of this column: In issue No.30 (July / August 2002), we tried our joy if the re-release of Manne's Daktari to express and curious about this gem of the '60s . make But by the late 50s went to the then with jazzy interpretations of Broadway shows furore caring "absolute melody of jazz drummers (JEBerendt) - the 1956 album appeared in My Fair Lady (Contemporary S-7527/OJCCD-336-2 - Echo / ZYX) was the first jazz album of this kind (which is also a model for many other such recordings), and also the fastest selling jazz album this year at all - in what was relatively new territory. Contrary to the increasing use of jazz (or jazz-inspired) music in cinema films in the years before it was up to the end of 1958 (the date of first broadcast of Peter Gunn) no serious attempt to use even with television shows. Henry Mancini made this land fertile and ordered it immediately Shelly Manne: Shelly Manne & His Men Play Peter Gunn (Contemporary S-7560/OJCCD-946-2 - Echo ZYX /) and Son of Gunn! (Contemporary C-3566/bisher unfortunately no CD edition!) - Both 1959 - were called the great (and re-style-) albums. Made his debut in 1960 by the CBS national broadcast in prime time crime series Checkmate , which immediately was placed in the top 25 of most popular TV shows.

The score of the first season was done by John (ny) Williams - who also led even the studio recordings of the orchestra (with Shelly Manne on drums). The 1932-born jazz pianist, is not to be confused with the 1929-born jazz pianist John Williams, who recorded a few albums for EmArcy. Not to be confused, he is also the guitarist John Williams and the baritone saxophonist of the same name - either with the American, who was allowed to make recordings with Louis Armstrong, or with the British, which is (much younger) still active (See the absolutely worth a listen, recording: John Williams' Baritone Band - Spot Lite SPJCD-564/UK-Import) - Let's call John (ny) so John W. Towner and point out that, besides this crime series for the music of the movie Jaws, Star Wars and Harry Potter has made recently - and forget it once again ... Because in contrast to Mancini's original contribution is for the score of Checkmate man and his men (Conte Candoli on trumpet, Richie Kamuca on tenor saxophone, Russ Freeman on piano and Chuck Berghofer on bass) more as a vehicle for improvisation, since as a palette for her usual, storytelling (though mostly quiet) onomatopoeia. For Manne'sche human relationships must almost blowing session by a talk about what such a manner is reminiscent of the epic live recording from the recall Black Hawk (Contemporary, 5 volumes on CD: OJCCD-656-2 to OJCCD-660-2 - all echo / ZYX)! "Checkmate!" It was for the series in the summer of 1962, after the second season had dramatically lost to public taste - thankfully the music survived but in 2002 again. And we with it?

By Mr. Christian Krug ( Jazzeit )

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