Abb. Cover Henry Miller: "Tropic of Cancer", Paris: Obelisk Press 1934 (Ausschnitt, modifiziert), mit Aufdruck "Not to be imported into Great Britain or U.S.A.".mit Bezug zu: Kurt Wagenseil, Henry Miller (Milano: Feltrinelli, Buenos Aires: Sur), Rue Campagne première, Éditions de minuit ( = Jean Bruller, Vercors & Pierre de Lescure), München: Matthes & Seitz (Georges Bataille), Darmstadt → Frankfurt → Berlin: März (Valerie Solanas, "Olympia Press GmbH")
¶ Gründung 1953 in Paris durch Maurice Girodias, geb. Kahane (1919-1990), als Fortsetzung der Obelisk Press, 1929 gegründet von Jack Kahane (1887-1939). Als die harten Zensurbestimmungen in den USA gelockert wurden, verließ Maurice Girodias 1964 Paris und ging nach New York. Für einige Bücher nach 1953 verwendete Girodias weiterhin das Imprint "Obelisk Press".
¶ Founded in Paris in 1953 by Maurice Girodias, née Kahane (1919-1990), as a continuation of the Obelisk Press, founded in 1929 by Jack Kahane (1887-1939). When the harsh censorship regulations in the USA were relaxed, Maurice Girodias left Paris for New York in 1964. For some books after 1953, Girodias continued to use the imprint "Obelisk Press".
Abb. Cover Henry Miller: "Tropic of Cancer", Paris: Obelisk Press 1934 (Ausschnitt, modifiziert), mit Aufdruck "Not to be imported into Great Britain or U.S.A.".
Paris: Obelisk Press 1929ff. (Auswahl)
Frank Harris: "My Life and Loves" [EA 1922], 1931.
Cecil Barr [i.e. Jack Kahane]: "Daffodil", 1931.
Herol Egan: "Here's looking at you", 1932.
James Joyce: "Pomem penyeach" [swisscovery.slsp.ch: "Entire text in facsimile of the handwriting of James Joyce, with colored initial at the beginning of each poem"], 1932.
Harold Robert Buckley: "Squadron 95. An intimate history of the 95th squadron, first american flying squadron to go the front in the war of 1914-1918", 1933.
Vivian F. Delbos: "For the duration or...?", 1933.
Henry Miller: "Tropic of Cancer", 1934.
Cecil Barr [i.e. Jack Kahane]: "Cou Cou", 1934.
Marika Norden: "The Gentle Men", 1935.
Adresse wechselt von 151 bis Rue Saint-Jacques zu 16 Place Vendôme, Neil Pearson: "Obelisk. A History of Jack Kahane and the Obelisk Press", Liverpool: Liverpool University Press 2007, S. 101, 201 u. 210.
Henry Miller: "Black Spring", 1936.
Cyril Connolly: "The Rock Pool", 1936.
Geoffrey Chaucer: "A Chaucer A. B. C. Being a hymn to the Holy Virgin in an English version", 1936.
James Hanley: "Boy" [EA 1931], 1936.
Wallace Smith: "Bessie Cotter", 1936.
Cecil Barr [i.e. Jack Kahane]: "Lady Take Heed!", 1937.
Lawrence Durrell: "The Black Book", 1938.
D. H. Lawrence: "Lady Chatterley's Lover" [EA 1928], 1936.
Henry Miller: "Max and the white phagocytes", 1938.
Anaïs Nin: "The Winter of Artifice", [1939].
Norman Douglas: "Some Limericks" [EA 1928], 1939.
Henry Miller: "Tropic of Capricorn", 1939.
Ovid: "La Fable de Phaëton", hrsg. von Jack Kahane, [1939].
Nikos Kazantzakis: "Alexis Zorbas" [EA "Βίος και Πολιτεία του Αλέξη Ζορμπά"], übers. aus dem Griechischen, 1947.
Henry Miller: "Sexus", 1949.
Paris: Olympia Press 1953-1964 (Auswahl)
Samuel Beckett: "The Unnamable", 1953.
Guillaume Apollinaire: "The Debauched hospoda" [EA "Les onze mille verges ou les amours d'un hospodar"], übers. von Oscar Mole, 1953.
Guillaume Apollinaire: "Amorous exploits of a young rakehell" [EA "Les exploits d'un jeune Don Juan"], 1953.
Henry Miller: "Plexus", 1953.
Pierre Angelique [i.e. Georges Bataille]: "A Tale of Satisfied Desire" [EA "L'histoire de l'œil" 1928, "The Story of the Eye"], 1953.
Alfred de Musset: "Passions' evil" [EA "Gamiani ou Deux nuits d'excès"], übers. von Audiart, 1953.
René Roques: "Three passionate lovers", 1953.
René Roques: "Passion de la nuit", 1953.
Christopher Logue: "Wand and quadrat", 1953.
"The Stripteaser", Auszüge aus Henry Miller: "Plexus", De Sade: "Justine", John Cleland: "the Memoirs of Fanny Hill", Pierre Angélique: "A Tale of satisfied desire", De Sade: "The Bedroom philosophers", 1953.
Donatien-Alphonse-François, Marquis de Sade: "The 120 days of Sodom, or the Romance of the school for libertinage" [EA "Les 120 journées de Sodome"], übersetzt von Pieralessandro Casavini, Essay von Georges Bataille, übers. von Austryn Wainhouse, 1954.
Samuel Beckett: "Watt", 1954.
René Roques: "Ladies at Night", aus dem Frz. von James O'Leary, 1954.
Robert Desmond [i.e. Robert Desmond Thompson]: "An Adult's story", 1954.
Alexander Trocchi: "Young Adam", 1954.
Alexander Trocchi: "Helen and Desire", 1954.
Alexander Trocchi: "Carnal days of Helen Seferis", 1954.
Thomas Peachum: "The Watcher and the watched", 1954.
Christopher Logue: "Count Palmiro Vicarion. Lust", 1954.
John Cleland: "Memoirs of a Woman of Pleasure", 1954.
Pauline Réage [i.e. Dominique Aury, geb. Anne Desclos]: "Story of O" [EA "Histoire d'O" 1954] 1954.
Diane Bataille: "The Whip Angels", 1955.
Vladimir N[*]b[*]kov: "L[*]l[*]ta", 1955.
Marie-Thérèse [Cointre]: "I'm for hire", 1955.
J. P. Donleavy: "The Ginger Man", 1955.
John Coleman: "The Enormous Bed", 1955.
William Baron: "Play this love with me", 1955.
Nicolas-Edme Rétif de La Bretonne: "Pleasures and follies of a good-natured libertine, being an English rendering of L'Anti-Justine" [EA "L'Anti-Justine"], übersetzt von Pieralessandro Casavini, 1955.
Henry Miller: "Quiet Days in Clichy", photographs by Brassaï, 1956.
Gustav Landshot: "How to do it", 1956.
Faustino Perez: "Until she screams", 1956.
Mickey Dikes: "Sarabande for a b[*]tch", 1956.
Stephen Hammer: "The Itch", 1956.
Pierre Angélique: "The Naked beast at heaven's gate" [EA "Madame Edwarda"], übers. aus dem Frz. von Audiart, preface by Georges Bataille, 1956.
Harriet Daimler: "Innocence", 1957.
Harriet Daimler: "The Organization", 1957.
Anonymous: "The white paper", Preface & Illustrationen von Jean Cocteau, 1957.
Hamilton Drake: "Sin for Breakfast", 1957.*
Frederick W. Dupee, Wladimir N[*]b[*]kov, Maurice Girodias et Daniel Bécourt: "L'Affaire 'L[*]l[*]a", Übersetzungen von Eric H. Kahane, Introduction de Jean Desternes, Impressum "Mazarine", 1957.
John Wilmot, earl of Rochester: "Sodom or the Quintessence of debauchery. Written for the Royall company of Wh[*]remasters", 1957.
J. Hume Parkinson: "A gallery of n[*]des", 1957.
Henry Crannach: "Flesh and Bone", 1957.
Akbar Del Piombo [i.e. Norman Rubbington]: "Cosimo's wife", 1957.
Akbar Del Piombo [i.e. Norman Rubbington]: "The Traveller's companion", 1957.
Pauline Réage [i.e. Dominique Aury, geb. Anne Desclos]: "The Wisdom of the Lash", 1957.
Paul Ableman: "I hear voices", 1957.
Ataullah Mardaan: "Deva-Dasi", 1957.
Robert Desmond [i.e. Robert Desmond Thompson]: "Seeds of the Rainbow", 1957.**
Jean Genet: "Our lady of the flowers" [EA "Notre-Dame-des Fleurs"], übers. von Bernard Frechtman, 1957.
Terry Southern [i.e. Maxwell Kenton]: "Candy", 1958.***
Peter Lewys [i.e. Pierre Louÿs]: "The She-devils" [EA "Trois filles de leur mère"], 1958.
Marcus Van Heller: "Terror", 1958.
Marcus Van Heller: "House of Borgia", 1958.
R. Bernard Burns: "The Ordeal of the rod", 1958.
Harry Street: "The Gilded Lily", 1958.
Vātsyāyana: "Classical Hindu erotology" [Kāmasūtra], übers. von Swami Ram Krishnanada, 1958.
Jean Genet: "Querelle" [EA "Querelle de Brest"], 1958.
Harriet Daimler: "The Woman Thing", 1958.
Wu Wu Meng: "Houses of joy", 1958.
William Talsman: "The Gaudy Image", 1958.
Tim Harrack: "Dissolving", 1958.
Anonymous: "Teleny or the Reverse of the medal", 1958.
Donatien-Alphonse-François, Marquis de Sade: "The Story of Juliette or Vice amply rewarded" [EA "Histoire de Juliette ou Les prospérités du vice"], übersetzt von Pieralessandro Casavini, 1958-60.
Donatien-Alphonse-François, Marquis de Sade: "Justine or Good conduct well chastised" [EA "Justine ou les Malheurs de la vertu"], übersetzt von Pieralessandro Casavini, 1959.
William S. Burroughs: "Naked Lunch", 1959.
Maxwell Kenton: "Lollipop", 1959.
Sinclair Beiles: "Houses of Joy", 1959.
Roger Casement: "The Black Diaries. An account of Roger Casement's life and times [1864-1916] with a collection of his diaries and public writings", hrsg. von Peter Singleton-Gates and Maurice Girodias, 1959.****
Henry Miller: "The World of Sex", 1959.
Jean Genet: "The Thief's journal" [EA "Journal du voleur"], übers. von Bernard Frechtman, 1959.
Samuel Beckett: "Molloy" [EA "Malone meurt"; "L'innommable"], übers. von Patrick Bowles, 1959.
Christopher Logue: "Count Palmiro Vicarion's Book of limericks", 1959.
Aubrey Beardsley & John Glassco: "Under the Hill. Or the Story of Venus and Tannhauser", 1959.
Raymond Queneau: "Zazie dans Le Métro", übers. ins Englische durch Eric Kahane, 1959.
Henry Miller: "Nexus", 1959.
Guillaume Apollinaire: "The Debauched hospoda" / "Memoirs of a young rakehell" [EA "Les onze mille verges ou les amours d'un hospodar"; "Les exploits d'un jeune Don Juan"], 1959.
Akbar Del Piombo [i.e. Norman Rubbington]: "Paula the Pikôse", 1959.
Akbar Del Piombo [i.e. Norman Rubbington]: "Fuzz against Junk. The saga of the narcotics brigade", 1959.
Akbar Del Piombo [i.e. Norman Rubbington]: "The Hero Maker", 1960.
Charles Henri Ford and Parker Tyler: "The Young and evil", 1960.
John Glassco: "The English Governess", 1960.
Ralph A. Storm: "Intimate interviews", 1960.
Donatien-Alphonse-François, Marquis de Sade: "The bedroom philosophers" [EA "La philosophie dans le boudoir"], übersetzt von Pieralessandro Casavini, 1960.
Francis Pollini: "Night", 1960.
Philip O'Connor: "Steiner's Tour", 1960.*****
Robert Desmond [i.e. Robert Desmond Thompson]: "The Sweetest fruit", 1961.
Greta X [Ps.]: "There's a whip in my valise", 1961.
Gregory Corso: "The American express", 1961.
Marcus Van Heller: "Kidnap", 1961.
Marcus Van Heller: "Adam and Eve", 1961.
Chester Himes: "Pinktoes", 1961.
Peter O'Neill: "Hell is filling up", 1961.
Malcom Nesbit: "The Chariot of flesh", 1961.
Robert Desmond [i.e. Robert Desmond Thompson]: "The professional Charmer", 1961.
Jock Carroll: "Bottoms up", 1961.
William S. Burroughs: "The Soft Machine", 1961.
William S. Burroughs: "The Ticket That Exploded", 1962.
Peter O'Neill: "The Corpse wore grey", 1962.
James Sherwood: "Stradella", 1962.
Ruthe Lethe: "Lash", 1962.
Greta X [Ps.]: "Whipsdom", 1962.
Robert Desmond [i.e. Robert Desmond Thompson]: "Without violence...", 1962.
Bernhardt von Soda: "The Beaten and the hungry", 1962.
Adresse war zumindest 1964 "Maurice Girodias, Olympia Press, 7 Rue St. Severin, Paris", William S. Burroughs: "Rub Out the Words. The Letters of William S. Burroughs 1959-1974", London: Penguin Books 2012, S. 1688f.: "WSB [Tangier, Marocco] to Laura Lee and Mortimer Burroughs [Palm Beach, Florida], June 21, 1964".
New York: Olympia Press 1967-1974 (Auswahl)
Barry N. Malzberg: "Screen", 1968.
Valerie Solanas: "SCUM Manifesto", Introduction von Vivian Gornick, 1968.****/6
Roger Agile [Ps.]: "Bishop's gambol", 1968.
J. Joth [Ps.]: "Jyros", 1969.
J. Hume Parkinson: "Sextet", 1969.
Barry N. Malzberg: "The Circle", 1969.
Diane DiPrima: "Memoirs of a Beatnik", 1969.
Billy Scott: "The King of America", 1969.
Peter Kando: "Green thumb and silver tongue", 1969.
Clarence Major: "All-Night Visitors", 1969.
Ray Kainen: "Earth station sex", 1969.
Ed Martin: "The Master piece", 1969.
Leslie Adirondack: "The Electric sensation", 1969.
Salambo Forest: "On my throbbing engine", 1970.
Van Cardui: "Coral lips smiling at you", 1970.
Mullin Garr: "Go, Sam Sunday", 1970.
Karl Flinders: "To seduce an Army", 1970.
William S. Burroughs: "Speed", Introduction by Allen Ginsberg, 1970.
Gerrold Watkins [i.e. Barry Norman Malzberg]: "Giving it away", 1970.
Gerrold Watkins [i.e. Barry Norman Malzberg]: "A Satyr's romance", 1970.
Gerrold Watkins [i.e. Barry Norman Malzberg]: "The Art of the fugue", 1970.
Keith Kerner: "The Glass crotch", 1970.
Ray Kainen: "Fur pie in the sky", 1970.
Rowena Scott: "Into the playhouse", 1970.
William Furber [Ps.]: "Make love not water", 1970.
John Glassco: "Fetish Girl", 1972.
Arthur Woodstone: "Nixon's Head", 1972.
[ Anmerkungen. annotations. remarques ]
* In Kurt Wagenseils Bibliothek vorhanden ist Hamilton Drake: "Sin for Breakfast", 1957.
** "Seeds of the Rainbow is the tale of Sid, a man as gifted in the priapic arts as he is lacking in physical beauty. Not without his charms, he still finds himself behaving aggressively towards the women in his life. Extremely aggressively" (alta-glamour.com).
*** Vgl. Nile Southern: "The Candy Men. The Rollicking Life and Times of the Notorious Novel Candy", New York: Arcade Publishing, 2004.
**** John Calder: "Pursuit. Memories", Richmond: Alma Books 2016, S. 217: "In 1959 he [Maurice Girodias] published the book ['Black Diaries'] in France, and set about looking for an American and a British publisher. Barney Rosset finally took it for America, where the press totally ignored it, while I agreed to publish in Britain, where I knew I was taking a considerable risk. I then discovered to my dismay that some British bookshops were receiving the Olympia Press edition directly from Paris. When I protested, Maurice said the French and European market for such a book in English was non-existent. He had to sell his edition, wherever he could, but that should not stop me. With the Alger Hiss fiasco in mind, I withdrew from the contract. He then signed an agreement with Sidgwick and Jackson, run by a very wily individual called James Knapp-Fisher".
***** "Steiner" bezieht sich wahrscheinlich auf eine Figur in Frederico Fellini: "La Dolce Vita" ("Das süße Leben"), 1960, imdb tt0053779. Siehe auch "Die Kultur. Eine unabhängige Zeitung mit internationalen Beiträgen".
****/6 "Society for Cutting Up Men". Maurice Girodias: "Preface", 2nd edition, New York: Olympia 1971, S. xii f.: "And now we have completed the circle, and I am publishing Valerie's Manifesto. This little book is my contribution to the study of violence. To interpret everything in terms of politics is suicidal. It is the source of most modern confusions. The crisis finds its roots elsewhere; it is a crisis of culture, a crisis of the heart and of the intelligence".
Vivian Gornick: "Introduction", S. xv ff.: "The vision of Valerie Solanas stems from a single central fact of her existence: she is a woman. More than that, she is American, more than that, she is a writer, more than that, she is urban and/or homosexual, or a beggar, or thirty years old, or alive in the nuclear age, or was improperly loved in infancy; more than all of those factors together, the central glistening element of definition through which all her experience is filtered, and out of which the singleness of her vision is forged, is the fact of her femaleness. That fact contains and overwhelms all. [...] What Valerie Solanas has seen, in one quick visionary moment, is that this femaleness - her femaleness - was made, not inherited; that her destiny is more a matter of culture than of biology; that it has profited civilization to develop and insist upon the myth of the dominance of biology rather than of ego in woman, thereby making of woman a distinctly separate and secondary citizen; that in encouraging this false dichotomy, society has forced a crippling denial of the self upon both men and women, thereby making of both their emotional Lives a stunted and only partially realized affair, full of deformed responses; that in view of the fact that this obtaining condition has handed over all the real and direct power to men, and only the shadowy and manipulating power to women, the correct view of the situation is undoubtedly political, and the issuance of a manifesto is the proper form for the declaration of war, cultural and psychological war, about to be waged on the sexual role system".
S. xxvi: "The SCUM Manifesto reads like the early writings of Malcolm X. And why not, one asks, immediately upon the thought. Who else, indeed, should Solanas sound like? Women and blacks are, after all, the true outsiders of this society, and Malcolm X and Valerie Solanas are the quintessential black and female outsiders".
S. xxviiif.: "Solanas writes: 'Completely egocentric, unable to relate, empathize or identify, and filled with a vast, pervasive, diffuse sexuality, the male is psychically passive. He hates his passivity, so he projects it onto women, defines the male as active. ... Screwing, then, is a desperate, compulsive attempt to prove he's not passive, not a woman; but he is passive and does want to be a woman.' One sees instantly the truth of what she is saying. Now, transpose the terms for a moment in your mind, and make the passage read: '...the woman is psychically aggressive. She hates and fears her aggressivity, so she projects it onto men, defines the female as passive. ... Screwing then, being taken, defines her passivity...' In other words, Solanas has accurately implied the full horrors of the sexual role system. In observing men as deformed creatures, denying fully an entire part of their responses, i.e., their passive impulses, she has described the overwhelming falseness of the emotional roles forced on all of us - men and women - by a culture that is, and always has been, too confused and too frightened by the mixed elements in humanity to live with things as they really are, and has made out of male and female life an unnatural dichotomy".
Abb. zeigt modifizierte Fotografie eines Graffitos in Marburg, 2023.
Valerie Solanas: "SCUM Manifesto" [geschrieben zwischen 1965 und 1967], S. 3: "It is now technically possible to reproduce without the aid of males (or, for that matter, females) and to produce only females. We must begin immediately to do so. The male is a biological accident: the y (male) gene is an incomplete x (female) gene, that is, has an incomplete set of chromosomes. In other words, the male is an incomplete female".
S. 6ff.: "Women, in other words, don't have pen[*]s envy; men have p[*]ssy envy. When the male accepts his passivity, defines himself as a woman (males as well as females think men are women and women are men), and becomes a transvestite he loses his desire to screw (or to do anything else, for that matter; he fulfills himself as a drag queen) and gets his c[*]ck chopped off. He then achieves a continuous diffuse sexual feeling from 'being a woman'****/7. Screwing is, for a man, a defense against his desire to be female. Sex is itself a sublimation. The male, because of his obsession to compensate for not being female combined with his inability to relate and to feel compassion, has made of the world a shitpile. He is responsible for:
War [...] Niceness, Politeness and 'Dignity' [...S. 8:] Money, Marriage and Prostitution, Work and Prevention of an Automated Society****/8 [...S. 10:] Fatherhood and Mental Illness (fear, cowardice, timidity, humility, insecurity, passivity) [...S. 14:] Suppression of Individuality, Animalism (domesticity and motherhood) and Functionalism****/8 [...S. 16:] Prevention of Privacy [...S. 17:] Isolation, Suburbs and Prevention of Community [...S. 19:] Conformity [...S. 20:] Authority and Government [...S. 21:] Philosophy, Religion and Morality Based on Sex [...S. 23:] Prejudice (racial, ethnic, religious, etc.) [...] Competition, Prestige, Status, Formal Education, Ignorance and Social and Economic Classes [...S. 24:] Prevention of Conversation [...S. 26:] Prevention of Friendship and Love [...S. 27:] 'Great Art' and 'Cultur' [...S. 30:] Sexuality: Sex is not part of a relationship; on the contrary, it is a solitary experience, non-creative, a gross waste of time. [...S. 32:] Boredom: Life in a 'society' made by and for creatures who, when they are not grim and depressing, are utter bores, can only be, when not grim and depressing, an utter bore. Secrecy, Censorship, Suppression of Knowledge and Ideas, and Exposés: Every male's deep-seated, secret, most hideous fear is the fear of being discovered to be not a female, but a male, [...] the male attempts to prevent the arousal and discovery of his animalism by censoring not only 'pornography', but any work containing 'dirty' words, no matter in what context they are used. [...S. 33] Distrust [...S. 34:] Ugliness [...] Hate and Violence [...] Disease and Death [...S. 35] 5. Lack of automation. There now exists a wealth of data which, if sorted out and correlated, would reveal the cure for cancer and several other diseases and possibly the key to life itself. But the data is so massive it requires high speed cornputers to correlate it all. The institution of computers will be delayed interminably under the male control system, since the male has a horror of being replaced by machines".
S. 36: "Incapable of a positive state of happiness, which is the only thing that can justify one's existence, the male is, at best, relaxed, comfortable, neutral, and this condition is extremely short-lived, as boredom, a negative state, soon sets in; he is, therefore, doomed to an existence of suffering relieved only by occasional, fleeting stretches of restfulness, which state he can achieve only at the expense of some female".
****/7 Dana Heller: "Shooting Solanas. Radical Feminist History and the Technology of Failure", in: "Feminist Time Against Nation Time. Gender, Politics, and the Nation-State in an Age of Permanent War", Forbes / Plymouth: Lexington Books 2009, S. 151-168, mit Bezug auf den Film "I Shot Andy Warhol", 1996, Regie Mary Harron, imdb tt0116594, mit Lily Taylor als Valerie Solanas, Jared Harris als Andy Warhol, Lothaire Bluteau als Maurice Girodias und Stephen Dorff als Candy Darling.
S. 157f: "In fact, in the SCUM Manifesto, drag queens are spared elimination and are granted a useful, productive place within her anarchic social vision. But the cinematic Solanas interprets the transgender aesthetic of the Factory [Studio Andy Warhol, New York City] as the erasure and commodification of women, a condition which Candy Darling wholly embodies in her studied, Marilyn Monroe vocal intonations and frequent recitations of commercial slogans ('Black... the color of choice') and campy lines from Hollywood movies. Candy's response to Solanas's analysis of male-to-female transgender performance is simply, 'Piffle.' And, indeed, Candy's star rises at the Factory as Solanas's maintains a steady downward fizzle. When Candy announces that her new name, in the interests of 'cashing in,' is now Mrs. Candy Warhol, Solanas's paranoia, her belief that a conspiracy is taking shape, and her disgust with Candy's propensity for 'sucking up' pushes her over the top. [...] Here, again, Solanas's insistence on a sexual politics arising from the immutable authority of the flesh, a logic sustained by her investments in the materiality of print, is overruled by the authority of televisual culture and corresponding technologies of image reproduction and proliferation".
In der Wagenseil-Bibliothek, Stand 2002, befindet sich Eugene de Savitsch: "Homosexuality, Transvestism and Change of Sex", London: William Heinemann Medical Books Ltd. 1958, S. vii: "The author undertook to write this book in order to satisfy numerous enquiries about the socalled 'change of sex' operation. It was felt, however, that in order to understand this complex problem it was essential for the reader to be acquainted in general terms with homosexuality and transvestism, which are frequently the underlying factors in the desire to change sex". Im Mittelpunkt des Buches steht "The Case of Mademoiselle Leber", Kap. 10, S. 61ff., angesprochen als "Mr. Arnold Leber" und "Miss Arlette Leber". Fazit, S. 95: "The final answer resides in giving wider publicity and making a completely unprejudiced approach to a complex phenomenon which, to judge from the extensive correspondence of Professor [Christian] Hamburger, is much more widerspread than most people would suspect. The tragedy of the present-day attitude is that very few people are willing to tackle this problem". Es folgen drei Anhänge: "Appendix A. Cantonal Court, Session of July 2nd, 1945. Decision Relating to a Request for Change of Civic Status" (S. 96-107, S. 96: "birth of Arnold-Léon Leber on 25th December, 1912", "replacing the reference to male sex by femlae sex, and the Crhistian names Arnold-Léon by Arlette-Irène"), "Appendix B" ist Dr. Otto Riggenbach: "Evaluation of the present Condition of Leber" (S. 108-112), "Appendix C" ist Dr. Charles Wolf: "Operations for Change of Sex: The Surgeon's Point of View" (S. 113-118).
****/8 Kendra Briken: "Im Rausch der Chiffre. Bewertung einer soziologischen Kritik der 'Bewertungsgesellschaft'", in: konkret 11/2017, S. 61:
"Eine differenzierte Rückbindung des symbolischen Kapitals an die Materialität der gesellschaftlichen Strukturen oder an die Umgangsformen der Akteure scheint Mau [Steffen Mau: 'Das metrische Wir. Über die Quantifizierung des Sozialen', Berlin: Suhrkamp 2017] nicht zu interessieren. Nur so kann er ernsthaft behaupten, die Bewertungsgesellschaft bewege sich 'weg vom Konflikt der Klassen, hin zum Wettbewerb der Individuen'. Eine Soziologie auf der Höhe der Zeit, die eine neuartige Form der Verdinglichung zu beschreiben behauptet, müsste sich doch gerade zur Aufgabe machen, die auf den Wettbewerb der Individuen reduzierten sozialen Verhältnisse in ihrer Konflikthaftigkeit herauszuarbeiten. Doch der Makrosoziologieprofessor unterwirft sich seinem Pessimismus, der jede kritische Kante verliert. [...] Zum Komplizen gerät dem Autor wie so oft in der deutschen Wissenschaftssprache das Passiv. Es entlässt Mau, Handelnde und Lesende gleichermaßen aus der Verantwortung. Hier zähl' ich nun und kann nicht anders. Den Begriff Bewertungsgesellschaft nutzte ein gewisser Joachim Sondern schon 2013 auf der rechtsnationalen Website 'Bürgerstimme', um die Entwertung des Menschen zu beklagen. Welche Forderungen aus diesem rechten Humanismus folgen, ist nicht erst seit der Bundestagswahl bekannt. Wer eine Gesellschaft der Numerokraten beschwört, steht schnell mittendrin. Eine solcherart soziologisch beschreibende Analyse bringt hervor, was sie vorgibt zu kritisieren. Sie quantifiziert ihre Subjekte, indem sie sie auf eine Masse ohne Willen reduziert".
Register der Überlieferung der Übersetzungen bis 1950
Personenregister (Übersetzungen etc.)
Adressregister
Zurück zum Inhaltsverzeichnis
E-Mail: kriswagenseil [at] gmx [point] de