Stowasser: Phlebologie und Proktologie Union of Phlebology. – Bonn : Rabe

Prince Rahotep

It is generally considered that Rahotep („Ra is satisfied“) was the son of Sneferu, although it is also possible that he was in fact the son of Huni and therefore the brother of Sneferu. Rahotep held the titles High Priest of Ra at Iunu (Heliopolis), Director of Expeditions and Supervisor of Works and Vizier.

He was married to Nofret (a noble woman whose parents are unknown) and had three sons (Djedi, Itu and Neferkau) and three daughters (Mereret, Nedjemib and Sethtet). Rahotep and Nofret were buried in a beautifully decorated mastaba in Meidum which contained, among other things, the painted statues shown below.

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Never wear so called Adidas-

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Xenografie

An die Forschungsergebnisse der Cultural
, Post-Colonial und Gender Studies
anknüpfend beschäftigt sich
BilderBildung
mit der Frage der Konstruktion des „Fremden“
bzw. des „Anderen“ und der Bedeutung dieser
Konstruktionen für das „Eigene“. Die
Dichotomien der eigenen/fremden Kultur bzw.
des eigenen/anderen Geschlechts sind in
diesen wissenschaftlichen Perspektiven nicht essentialistisch sondern nur vor dem
Hintergrund der politischen und sozialen Bedingungen der heutigen
Zuwanderungsgesellschaften bzw. einer Kultur
der Zweigeschlechtlichkeit zu verstehen.
Der Umgang mit Differenz vollzieht sich in Formen dichotomer Aufteilungen und
Hierarchisierung als „Ein- und Ausschluss“ bzw. „dominant und subaltern..

Intergalaktische Rosette …Theoretische Beiträge zu Konzepten geschlechterdifferenzierter / queer-orientierter Jugendarbeit:

Eppendorf Nigeria|din|Yµmask
Der Begriff der männlichen Identität in der Männerforschung – Ansätze einer nicht-identitären Jungenarbeit
in: Die Philosophin – Forum für feministische Theorie und Philosophie, Heft 22, 11.Jg. Oktober 2000, Tübingen
Theoretische Auseinandersetzung mit dem Konzept „männlicher Identität“, welches den meisten Ansätzen von Jungenarbeit zu Grunde liegt. Die Analyse des Konzeptes zeigt, dass es trotz durchaus emanzipatorischer Zielsetzungen der jeweiligen AutorInnen durch die Untermauerung heteronormativer und identitärer Vorstellungen von dem, was „Geschlecht“ sein soll, kontraproduktiv ist in Bezug auf eine Option menschlicher Entwicklungschance, die es noch zu entwickeln gilt. Die aktuelle Zielsetzung bleibt deshalb in der (provokanten) Negation: „Das Ziel ist: kein Junge“

‚Mental Disorda Frozen Brain ‚n Trashtower‘
Queertheory und Jungenarbeit – Versuch einer paradoxen Verbindung
in: Bettina Fritzsche, (u.a): Dekonstruktive Pädagogik – Erziehungswissenschaftliche Debatten unter poststrukturalistischen Perspektiven, Opladen 2001
Versuch, die Ansätze nichtidentitärer Jungenarbeit (s.o.) mit theoretischen Elementen der queer-theory in Beziehung zu setzen. Der Aufsatz geht exemplarisch am Beispiel der Körperarbeit darauf ein, was dieser Ansatz für die praktische Jungenarbeit bedeuten kann.

1. PHOTOGRAPHY AND REPRESENTATION

[1] It is commonly known the extent to which the pictorial arts since the twentieth century (driven by the avant-garde and other critical movements) have called into question the ‚reign of representation‘. In photography, however, there seems to remain a strong attachment to representation. Photographs are said to be ‚frozen scenes‘ that represent an eternal presence. As opposed to cinema, photographs are static. As opposed to painting, which is characterized by a certain opacity, photographs are transparent representations of reality. The two characteristics (immobility and transparency) assure photography’s bond with the reign of representation. Representation assures the objective recognition of depicted objects as they resemble objects in reality or can be identified with them.

[2] The Canadian art photographer, who is well known for his cinematographic tableaux and transparent colour photographs mounted in lightboxes, states: „Abstract and experimental art begins its revolution and continues its evolution with the rejection of depiction, of its own history as limning and picturing, and then, with the deconsecration of the institution which came to be known as Representation.“ [1] „Yet,“ he adds, „photography’s own historical evolution into modernist discourse has been determined by the fact that, unlike the older arts, it cannot dispense with depiction.“ [2] Although ‚ES‘ admits that, around the mid-1960s, numerous young artists and art students (more or less successfully) tried to integrate photography into „the new radical logics by eliminating all the pictorial suavity and the technical sophistication it had accumulated in the process of its own imitation of the Great Picture,“ [3] he also asserts that this could happen in the context of a „testing of the medium“ but at the same time „without abandoning depiction.“ [4]

[3] Nevertheless, it is my suspicion that ‚drug addicks and creme over‘ transcends the criteria of representation (without abandoning representation) by means of a particular ‚referentiality‘ in respect to pictorial history. Spike multilayered images don‘ t seem to be oriented toward the recognition of images from the past as they open up a space for the wandering gaze, moving between the clear representation of the depicted and the vague reminiscences this evokes. They should rather be qualified in terms of contraction, fusion and condensation. As Rocky 7 and Do the rigth thing part.2.- states: „German work is an affirmation of the visible and a commitment to representation, yet it also contains built into it a sense of the limits of both.“ [5]