{"id":7606,"date":"2026-03-31T11:12:01","date_gmt":"2026-03-31T09:12:01","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=7606"},"modified":"2026-03-31T11:32:08","modified_gmt":"2026-03-31T09:32:08","slug":"mdwp008-002","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp008-002\/","title":{"rendered":"Introduction"},"content":{"rendered":"<style>\n        .tsquotation strong {<br \/>\n            font-weight: bold;<br \/>\n        }<br \/>\n        .tsquotation em {<br \/>\n            font-style: italic !important;<br \/>\n        }<br \/>\n        .bibliography {<br \/>\n            margin-top: -1em !important;<br \/>\n            padding-left: 22px;<br \/>\n            text-indent: -22px;<br \/>\n        }<br \/>\n        figure {<br \/>\n            margin: 0;<br \/>\n        }<br \/>\n    <\/style>\n<p>&nbsp;<br \/>\n<div class=\"one_half\">\n<p style=\"text-align: left;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#b2b2b2 !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-001\/\" style=\"color:#000000 !important;\">&#129028;<\/a><\/span><\/div>\n<div class=\"one_half last\">\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#b2b2b2 !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-003\" style=\"color:#000000 !important;\">&#129030;<\/a><\/span><\/div><div class=\"clear-fix\"><\/div>\n<hr>\n<p><!-- \n\n<p style=\"text-align: right;\">[btn btnlink=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/10.1515_9783839425015-001.pdf\" btnsize=\"medium\" bgcolor=\"#b2b2b2\" txtcolor=\"#000000\" btnnewt=\"1\" nofollow=\"1\"]CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\">[\/btn]\n\n --><\/p>\n<div class=\"motto\">\n<p style=\"font-family: sans-serif; text-align: right; margin-bottom: 1.2cm;\">If we take to heart the fact that we make places, things, and selves, but not under&#160;conditions of our own choosing, then it is easier to take the risk of conceiving change as something both short of and longer than a single cataclysmic event. Indeed, the chronicles of revolutions all show how persistent small changes, and altogether unexpected consolidations, added up to enough weight, over&#160;time and space, to cause a break with the old order. <br \/> <em>Ruth Wilson Gilmore<\/em><a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a><\/p>\n<\/div>\n<p>Some say \u201cdrag\u201d has no clear origin, that its etymology remains uncertain.<span class=\"Hochgestellt\"><span><a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a><\/span><\/span> One folk narrative, however, traces the term associated with gender bending back to the stages in early modern, precapitalist Europe, where young male actors in female roles would schlepp the drags of their costumes across the floor.<span class=\"Hochgestellt\"><span><a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a><\/span><\/span> Dragging, then, is tied to conflicting narratives of volatile signification and physical gravitation.Correspondingly, <em>Dirty Dragging<\/em> is about moving or dancing bodies tailing stuff whose genealogy is uncertain<span class=\"EM-Dash\">\u2014<\/span>stuff that may entangle. My title extends the conventional understanding of drag as \u201c<em>exaggerated<\/em> gender display\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a><\/span><\/span> through a continued metaphor, that is, an allegory of unpredictable, nomadic schlepping. In contrast to the lush stage dragging of the Elizabethan era, this book explores the ambivalence of minor, transgressive modes of making a scene situated in contexts of political violence. It addresses the destructive implications of an ambivalent play with referential excess<span class=\"EM-Dash\">\u2014<\/span>emphasizing what becomes uncontrollably entangled and may reemerge elsewhere in altered, contradictory forms.<span class=\"Hochgestellt\"><span><a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a><\/span><\/span> <em>Dirty<\/em>, in this sense, refers less to what is represented than to transgressive, collectivizing modes of appearing or making a scene (in German: <em>Auftrittsformen<\/em>).<span class=\"Hochgestellt\"><span><a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a><\/span><\/span><\/p>\n<p>Against the backdrop of current societal developments, I will reformulate the master trope of queer performativity<span class=\"EM-Dash\">\u2014<\/span>of \u201csubversive repetition within signifying practices of gender\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a><\/span><\/span><span class=\"EM-Dash\">\u2014<\/span>and transpose the study of drag as a transgressive performative practice into other contexts. In recent years, trans studies in particular has already critically revised our understanding of drag. By addressing shifting biopolitical conditions of subjectivation, it has redirected the emphasis from undoing fixed categories to liquefying them<span class=\"EM-Dash\">\u2014<\/span>with Jack Halberstam, toward a \u201cpolitics of transitivity.\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a><\/span><\/span> However, while drag in this context has been associated primarily with gender bending, my book will also consider various invective modes of making an appearance. It will examine the global history of interwoven and opposing mobilizations of performativity from transversal perspectives.<span class=\"Hochgestellt\"><span><a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a><\/span><\/span> Whether on the street, in carnival, in propaganda, on stage, in academia<span class=\"EM-Dash\">\u2014<\/span><em>Dirty Dragging<\/em> explores mimetic \u201cmessiness\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a><\/span><\/span> to better understand how performative mimesis can provoke both resentful and resistant affects within regimes of divide and rule.<\/p>\n<p>Through close readings of key, related sources, <em>Dirty Dragging<\/em> will thus also engage with contemporary catastrophes: the rise of authoritarian-&#173;broligarchic postdemocratic politics, where feigned resentment fuels attacks on \u201cgenderism\u201d and globalized migration from below; the dismantling of regulatory infrastructures by the economic-libertarian right; and the emergence of new war regimes that signal global fascization under \u201cpredatory disaster capitalism.\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a><\/span><\/span> Today\u2019s identitarianism is increasingly staged as carnivalesque political spectacle within media attention economies.<span class=\"Hochgestellt\"><span><a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a><\/span><\/span> It is precisely this appropriation of transgressive performativity by the right that indicates the necessity to broaden our historical perspectives<span class=\"EM-Dash\">\u2014<\/span>exemplified in relation to what has been called \u201cracialized drag.\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a><\/span><\/span> Blackface, as \u201cracial impersonation,\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a><\/span><\/span> needs to be understood within the history of physiognomic racism and colonial hyperexploitation, as well as through its varied receptions in early globalized visual mass culture. As grotesque-clownish defacement, the black mask becomes a sign of excess. In this sense, it is akin to today\u2019s carnivalesque politics of resentment, while also pointing to the possibility of its reappropriation.<\/p>\n<p>The stages<span class=\"EM-Dash\">\u2014<\/span>the areas of making a scene<span class=\"EM-Dash\">\u2014<\/span>to which <em>Dirty Dragging<\/em> turns are located at the southern tip of Africa, in the middle of Europe, and in the US South. The book explores how people use creolized performative cultural techniques to resist segregation policies in public spaces, how fascization seeks to banish queer and creolized drag, and how carnivalesque manifestations<span class=\"EM-Dash\">\u2014<\/span>whether by fraternal vigilantes, new patriarchal elites, or the subaltern<span class=\"EM-Dash\">\u2014<\/span>can be mobilized.<span class=\"Hochgestellt\"><span><a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a><\/span><\/span> <em>Dirty Dragging<\/em> thus constellates opposing modes of performance, understood as a mimetic dragging along of social entanglements and cultural techniques. It will show how performative transgressions in public can serve as instruments of collective resistance and assertion but also as tools of Othering, devaluation, terror, or displays of power. Examining performances that range from a staged everyday photo of a drag queen during the forced removals of South African apartheid and its connection to Cape Town\u2019s subaltern carnival, to Eva Braun in a man\u2019s suit with a blackened face, alpine Perchten parades, the terror masks of the early Ku Klux Klan, and New Orleans\u2019s Mardi Gras, <em>Dirty Dragging<\/em> engages both existential drag scenes and the carnivalesque use of masks as transgressive mimesis.<span class=\"Hochgestellt\"><span><a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a><\/span><\/span> Analyzing contradictory forms of drag in a broader sense, I will show how modes of appearing can be hegemonically or complicitly appropriated, yet also remobilized again and again<span class=\"EM-Dash\">\u2014<\/span>perhaps even accumulated by those who practice the art of not being governed <em>like that<\/em>.<span class=\"Hochgestellt\"><span><a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a><\/span><\/span><\/p>\n<p>What did the link between drag and blackface mean in the South African Cape carnival of the subaltern during colonialism and apartheid? How, in turn, was this link charged with antisemitism in Nazi Germany? How could the Southern carnival in the United States function both as an instrument of governing and a queer refuge? And how do carnivalesque articulations of colonialism and racism relate to a queer understanding of drag? In this study, I offer close readings of exemplary sources to examine different (post)colonial contexts in which regimes ultimately failed or collapsed but nonetheless continue to produce enduring forms of violence and resistance. The etymological narrative of theatrical \u201cdragging\u201d on early modern European stages and its references to mimetic performances predating the representational aesthetics that developed after Shakespearean theater already gestures toward the era of colonial expansion. The subject of <em>Dirty Dragging<\/em> is practices of exaggerational appearing that can be read as effects of this expansion. I will analyze related but distinct political contexts of divide and rule, each characterized by specific arbitrary exclusions<span class=\"EM-Dash\">\u2014<\/span>contexts that have often been too hastily considered \u201cresolved\u201d and that, in historical studies, tend to be examined separately. When placed in constellation, however, these contexts reveal the transoceanic interplay between creolization and decreolization:<span class=\"Hochgestellt\"><span><a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a><\/span><\/span> apartheid, Nazism, and Jim Crow segregation following the Civil War in the United States and the abolition of systematized enslavement.<\/p>\n<p>Why this particular constellation? The South African apartheid regime (1948<span class=\"EM-Dash\">\u2014<\/span>1994), paradigmatic of modern social engineering, was shaped by policies of exclusion and segregation to some extent prefigured in Nazi Germany and the United States; and all three drew on historically overlapping colonial strategies aimed at banning creolization. The South African regime corresponded with simultaneous racist gentrification elsewhere and, as a biopolitical model, anticipated contemporary processes of securitization, hyperexploitation, and forced displacement.<span class=\"Hochgestellt\"><span><a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a><\/span><\/span> At the same time, its complex classification system unsettles the notion of an ever-fixed binary racism. A similar point may be made about German National Socialism (1933<span class=\"EM-Dash\">\u2014<\/span>1945), in which antisemitic propaganda and colonial exoticization were intertwined with attacks on early creolized popular culture and the global influence of its US manifestations. Thus, the intricate link between antisemitism, colonial racism, and decreolization becomes legible.<span class=\"Hochgestellt\"><span><a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a><\/span><\/span> Segregation in the United States following the collapse of the plantation system in the 1860s continues to shape perceptions of other historical and geographical contexts. Yet upon closer inspection, these contexts prove far more complex, as the constellation of the following chapters will show. <\/p>\n<p>In exploring the historical entanglements of performative transgressions, I will draw on heterogeneous sources. These show how the metamorphosis of physical repertoires or masks<span class=\"EM-Dash\">\u2014<\/span>dragged along from elsewhere<span class=\"EM-Dash\">\u2014<\/span>work as <em>performative transpositions<\/em>.<span class=\"Hochgestellt\"><span><a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a><\/span><\/span> In doing so, they suggest a shift in perspective. This revision of drag aligns with the cultural studies turn from the deconstructive, negative reference to identity in early queer theory to today\u2019s focus on situated, \u201cenvironmental\u201d knowledge (<em>Umgebungswissen<\/em>), the socialization of means of production (<em>Vergesellschaftung<\/em>) and concomitant modes of subjectivation, as well as historically entangled performance practices.<span class=\"Hochgestellt\"><span><a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a><\/span><\/span> The tension between genealogically untraceable practices and the reference to hindered conditions of movement<span class=\"EM-Dash\">\u2014<\/span>which shapes my reading of dragging<span class=\"EM-Dash\">\u2014<\/span>translates into a perspective on both the specific situatedness of these practices and their global <em>lignes de fuite<\/em>, their lines of flight.<span class=\"Hochgestellt\"><span><a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a><\/span><\/span> Hence, the following historical explorations are dedicated to examining the unpredictable potential of future political modes of relating<span class=\"EM-Dash\">\u2014<\/span>of <em>Beziehungsweisen<\/em>, to quote Bini Adamczak<span class=\"EM-Dash\">\u2014<\/span>in the face of persistent political violence.<span class=\"Hochgestellt\"><span><a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a><\/span><\/span><\/p>\n<p>To do justice to the complexity of this constellation, I will link South African creolization theory<span class=\"EM-Dash\">\u2014<\/span>referring to Caribbean discourse<span class=\"EM-Dash\">\u2014<\/span>with queer theory. Zimitri Erasmus, for example, interrogates the formation of racial categories in relation to colonial history through a praxeological approach.<span class=\"Hochgestellt\"><span><a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a><\/span><\/span> Her work also resonates with debates on the concept of the nomadic.<span class=\"Hochgestellt\"><span><a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a><\/span><\/span> By engaging with the interfaces of critical theorizations, I aim to bring together perspectives often treated as disparate. Simultaneously building on gender and drag research, this allows for an exploration of the lines of flight between debates on colonialism and antisemitism.<\/p>\n<p>Underlying <em>Dirty Dragging<\/em> is the question of the contemporary relevance of the historical case studies brought in constellation. Functioning as \u201ccrisis experiments\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a><\/span><\/span> through the shifts in setting, I hope that my case studies will produce alienation effects in relation to present-day figures of thought.This may become clear with regard to the concept of apartheid. Today, the term denotes a category of international law, a synonym for institutionally racialized separation.<span class=\"Hochgestellt\"><span><a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a><\/span><\/span> Accordingly, it is being applied<span class=\"EM-Dash\">\u2014<\/span>particularly in South Africa<span class=\"EM-Dash\">\u2014<\/span>to analyses of other political contexts and particularly connected to Israel-Palestine. In German-speaking discourse<span class=\"EM-Dash\">\u2014<\/span>where I am primarily situated<span class=\"EM-Dash\">\u2014<\/span>however, the term\u2019s usage has become a flashpoint in current debates on the systematic violations of international law through territorial politics and crimes against humanity in Gaza after the Hamas massacre of October 7 in 2023. In this context, criticism of war crimes and forced displacement policies has been repeatedly reframed as antisemitism and instrumentalized by Islamophobic rhetoric from the right, whereas South Africa has characterized these war crimes as acts of genocide in its lawsuit before the International Court of Justice.<span class=\"Hochgestellt\"><span><a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a><\/span><\/span> At the same time, decolonial discourse often disregards the sociocidal history of antisemitism, namely, the Nazi policy of industrial annihilation and its afterlife. This is not the subject of my book, but the current tensions between studies of colonial racism and antisemitism constitute part of its political-discursive background<span class=\"EM-Dash\">\u2014<\/span>a background marked by growing fault lines that seem to obstruct efforts to collectively and internationally counteract the destructive developments of the present. It is in this sense that the following shifts in terrain and historical perspective are motivated.<\/p>\n<p><em>Dirty Dragging<\/em> engages in detailed analyses of performative practices in public that negotiate various policies of exclusion and corresponding modes of subjectivation.<span class=\"Hochgestellt\"><span><a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a><\/span><\/span> My references cannot be read merely as \u201cautobiographical\u201d;<span class=\"Hochgestellt\"><span><a href=\"#fn31\" class=\"footnote-ref\" id=\"fnref31\" role=\"doc-noteref\"><sup>31<\/sup><\/a><\/span><\/span> rather, they are due to a specific theoretical-political positionality. I seek to confront and bring together material from historical and geographical contexts of violence in order to reflect on the viability of analytical categorizations and approaches<span class=\"EM-Dash\">\u2014<\/span>considering both their differences and their correspondences. My questions are situated<span class=\"EM-Dash\">\u2014<\/span>shaped by the conditions in which I live and work. One could say they are symptomatic, reflecting not only specifically embedded shifts and contradictions within and beyond gender studies<span class=\"EM-Dash\">\u2014<\/span>that is, in pressing political debates.<span class=\"Hochgestellt\"><span><a href=\"#fn32\" class=\"footnote-ref\" id=\"fnref32\" role=\"doc-noteref\"><sup>32<\/sup><\/a><\/span><\/span> However, my concern is not simply an expression of where I come from. Instead, my reading aims to mediate between perspectives developed elsewhere in response to the disturbing global processes of fascization. Working with historical material, then, serves as a means to think beyond local exceptionalisms so as to recall the potential for political alliances.<span class=\"Hochgestellt\"><span><a href=\"#fn33\" class=\"footnote-ref\" id=\"fnref33\" role=\"doc-noteref\"><sup>33<\/sup><\/a><\/span><\/span><\/p>\n<p style=\"text-align: center;\">*<\/p>\n<p><em>Dirty Dragging <\/em>begins with readings of archival images collected during various research trips to Cape Town, Gastein, and New Orleans, among other places. In this sense, the transposition of drag is both the subject of analysis and an integral part of the research design. The images used are visual finds that have captured particular movement repertoires and often play with the hypervisibilization of alleged deviance.<span class=\"Hochgestellt\"><span><a href=\"#fn34\" class=\"footnote-ref\" id=\"fnref34\" role=\"doc-noteref\"><sup>34<\/sup><\/a><\/span><\/span> Retrospectively curated, their posthumous reading exposes our distance from the past. The rigidity and muteness of these images illustrate not only the medial difference between performance and photography,<span class=\"Hochgestellt\"><span><a href=\"#fn35\" class=\"footnote-ref\" id=\"fnref35\" role=\"doc-noteref\"><sup>35<\/sup><\/a><\/span><\/span> but also the chasms between historical materials and contemporary readings, between distinct historical and geographical locations<span class=\"EM-Dash\">\u2014<\/span>and, crucially, the possibility of subsequent, differently situated practices of relating. The provenance of some of this primarily photographic material can no longer be traced. Some images depict people whose names and voices have not been archived. Through an analysis of repertoire and situatedness, these images provoke reflection on the contexts dragged along and on their transposition into the constellation I have fashioned<span class=\"EM-Dash\">\u2014<\/span>contexts whose foregrounding cannot be explained \u201cautobiographically.\u201d At the same time, the images bear witness to how their afterlife escapes the control of the regimes under which they were created.<\/p>\n<p>In contrast to earlier poststructuralist research on the <em>allegories of reading<\/em>, this book is concerned with the visual afterlife of physical, ephemeral performative modes of appearing.<span class=\"Hochgestellt\"><span><a href=\"#fn36\" class=\"footnote-ref\" id=\"fnref36\" role=\"doc-noteref\"><sup>36<\/sup><\/a><\/span><\/span> It highlights what Carolyn Dinshaw has described as the desire to touch across time<span class=\"Hochgestellt\"><span><a href=\"#fn37\" class=\"footnote-ref\" id=\"fnref37\" role=\"doc-noteref\"><sup>37<\/sup><\/a><\/span><\/span><span class=\"EM-Dash\">\u2014<\/span>a desire that requires a queer, entangled, allegorical understanding of temporality, one that counters linear, genealogical thinking, that is, one that implies what Elizabeth Freeman has called <em>temporal drag<\/em>.<span class=\"Hochgestellt\"><span><a href=\"#fn38\" class=\"footnote-ref\" id=\"fnref38\" role=\"doc-noteref\"><sup>38<\/sup><\/a><\/span><\/span> The constellation of <em>Dirty Dragging<\/em> also translates this desire <em>to touch across<\/em> into the spatial realm. It stages the paradoxical presence of movement captured within the still image to gesture toward embodied repertoire and its environments elsewhere. Rather than evoking immediate proximity<span class=\"EM-Dash\">\u2014<\/span>such as to my own positionality<span class=\"EM-Dash\">\u2014<\/span>the book instead seeks to sketch transoceanic lines of flight in its assembly of images.<\/p>\n<p><em>Dirty Dragging<\/em> is not chronological; nor does it smooth out the heterogeneity of its material<span class=\"EM-Dash\">\u2014<\/span>subject it to one single narrative. Rather, through three chapters that increasingly interweave analytical perspectives, it explores specific performative appearances and their overlapping lines of flight. Each chapter is divided into two complementary parts, titled with actions, emphasizing my praxeological approach, while the structure of the book transposes the ambivalence of what I call dragging into my writing. Both its beginning and its fade-out accentuate unheroic modes of appearing that have sometimes been read as complicit, yet provide a sense of societal relations other than those prevailing. They gesture \u201ctowards a scene located elsewhere,\u201d as Elizabeth Maddock Dillon writes of \u201cpeople out of doors\u201d within a transatlantic colonial world.<span class=\"Hochgestellt\"><span><a href=\"#fn39\" class=\"footnote-ref\" id=\"fnref39\" role=\"doc-noteref\"><sup>39<\/sup><\/a><\/span><\/span> As we will see, it is precisely these gestures that may offer a way to counter the decreolizing trajectories that continue to shape right-wing discourse today.<span class=\"Hochgestellt\"><span><a href=\"#fn40\" class=\"footnote-ref\" id=\"fnref40\" role=\"doc-noteref\"><sup>40<\/sup><\/a><\/span><\/span><\/p>\n<p><em>Dirty Dragging<\/em> begins where colonial histories overlap, examining their afterlife in the context of apartheid at the South African Cape (I. Apartheid). The first chapter elaborates on the theoretical potential of a photograph depicting a danced drag scene in the former harbor area of the Cape, intertwining reflections on queering and creolization. It reads dragging as a minor, dirty, mimetic mode of making an appearance<span class=\"EM-Dash\">\u2014<\/span>one that resists subjecting the moving body to the individualizing logic of representation.<span class=\"Hochgestellt\"><span><a href=\"#fn41\" class=\"footnote-ref\" id=\"fnref41\" role=\"doc-noteref\"><sup>41<\/sup><\/a><\/span><\/span> Instead, it draws attention to the<span class=\"EM-Dash\">\u2014<\/span>also theoretical<span class=\"EM-Dash\">\u2014<\/span>potential of dragging as a practice that remains cognizant of the political and historical context it drags along, thereby challenging the apartheid regime\u2019s territorial claims of separation. As the chapter will show, this scene extends from drag in the narrower sense to related scenes elsewhere: it also alludes to a specific \u201cindigenizing\u201d use of blackface.<span class=\"Hochgestellt\"><span><a href=\"#fn42\" class=\"footnote-ref\" id=\"fnref42\" role=\"doc-noteref\"><sup>42<\/sup><\/a><\/span><\/span> This practice translates global mass culture of the time into carnival and thereby exposes an overlap of differing colonial histories. Accordingly, this chapter expands the concept of drag beyond its dimensions within a politics of gender. Drawing on South African contributions to the current creolization debate<span class=\"EM-Dash\">\u2014<\/span>contributions often overlooked in the Global North<span class=\"EM-Dash\">\u2014<\/span>it also resists the tendency to merely \u201capply\u201d queer or decolonial theories especially from the United States to the formerly so-called periphery. Rather, the chapter on South Africa serves as the foundation for the subsequent readings, \u201ccreolizing\u201d the perspective on dragging under Nazism and Jim Crow.<\/p>\n<p>The second chapter explores an invective flipside of creolized performative practices discussed so far: the devaluing defacements associated with fascist identitarianism (II. Nazism). I examine images that fabricate and effeminate \u201cthe Other\u201d through (dis)figuration<span class=\"EM-Dash\">\u2014<\/span>in drag, in blackface<span class=\"EM-Dash\">\u2014<\/span>and operate via antisemitically charged equivalential chains of alleged dirtiness. The chapter then highlights the distinction between the Nazis\u2019 attack on globalized mass culture and their exoticizing, colonial-racist spectacles. It finally underscores the contradictory preconditions of the <em>m\u00e4nnerb\u00fcndian<\/em> fiction of the <em>Volksgemeinschaft<\/em>, or, national community, as seen in mass stagings and genealogical academic fabulations. My second chapter thus investigates National Socialist constructions of both the alien and the self against the backdrop of an already creolized mass culture.<span class=\"Hochgestellt\"><span><a href=\"#fn43\" class=\"footnote-ref\" id=\"fnref43\" role=\"doc-noteref\"><sup>43<\/sup><\/a><\/span><\/span> Here, the pitfalls of essentialist claims that persist today, though in different contexts, become apparent<span class=\"EM-Dash\">\u2014<\/span>such as invocations of ancestral kinship or rootedness in the soil. At the same time, the chapter points to previously underexamined potentials for alliances and corresponding cultural techniques developed by those confronted with forced migration or marked as uprooted, as having no origin.<\/p>\n<p>Finally, the third chapter interweaves an analysis of terrorist, governmental, and also subaltern modes of appearing that subvert prevailing segregation (III. Jim Crow). The chapter brings together the contrasting mobilizations of the performative that are explored in the first two chapters from opposing perspectives. Examining the relationship between irregular violence, hegemonic politics, and the carnivalesque, it addresses opposing masked Southern mobs in drag and the transoceanic entanglements their appearances entrain.<span class=\"Hochgestellt\"><span><a href=\"#fn44\" class=\"footnote-ref\" id=\"fnref44\" role=\"doc-noteref\"><sup>44<\/sup><\/a><\/span><\/span> These include marauding vigilantes, high societies spectacularly occupying public space in elite carnivals, and loose crowds dancing through the back streets in the creolized Mardi Gras of New Orleans. As a port city, New Orleans not only connects the US South with the North but also links the United States to the Cape via the Caribbean. Working with diverse historical material, the chapter investigates both transoceanic relations and the contemporary relevance of the carnivalesque, engaging with the political present and its media assemblages.<span class=\"Hochgestellt\"><span><a href=\"#fn45\" class=\"footnote-ref\" id=\"fnref45\" role=\"doc-noteref\"><sup>45<\/sup><\/a><\/span><\/span> I will increasingly interweave the material discussed in previous chapters, making drag legible in its ambivalence and potentiality and thereby introducing previously unexpected diachronic and synchronic lines of flight.<\/p>\n<p class=\"Normal\">Decidedly without providing a summarizing closure, the book is dedicated to conflicting forms of dirty dragging within the history of terror and control, calling forth the potential joy of other ways of relating<span class=\"EM-Dash\">\u2014<\/span>including those that extend beyond one\u2019s local context. This temporary, hydra-like <em>performing (an) otherwise<\/em>, as Saidiya Hartman puts it elsewhere, continually restages the performative turn against hegemonic societal structures.<span class=\"Hochgestellt\"><span><a href=\"#fn46\" class=\"footnote-ref\" id=\"fnref46\" role=\"doc-noteref\"><sup>46<\/sup><\/a><\/span><\/span> Demonstrating a nonidentitarian, contagious knowledge of all kinds of \u201coddkinships,\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn47\" class=\"footnote-ref\" id=\"fnref47\" role=\"doc-noteref\"><sup>47<\/sup><\/a><\/span><\/span> it drags along nongenealogical <em>Beziehungsweisen<\/em> and contributes to the possibility of future, previously unimaginable, multidirectional ways of relating to another<span class=\"EM-Dash\">\u2014<\/span>ways of relating that could make societal conditions not of our own choosing dance across time and space.<\/p>\n<h4>Endnotes<\/h4>\n<hr>\n<ol>\n<li id=\"fn1\">\n<p>Gilmore, <em>Golden Gulag, <\/em>2007: 242.<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>See Baroni, \u201cDrag,\u201d 2012: 191. <a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>On the etymology of hearsay, see F\u00f6rstemann, <em>Volksetymologie, <\/em>1852; on the etymology of drag McGlotten, <em>Dragging, <\/em>2021: 7<span class=\"EM-Dash\">\u2014<\/span>8; Senelick, <em>Changing Room, <\/em>2000: 279. On the recent boom in drag research, see Heller, <em>Queering Drag, <\/em>2020; Khubchandani, <em>Decolonize Drag<\/em>, 2023; Schr\u00f6dl and Striewski, <em>Drag, <\/em>2025; Annu\u00df and Weiner, <em>Facing Drag, <\/em>2025.<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>Lorber, \u201cPreface,\u201d 2004: xv. <a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>For a preliminary discussion, see Annu\u00df, \u201cDirty,\u201d 2022; \u201cAlienating,\u201d 2023. And, with a different emphasis, see Fischer-Lichte, <em>Interweaving Performance Cultures<\/em>, 2014.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>On <em>Auftrittsformen <\/em>see Menke and Vogel, <em>Flucht, <\/em>2018; Vogel and Wild, <em>Auftreten, <\/em>2014; Vogel, <em>Aus dem Grund, <\/em>2018; see also Matzke et al., <em>Auftritte<\/em>, 2015; see also the special issues I (co)edited: \u201cChoral Figurations\u201d (<em>Germanic Review <\/em>98.2, 2023), \u201cKollektive Auftrittsformen\u201d (<em>Forum Modernes Theater <\/em>28.1, 2013); \u201cVolksfiguren\u201d (<em>Maske &amp; Kothurn <\/em>2, 2014).<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>Butler, <em>Gender Trouble, <\/em>1990: 146, referring to Esther Newton\u2019s <em>Mother Camp: Female Impersonators in America <\/em>(1979); on a materialist critique back then, see Annu\u00df, \u201cUmbruch,\u201d 1996\/\u201cThe Butler-Boom,\u201d 1998. Butler herself revised her perspective in her 1999 preface: xxiii; see also \u201cBodies That Still Matter,\u201d 2021: 191. On the queer gesture of drag, see Heller, <em>Queering Drag, <\/em>2020: 33; for an example of the \u201ccollapsing of a border-line,\u201d see Weiner, <em>Out of Line, <\/em>2019: 52. On the etymology of \u201cqueer,\u201d see <em>Oxford English Dictionary<\/em>, 2014; on the corresponding paraphrase of transversal perspectives, see Mu\u00f1oz, <em>Disidentifications, <\/em>1999: 31; Lorey, <em>Demokratie, <\/em>2021; <em>Democracy, <\/em>2022. On the US activist history of the term in the 1990s and its international impact, see Bala and Tellis, <em>Global Trajectories<\/em>, 2015; for a summary of global queer theoretical perspectives, see Laufenberg, <em>Queere Theorien, <\/em>2022: 209<span class=\"EM-Dash\">\u2014<\/span>242; for critique, see Hoad, \u201cMythology,\u201d 2015. <a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>On the concept of trans as a \u201cfleshly insistence of transitivity,\u201d see Halberstam, <em>Trans*<\/em>, 2018: 136. On the replacement of drag by pharmacological transing, see Preciado, <em>Testo Junkie<\/em>, 2013, \u201cThe Drag King Plan of Action\u201d: 364<span class=\"EM-Dash\">\u2014<\/span>380; see also Letter, 2018; <em>Apartment, <\/em>2020; \u201cLearning,\u201d 2020. On the trans critique of the binary framing of drag concepts, see from different perspectives Heller, <em>Queering Drag, <\/em>2020; Stokoe, <em>Reframing Drag, <\/em>2020; on the critique of critique Stryker, \u201c(De)Subjugated Knowledges,\u201d 2006. <a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>See Conrad, <em>What Is Global History?, <\/em>2016; Osterhammel, <em>Verwandlung der Welt, <\/em>2020. <a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>Balke, <em>Mimesis zur Einf\u00fchrung<\/em>, 2018: 16.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>Klein, <em>The Shock Doctrine, <\/em>2007. On the current reframing of fascism, see Toscano, <em>Late Fascism<\/em>, 2023. \u201cAntigenderism\u201d and the authoritarian turn of neoliberalism may also complicate previous critiques of homonationalism and pinkwashing; Farris, <em>In the Name, <\/em>2017; Puar, <em>Terrorist Assemblages, <\/em>2007. See also Raz Weiner\u2019s current research project <em>The Pink Wash-Out <\/em>(mdw) and his article \u201cOn Arab-Masquerades and Necropolitics,\u201d 2025. On the current backlash and its carnivalization, see Annu\u00df, \u201cAffekt und Gefolgschaft,\u201d 2023; \u201cPopulismus und Kritik,\u201d 2024; \u201cNotes on Facing Drag,\u201d 2025. <a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>On carnivalesque practices of transgression that transcend the temporal limits of carnival, see Godet, \u201cBehind the Masks,\u201d 2020: 3. See also Nyong\u2019o\u2019s distinction between carnival and the commodified carnivalesque of minstrel shows; <em>Amalgamation Waltz, <\/em>2009: 108.<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>See Lott, \u201cBlackface from Time to Time,\u201d 2025; with reference to Sieg, <em>Ethnic Drag, <\/em>2009. Chude-Sokei describes Blackface as \u201c\u2018racial cross-dressing\u2019\u201d in <em>The Last \u201cDarky,\u201d <\/em>2006: 38. The figure is \u201cmetonymic, not metaphoric \u2026 a doppelganger, but one which haunted whiteness, not blackness\u201d (33). On the early link between drag and blackface, see Johnson, \u201cGender Trumps Race?,\u201d 2009.<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>Gubar, <em>Racechanges, <\/em>1997: 56.<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>On <em>Cultural Techniques, <\/em>see D\u00fcnne et al., 2020.<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>On the ambivalence of drag, see Schacht and Underwood, <em>The Drag Queen Anthology, <\/em>2004: 1<span class=\"EM-Dash\">\u2014<\/span>17 (\u201cIntroduction\u201d). On the reflexive potential of carnival vis-\u00e0-vis gender, see Sim\u00f5es de Ara\u00fajo, \u201cCarnival, Carnival,\u201d 2023: 201.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>See Foucault, \u201cWhat Is Critique,\u201d 1996: 384. On complicity, see Lebovic, \u201cComplicity and Dissent,\u201d 2019. <a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>On creolization, see Glissant, <em>Introduction, <\/em>1996; <em>Poetics of Relation, <\/em>1997, originally 1990; in the South African context: Erasmus, \u201cCreolization,\u201d 2011; in the European context: Guti\u00e9rrez Rodr\u00edguez and Tate, <em>Creolizing Europe<\/em>, 2011; in the German-speaking context: M\u00fcller and Ueckmann, <em>Creolization Revisited, <\/em>2013; Jour Fixe Initiative Berlin, <em>Kreolische Konstellationen<\/em>, 2023; as \u201cforced transculturation\u201d in the Anglo-French context: Hall in Enwezor 2003; Stam and Shohat, <em>Race in Translation, <\/em>2012: 299; in the Francophone context: Verg\u00e8s, \u201cCreolization and Resistance,\u201d 2015<em>. <\/em>The relationship between creolization, multidirectional adaptation processes, and modern governmentality is addressed by Crichlow and Northover, <em>Globalization, <\/em>2009, who criticize the one-sided focus on the plantation system and the corresponding romanticization of the premodern.<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>Gilroy states with regard to South Africa: \u201cThe appeal of security and the related appearance of gated and secured residential spaces are two components of this larger change. The proliferation of service work and the reappearance of a caste of servile, insecure, and underpaid domestic laborers, carers, cleaners, deliverers, messengers, attendants, and guards are surely others. The segmentation and casualization of employment, health, and dwelling are the foundations on which these aspects of the privatization and destruction of the civic order have come to rest.\u201d <em>Postcolonial Melancholia, <\/em>2005, 45.<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>On the German colonial history and the sociocidal deployment of the Schutztruppe in the former German Southwest, today\u2019s Namibia, against the local population, i. e., against Herero, Nama, and San, see Zimmerer and Zeller, <em>V\u00f6lkermord, <\/em>2003. On military dragging of the Herero, ambivalently mimicking the Schutztruppe, see Henrichsen and Selmici, <em>Schwarzkommando, <\/em>1995.<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>Braidotti defines transposition as \u201ccross-boundary or transversal transfer, in the sense of a leap from one code, field or axis into another \u2026 Central to transpositions is the notion of material embodiment\u201d; <em>Transpositions, <\/em>2006: 5. On repertoire as embodied knowledge transfer through \u201cperformances, gestures, orality, movement, dance, singing<span class=\"EM-Dash\">\u2014<\/span>in short, all those acts usually thought of as ephemeral, nonreproducible knowledge,\u201d thus in contrast to the \u201csupposedly enduring materials\u201d of the archive, see Taylor, <em>Archive, <\/em>2003, 19<span class=\"EM-Dash\">\u2014<\/span>20.<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>Sprenger speaks of <em>Umgebungswissen, <\/em>\u201cenvironmental knowledge,\u201d in <em>Epistemologien des Umgebens, <\/em>2019; however, I refer here with S\u00e1nchez Cedillo (<em>This War, <\/em>2023: 15) to Guattari\u2019s understanding of three intertwined ecologies<span class=\"EM-Dash\">\u2014<\/span>environment, social\/society, and subjectivation: <em>Les trois \u00e9cologies, <\/em>1989\/<em>The Three Ecologies, <\/em>2014. For a feminist discussion of epistemological situatedness, see Haraway, \u201cSituated Knowledges,\u201d 1988. My perspective is also determined by German-language studies of the theatrical chorus as an accompanying environmental figure and its potential to give space; see Ha\u00df, <em>Kraftfeld Chor, <\/em>2020: 10, 16; \u201cWoher kommt der Chor,\u201d 2012; \u201cWithout Beginning or End,\u201d 2023; Kirsch, <em>Chor-Denken, <\/em>2020; van Eikels, <em>Die Kunst des Kollektiven, <\/em>2013. For a materialist rereading of environmentality, see Altvater, \u201cKapital und Anthropoz\u00e4n,\u201d 2017; Darian-Smith, <em>Global Burning, <\/em>2022; H\u00f6rl, \u201cThe Environmentalitarian Situation,\u201d 2018; Malm, <em>How to Blow Up a Pipeline, <\/em>2020; <em>Corona, <\/em>2022; Moore, <em>Capitalism in the Web of Life, <\/em>2015. <a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>On deterritorializing lines of flight, in contrast to genealogical family trees, see Deleuze and Guattari, <em>A Thousand Plateaus, <\/em>1987: 9ff; Glissant, <em>Poetics of Relation, <\/em>1997: 28.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>On the term \u201cBeziehungsweisen<em>,<\/em>\u201dsee Adamczak, <em>Beziehungsweise Revolution<\/em>, 2017. <a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>See Erasmus, <em>Coloured by History, <\/em>2001; \u201cContact Theory,\u201d 2010; \u201cCreolization,\u201d 2011; \u201cNation,\u201d 2015; <em>Race Otherwise, <\/em>2017; \u201cRace,\u201d 2018; \u201cWho Was Here First?,\u201d 2020; \u201cCaribbean Critical Thought,\u201d 2025.<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>See Deleuze and Guattari, <em>A Thousand Plateaus<\/em>, 1987; Braidotti, <em>Nomadic Theory, <\/em>2011.<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>See Garfinkel, <em>Ethnomethodology, <\/em>1967.<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>\u201c\u2018The crime of apartheid\u2019 means inhumane acts \u2026 committed in the context of an institutionalized regime of systematic oppression and domination by one racial group over any other racial group or groups and committed with the intention of maintaining that regime,\u201d according to the Rome Statute, Article 7h, of the International Criminal Court of 2002, <a href=\"https:\/\/legal.un.org\/icc\/statute\/99_corr\/cstatute.htm\"><span class=\"Hyperlink\">https:\/\/legal.un.org\/icc\/statute\/99_corr\/cstatute.htm<\/span><\/a>, accessed September&#160;11, 2024. This was preceded by a discussion in the field of international law: by law, apartheid is defined as any institutionalized form of a policy of racial segregation for the oppression of one race by another (\u201cAls Apartheid wird jede institutionalisierte Form einer Politik der Rassentrennung zur Unterdr\u00fcckung einer Rasse durch eine andere bezeichnet.\u201d Triffterer, Bestandsaufnahme zum V\u00f6l&#173;kerrecht, 1995: 191). On Southern US segregation as spatial apartheid, see Regis, \u201cSecond Lines,\u201d 1999: 475. Posel, by contrast, criticizes the erosion of the term through such transpositions; see \u201cThe Apartheid Project,\u201d 2011.<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p>See the Gaza Q&amp;A published by the European Center for Constitutional and Human Rights (<a href=\"https:\/\/www.ecchr.eu\/fall\/keine-deutschen-waffen-nach-israel\/\"><span class=\"Hyperlink\">https:\/\/www.ecchr.eu\/fall\/keine-deutschen-waffen-nach-israel\/<\/span><\/a>); Frey, \u201cGegen Antisemitismus und seine Instrumentalisierung,\u201d <a href=\"https:\/\/www.jacobin.de\/artikel\/antisemitismus-instrumentalisierung-nahostkonflikt-isreal-palastina\"><span class=\"Hyperlink\">https:\/\/www.jacobin.de\/artikel\/antisemitismus-instrumentalisierung-nahostkonflikt-isreal-palastina<\/span><\/a>; &#173;Ullrich et al., <em>Was ist Antisemitismus?, <\/em>2024<em>.<\/em><a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>On the difference between identity and subjectivation, see Braidotti: \u201cWhereas identity is a bounded, ego-indexed habit of fixing and capitalizing on one\u2019s selfhood, subjectivity is a socially mediated process of relations and negotiations with multiple others and with multilayered social structures.\u201d <em>Nomadic Theory, <\/em>2011, 4. On self-&#173;government as subjectivation, see Foucault\u2019s <em>The Birth of Biopolitics, <\/em>2008; <em>On the Government of the Living, <\/em>2014; see also the introduction by Br\u00f6ckling et al., <em>Gouvernementalit\u00e4t, <\/em>2000.<a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn31\">\n<p>On the critique of retrospective autobiographical projections, see de Man, <em>Autobiography as Defacement, <\/em>1979. <a href=\"#fnref31\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn32\">\n<p>Addressing German discourse, Wiedemann has called for \u201cunderstanding the pain of others;\u201d see <em>Den Schmerz der anderen verstehen, <\/em>2022. See also Bruns\u2019s proposal \u201cto associate different forms of racism as closely connected,\u201d \u201cAntisemitism,\u201d 2022, 47; Rothberg, <em>Multidirectional Memory, <\/em>2009.<a href=\"#fnref32\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn33\">\n<p>On feminist-materialist critique<span class=\"EM-Dash\">\u2014<\/span>exemplified in Casale, \u201cSubjekt,\u201d 2014; Fraser, \u201cProgressive Neoliberalism,\u201d 2016; Klinger, \u201cTroubled Times,\u201d 2014<span class=\"EM-Dash\">\u2014<\/span>and the question of alliances, see Gago, <em>Feminist International, <\/em>2020; Gago et al., <em>8M Constelaci\u00f3n feminista, <\/em>2018; Lorey, \u201cVon den K\u00e4mpfen aus,\u201d 2011; Rold\u00e1n Mend\u00edvil and Sarbo, <em>Diversit\u00e4t, <\/em>2022; Soiland, \u201cVerh\u00e4ltnisse,\u201d 2012.<a href=\"#fnref33\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn34\">\n<p>Where they are necessary for the course of argumentation, invective images are shown and discussed; this implies the danger to enforce Othering; see Axster, <em>Koloniales Spektakel, <\/em>2014; Hartman, <em>Scenes of Subjection, <\/em>1997: 3; Schaffer, <em>Ambivalenzen der Sichtbarkeit, <\/em>2008. Not showing these images, however, would also mean not analyzing their form and fabricatedness, thus attributing to them a potentiated power. On the historical baggage of collecting and archives, see Azoulay, <em>Potential History, <\/em>2019.<a href=\"#fnref34\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn35\">\n<p>On the \u201cmuteness of photography,\u201d see Krauss, <em>Das Photographische, <\/em>1998: 15.<a href=\"#fnref35\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn36\">\n<p>On allegorical temporality and the allegories of reading, see de Man, <em>Allegories, <\/em>1982.<a href=\"#fnref36\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn37\">\n<p>On \u201ca desire for bodies to touch across time,\u201d Dinshaw, <em>Getting Medieval, <\/em>1999: 3; see also Dinshaw et al., \u201cTheorizing Queer Temporalities,\u201d 2007: 178. With regard to dance as \u201c<em>schlepping the traces of the past<\/em>,\u201d see Foellmer, \u201cWhat Remains of the Witness?,\u201d 2017.<a href=\"#fnref37\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn38\">\n<p>See Freeman, <em>Time Binds<\/em>, 2010; with different emphases also Boudry and Lorenz, <em>Temporal Drag, <\/em>2011; Dinshaw et al., \u201cTheorizing Queer Temporalities,\u201d 2007; Edelman, <em>No Future<\/em>, 2004; Ehrentraut, \u201cTranstemporal Making Out,\u201d 2025; Farrier, \u201cPlaying with Time,\u201d 2015; Hacker, \u201cQueere Zeitlichkeit,\u201d 2018, Mu\u00f1oz, <em>Cruising Utopia<\/em>, 2009, as well as the correspondences to Benjamin\u2019s understanding of history (\u201c\u00dcber den Begriff der Geschichte,\u201d 1991, I.2) and Glissant\u2019s notion of carnivalesque temporality; <em>Poetics of Relation, <\/em>1997: 64; see also the chapter on carnivalizing time in Nyong\u2019o, <em>Amalgamation Waltz, <\/em>2009: 135<span class=\"EM-Dash\">\u2014<\/span>165. On \u201cimperial time\u201d as a countermodel, see McClintock, <em>Imperial Leather, <\/em>1995: 10. For a translation into questions of spatiality, see Ferguson, <em>Aberrations in Black, <\/em>2004; \u201cQueer of Color Critique,\u201d 2015.<a href=\"#fnref38\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn39\">\n<p>Dillon, <em>New World Drama, <\/em>2014: 50, 13. On the relational definition of \u201celsewhere,\u201d see Plath, <em>Hier und anderswo, <\/em>2017: 520.<a href=\"#fnref39\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn40\">\n<p>Gordon, <em>Creolizing Political Theory, <\/em>2014: 195; accentuating physical appearance: 175.<a href=\"#fnref40\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn41\">\n<p>On \u201cminor mimesis\u201d (mindere Mimesis), see Balke, \u201c\u00c4hnlichkeit und Entstellung,\u201d 2015; <em>Mimesis, <\/em>2018; with Linseisen, <em>Mimesis Expanded, <\/em>2022. On the excessive dimension of the mimetic, see already Benjamin, \u201cOn the Mimetic Faculty,\u201d 2007: 333<span class=\"EM-Dash\">\u2014<\/span>336\/\u201c\u00dcber das mimetische Verm\u00f6gen,\u201d II.1, 1991: 210<span class=\"EM-Dash\">\u2014<\/span>213; see also \u201cDoctrine of the Similar (1933),\u201d 1979: 65<span class=\"EM-Dash\">\u2014<\/span>69\/\u201cLehre vom \u00c4hnlichen,\u201d II.1, 1991: 204<span class=\"EM-Dash\">\u2014<\/span>210. <a href=\"#fnref41\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn42\">\n<p>On the concept of indigenization as local appropriation, referring to Sylvia Wynter, see Erasmus, \u201cCaribbean Critical Thought,\u201d 2025; on critiquing ideologies of indigeneity, \u201cWho Was Here First?,\u201d 2020. See also Geschiere, <em>Perils of Belonging<\/em>, 2009.<a href=\"#fnref42\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn43\">\n<p>The chapter brings together my previously separate works on Nazism and postcolonial visual politics; see, for example, Annu\u00df, <em>Stagings<\/em>, 2009; \u201cAfterlives,\u201d 2011; \u201cF\u00fcr immer,\u201d 2011; <em>Volksschule, <\/em>2019.<a href=\"#fnref43\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn44\">\n<p>Mob<span class=\"EM-Dash\">\u2014<\/span>in German \u201cMeute,\u201d borrowed from the French \u201cmeute\u201d<span class=\"EM-Dash\">\u2014<\/span>describes a moving, disorderly gathering; on the figure as a form of shared excitement, see Canetti, <em>Masse und Macht, <\/em>1980: 99, 101\/<em>Crowds and Power<\/em>, 1973. On the rhizomatic nature of mobs and their contagious power, see Deleuze and Guattari, <em>A Thousand Plateaus<\/em>, 1987. <a href=\"#fnref44\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn45\">\n<p>On assemblage (Deleuze and Guattari,<em> A Thousand Plateaus<\/em>, 1987) as a paraphrase of \u201cdispersed but mutually implicated and messy networks\u201d<span class=\"EM-Dash\">\u2014<\/span>referring to queer theory<span class=\"EM-Dash\">\u2014<\/span>see also Puar, <em>Terrorist Assemblages, <\/em>2007: 211.<a href=\"#fnref45\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn46\">\n<p>\u201cWaywardness \u2026 is the practice of the social otherwise, the insurgent ground that enables new possibilities and new vocabularies; it is the lived experience of enclosure and segregation, assembling and huddling together.\u201d Hartman, <em>Wayward Lives, <\/em>2020: 227<span class=\"EM-Dash\">\u2014<\/span>228. On the corresponding metaphor, see Erasmus, <em>Race Otherwise, <\/em>2017. On the lumpenatlantic, many-headed hydra, the constellation of seafarers, see Linebaugh and Rediker, <em>Hydra<\/em>, 2000: 353. <a href=\"#fnref46\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn47\">\n<p>On oddkinships<span class=\"EM-Dash\">\u2014<\/span>meaning irregular kinships<span class=\"EM-Dash\">\u2014<\/span>see Haraway, <em>Staying, <\/em>2016.<a href=\"#fnref47\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; If we take to heart the fact that we make places, things, and selves, but not under&#160;conditions of our own choosing, then it is easier to take the risk of conceiving change as something both short of and longer than a single cataclysmic event. Indeed, the chronicles of revolutions all show how persistent small &hellip;<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[270],"tags":[],"class_list":["post-7606","post","type-post","status-publish","format-standard","hentry","category-annuss-dirty-dragging-en"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Introduction &#8211; mdwPress<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Introduction &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"&nbsp; If we take to heart the fact that we make places, things, and selves, but not under&#160;conditions of our own choosing, then it is easier to take the risk of conceiving change as something both short of and longer than a single cataclysmic event. Indeed, the chronicles of revolutions all show how persistent small &hellip;\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/\" \/>\n<meta property=\"og:site_name\" content=\"mdwPress\" \/>\n<meta property=\"article:published_time\" content=\"2026-03-31T09:12:01+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-03-31T09:32:08+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" \/>\n<meta name=\"author\" content=\"Jana Diewald\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jana Diewald\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"25 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/\"},\"author\":{\"name\":\"Jana Diewald\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba\"},\"headline\":\"Introduction\",\"datePublished\":\"2026-03-31T09:12:01+00:00\",\"dateModified\":\"2026-03-31T09:32:08+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/\"},\"wordCount\":5054,\"publisher\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\",\"articleSection\":[\"Annu\u00df: Dirty Dragging (en)\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/\",\"name\":\"Introduction &#8211; mdwPress\",\"isPartOf\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\",\"datePublished\":\"2026-03-31T09:12:01+00:00\",\"dateModified\":\"2026-03-31T09:32:08+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/#primaryimage\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\",\"contentUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Startseite\",\"item\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Introduction\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/\",\"name\":\"mdwPress\",\"description\":\"The Open Access University Press at the mdw\",\"publisher\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization\",\"name\":\"mdwPress\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/mdwpress-logo-schwarz.svg\",\"contentUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/mdwpress-logo-schwarz.svg\",\"width\":\"1024\",\"height\":\"1024\",\"caption\":\"mdwPress\"},\"image\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/logo\/image\/\"}},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba\",\"name\":\"Jana Diewald\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/a4b75bccf744c20e6f1ce58da4b60fff9900c5fb1be09774b839b8b078ca748c?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/a4b75bccf744c20e6f1ce58da4b60fff9900c5fb1be09774b839b8b078ca748c?s=96&d=mm&r=g\",\"caption\":\"Jana Diewald\"},\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/author\/diewald\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Introduction &#8211; mdwPress","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/","og_locale":"en_US","og_type":"article","og_title":"Introduction &#8211; mdwPress","og_description":"&nbsp; If we take to heart the fact that we make places, things, and selves, but not under&#160;conditions of our own choosing, then it is easier to take the risk of conceiving change as something both short of and longer than a single cataclysmic event. Indeed, the chronicles of revolutions all show how persistent small &hellip;","og_url":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/","og_site_name":"mdwPress","article_published_time":"2026-03-31T09:12:01+00:00","article_modified_time":"2026-03-31T09:32:08+00:00","og_image":[{"url":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png","type":"","width":"","height":""}],"author":"Jana Diewald","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Jana Diewald","Est. reading time":"25 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/#article","isPartOf":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/"},"author":{"name":"Jana Diewald","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba"},"headline":"Introduction","datePublished":"2026-03-31T09:12:01+00:00","dateModified":"2026-03-31T09:32:08+00:00","mainEntityOfPage":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/"},"wordCount":5054,"publisher":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization"},"image":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/#primaryimage"},"thumbnailUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png","articleSection":["Annu\u00df: Dirty Dragging (en)"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/","url":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/","name":"Introduction &#8211; mdwPress","isPartOf":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/#primaryimage"},"image":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/#primaryimage"},"thumbnailUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png","datePublished":"2026-03-31T09:12:01+00:00","dateModified":"2026-03-31T09:32:08+00:00","breadcrumb":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/#primaryimage","url":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png","contentUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png"},{"@type":"BreadcrumbList","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Startseite","item":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/"},{"@type":"ListItem","position":2,"name":"Introduction"}]},{"@type":"WebSite","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website","url":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/","name":"mdwPress","description":"The Open Access University Press at the mdw","publisher":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization","name":"mdwPress","url":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/logo\/image\/","url":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/mdwpress-logo-schwarz.svg","contentUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/mdwpress-logo-schwarz.svg","width":"1024","height":"1024","caption":"mdwPress"},"image":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba","name":"Jana Diewald","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/a4b75bccf744c20e6f1ce58da4b60fff9900c5fb1be09774b839b8b078ca748c?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/a4b75bccf744c20e6f1ce58da4b60fff9900c5fb1be09774b839b8b078ca748c?s=96&d=mm&r=g","caption":"Jana Diewald"},"url":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/author\/diewald\/"}]}},"_links":{"self":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/wp-json\/wp\/v2\/posts\/7606","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/wp-json\/wp\/v2\/comments?post=7606"}],"version-history":[{"count":7,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/wp-json\/wp\/v2\/posts\/7606\/revisions"}],"predecessor-version":[{"id":7613,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/wp-json\/wp\/v2\/posts\/7606\/revisions\/7613"}],"wp:attachment":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/wp-json\/wp\/v2\/media?parent=7606"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/wp-json\/wp\/v2\/categories?post=7606"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/wp-json\/wp\/v2\/tags?post=7606"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}