{"id":8647,"date":"2026-07-28T12:15:21","date_gmt":"2026-07-28T10:15:21","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=8647"},"modified":"2026-07-29T10:17:50","modified_gmt":"2026-07-29T08:17:50","slug":"mdwp009-001","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/","title":{"rendered":"Notes on Facing Drag"},"content":{"rendered":"<h3 class=\"author\"><em>Evelyn Annu\u00df<\/em> <a href=\"https:\/\/orcid.org\/0000-0001-8401-9013\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-600\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" alt=\"orcid\" width=\"19\" height=\"19\" \/><\/a><\/h3>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        .tsquotation em {\n            font-style: italic !important;\n        }\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\n        figure {\n            margin: 0;\n        }\n    <\/style>\n<p>&nbsp;<\/p>\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\/mdwp009-002\" style=\"color:#000000 !important;\">&#129030;<\/a><\/span>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><div class=\"toggle-content\"><p>\n<div id=\"zotpress-8f93efe3b50177e38b3a2925a67984d7\" class=\"zp-Zotpress zp-Zotpress-Bib wp-block-group\">\n\n\t\t<span class=\"ZP_API_USER_ID ZP_ATTR\">4511395<\/span>\n\t\t<span class=\"ZP_ITEM_KEY ZP_ATTR\">{4511395:9D64EWEP}<\/span>\n\t\t<span class=\"ZP_COLLECTION_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_TAG_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_AUTHOR ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_YEAR ZP_ATTR\"><\/span>\n        <span class=\"ZP_ITEMTYPE ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_INCLUSIVE ZP_ATTR\">1<\/span>\n\t\t<span class=\"ZP_STYLE ZP_ATTR\">chicago-author-date<\/span>\n\t\t<span class=\"ZP_LIMIT ZP_ATTR\">50<\/span>\n\t\t<span class=\"ZP_SORTBY ZP_ATTR\">default<\/span>\n\t\t<span class=\"ZP_ORDER ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_TITLE ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_SHOWIMAGE ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_SHOWTAGS ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_DOWNLOADABLE ZP_ATTR\">1<\/span>\n\t\t<span class=\"ZP_NOTES ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_ABSTRACT ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_CITEABLE ZP_ATTR\">1<\/span>\n\t\t<span class=\"ZP_TARGET ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_URLWRAP ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_FORCENUM ZP_ATTR\"><\/span>\n        <span class=\"ZP_HIGHLIGHT ZP_ATTR\"><\/span>\n        <span class=\"ZP_POSTID ZP_ATTR\">8647<\/span>\n\t\t<span class=\"ZOTPRESS_PLUGIN_URL ZP_ATTR\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/plugins\/zotpress\/<\/span>\n\n\t\t<div class=\"zp-List loading\">\n\t\t\t<div class=\"zp-SEO-Content\">\n\t\t\t\t<span class=\"ZP_JSON ZP_ATTR\">%7B%22status%22%3A%22success%22%2C%22updateneeded%22%3Afalse%2C%22instance%22%3Afalse%2C%22meta%22%3A%7B%22request_last%22%3A0%2C%22request_next%22%3A0%2C%22used_cache%22%3Atrue%7D%2C%22data%22%3A%5B%7B%22key%22%3A%229D64EWEP%22%2C%22library%22%3A%7B%22id%22%3A4511395%7D%2C%22meta%22%3A%7B%22creatorSummary%22%3A%22Annu%5Cu00df%22%2C%22parsedDate%22%3A%222025%22%2C%22numChildren%22%3A0%7D%2C%22bib%22%3A%22%26lt%3Bdiv%20class%3D%26quot%3Bcsl-bib-body%26quot%3B%20style%3D%26quot%3Bline-height%3A%201.35%3B%20padding-left%3A%201em%3B%20text-indent%3A-1em%3B%26quot%3B%26gt%3B%5Cn%20%20%26lt%3Bdiv%20class%3D%26quot%3Bcsl-entry%26quot%3B%26gt%3BAnnu%26%23xDF%3B%2C%20Evelyn.%202025.%20%26%23x201C%3BNotes%20on%20Facing%20Drag.%26%23x201D%3B%20In%20%26lt%3Bi%26gt%3BFacing%20Drag.%20Gender%20Bending%20and%20Racialized%20Masking%20in%20Performing%20Arts%20and%20Popular%20Culture%26lt%3B%5C%2Fi%26gt%3B%2C%20edited%20by%20Evelyn%20Annu%26%23xDF%3B%20and%20Raz%20Weiner.%20mdwPress.%20%26lt%3Ba%20class%3D%26%23039%3Bzp-ItemURL%26%23039%3B%20href%3D%26%23039%3Bhttps%3A%5C%2F%5C%2Fdoi.org%5C%2F10.14361%5C%2F9783839471708-001%26%23039%3B%26gt%3Bhttps%3A%5C%2F%5C%2Fdoi.org%5C%2F10.14361%5C%2F9783839471708-001%26lt%3B%5C%2Fa%26gt%3B.%20%26lt%3Ba%20title%3D%26%23039%3BCite%20in%20RIS%20Format%26%23039%3B%20class%3D%26%23039%3Bzp-CiteRIS%26%23039%3B%20data-zp-cite%3D%26%23039%3Bapi_user_id%3D4511395%26amp%3Bitem_key%3D9D64EWEP%26%23039%3B%20href%3D%26%23039%3Bjavascript%3Avoid%280%29%3B%26%23039%3B%26gt%3BCite%26lt%3B%5C%2Fa%26gt%3B%20%26lt%3B%5C%2Fdiv%26gt%3B%5Cn%26lt%3B%5C%2Fdiv%26gt%3B%22%2C%22data%22%3A%7B%22itemType%22%3A%22bookSection%22%2C%22title%22%3A%22Notes%20on%20Facing%20Drag%22%2C%22creators%22%3A%5B%7B%22creatorType%22%3A%22author%22%2C%22firstName%22%3A%22Evelyn%22%2C%22lastName%22%3A%22Annu%5Cu00df%22%7D%2C%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Evelyn%22%2C%22lastName%22%3A%22Annu%5Cu00df%22%7D%2C%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Raz%22%2C%22lastName%22%3A%22Weiner%22%7D%5D%2C%22abstractNote%22%3A%22%22%2C%22bookTitle%22%3A%22Facing%20Drag.%20Gender%20Bending%20and%20Racialized%20Masking%20in%20Performing%20Arts%20and%20Popular%20Culture%22%2C%22date%22%3A%222025%22%2C%22originalDate%22%3A%22%22%2C%22originalPublisher%22%3A%22%22%2C%22originalPlace%22%3A%22%22%2C%22format%22%3A%22%22%2C%22ISBN%22%3A%22978-3-8394-7170-8%22%2C%22DOI%22%3A%22%22%2C%22citationKey%22%3A%22%22%2C%22url%22%3A%22https%3A%5C%2F%5C%2Fdoi.org%5C%2F10.14361%5C%2F9783839471708-001%22%2C%22ISSN%22%3A%22%22%2C%22language%22%3A%22en%22%2C%22collections%22%3A%5B%2258X82B3J%22%5D%2C%22dateModified%22%3A%222026-07-29T07%3A52%3A11Z%22%7D%7D%5D%7D<\/span>\n\n\t\t\t\t<div id=\"zp-ID-8647-4511395-9D64EWEP\" data-zp-author-date='Annu\u00df-2025' data-zp-date-author='2025-Annu\u00df' data-zp-date='2025' data-zp-year='2025' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Annu\u00df, Evelyn. 2025. \u201cNotes on Facing Drag.\u201d In <i>Facing Drag. Gender Bending and Racialized Masking in Performing Arts and Popular Culture<\/i>, edited by Evelyn Annu\u00df and Raz Weiner. mdwPress. <a class='zp-ItemURL' href='https:\/\/doi.org\/10.14361\/9783839471708-001'>https:\/\/doi.org\/10.14361\/9783839471708-001<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=9D64EWEP' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">References<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\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\/wp-content\/uploads\/10.1436_19783839471708-001.pdf\" target=\"_blank\" rel=\"nofollow\" style=\"color:#000000 !important;\">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\"><\/a><\/span>\n<p>How do we connect the manifold carnivalesque articulations of colonialism and racism to a queer understanding of drag in the sense of exaggerated display (Lorber 2004)? In what ways are these articulations reinvoked and commodified within new media assemblages and differentiated within diverse geographical contexts and varied trajectories of racialization and Othering? How might they be conceived from a global perspective that also questions the reification of <em>the<\/em> putative color line through the lens of the Global South?<span class=\"Hochgestellt\"><span><a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a><\/span><\/span> And how might we foreground existing forms of performingsocietal alternatives? <em>Facing Drag <\/em>is dedicated to exploring these questions by critically engaging with the paradigm of performativity as a key concept in gender studies (Parker and Sedgwick 1995): drag was theorized in the 1990s as a transgressive performative practice that exposes difference in repetition<span class=\"EM-Dash\">\u2014<\/span>reflecting the possibility of (re)signification and the change of norms (Butler 1990, Mu\u00f1oz 1999). Against the backdrop of the ongoing resurgenceof attempts to theorize critical drag in both recent and forthcoming publications, it seems timely to face<span class=\"EM-Dash\">\u2014<\/span>to address, confront<span class=\"EM-Dash\">\u2014<\/span>transgressive practices through the questions posed above (Heller 2020, Khubchandani 2023, McGlotten 2021, Schroedl 2025).<\/p>\n<p>However, performativity itself has been resignified over the last decades. Once understood as a figure of critical thinking, it has also been absorbed into management rhetoric, where it affirmatively promotes successful self-&#173;presentations (Cabantous et al. 2016). The deconstructive turn from expressivity to performativity has been co-opted as a tool for neoliberalization and the political spectacles accompanying it. Today, the term is increasingly associated with the dragging<span class=\"EM-Dash\">\u2014<\/span>that is, with the gravitational, depressing, advent of new modes of governmentality that seem to bury not only the phantasm of an authentic inner self, but the dream of alternatives to capitalist relations<span class=\"EM-Dash\">\u2014<\/span>of alternative <em>Beziehungsweisen, <\/em>to cite Bini Adamczak (Adamczak 2017). Over the last decades, something already appears to have been lost in the translation of performativity into the celebration of individualized competitiveness under liberal economic regimes. This resignification, which undermines performativity\u2019s critical potential, may have gradually indicated the limitations of 1990s happy queer theory readings of performativity as gender-bending drag.<\/p>\n<p>We are living in dragging timesindeed<span class=\"EM-Dash\">\u2014<\/span>a historical shift in which the deconstructive force of earlier queer theoretical interventions has been overtaken by a new form of neoliberal dismantling: what was predominantly associated with the undoing of a (hetero)normative matrix has been superseded by the libertarian far right\u2019s systematic destruction of institutions<span class=\"EM-Dash\">\u2014<\/span>infrastructures and material conditions whose relevance was often sidelined in the wake of the performative turn of the 1990s (Annu\u00df 1998, originally published in 1996). Contemporary assaults on queer, reproductive, and trans rights<span class=\"EM-Dash\">\u2014<\/span>manifestations of so-called antigenderism (Butler 2024, Sauer and Penz 2023)<span class=\"EM-Dash\">\u2014<\/span>are only one dimension of a broader neoauthoritarian turn and the potential fascization of economic liberalism on a global scale. While dismantling may resonate as an anarchic rallying cry,<span class=\"Hochgestellt\"><span><a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a><\/span><\/span> undoing now risks becoming a new normal of unregulated racket ruling<span class=\"EM-Dash\">\u2014<\/span>a mode of organized destabilization performed as the destruction of \u201cthe establishment\u201d (Br\u00f6ckling 2024; \u017di\u017eek 2024). Foucault identified queer liberties as the flipside of a new control society (Foucault 2008, 239<span class=\"EM-Dash\">\u2014<\/span>266), but that may already be water under the collapsing bridge. In the mid-1980s, he could still stress the ambivalences of neoliberalism<span class=\"EM-Dash\">\u2014<\/span>economic deregulation alongside the recognition of minority liberties. Decades later, in the wake of economic liberalization, populist politics of resentment have hit full scale to accompany what Naomi Klein termed <em>disaster capitalism<\/em> and what Alberto Toscano more recently calls <em>late fascism<\/em> (Klein 2007, Toscano 2023). As DEI initiatives and poverty relief programs are systematically defunded, antigenderism needs to be contextualized not as an isolated backlash, but as integral to this broader shift. Today, hegemonic appropriations of minority rights discourses in service of majoritarian rule (Farris 2017, Puar 2007) not only reenforce exclusionary politics, but also fuel a form of <em>belligerent accumulation<\/em><span class=\"Hochgestellt\"><span><a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a><\/span><\/span><span class=\"EM-Dash\">\u2014<\/span>one whose targets are volatile, shifting with geopolitical, class, or cultural location. In this very context, drag needs to be rethought as a situated practice (Annu\u00df 2025).<\/p>\n<p>This is especially pertinent given that the global right-wing backlash is increasingly accompanied by carnivalesque performances that celebrate the destruction of infrastructure and the destitution of law (Annu\u00df 2019, 2024). Performative transgressions from the right<span class=\"EM-Dash\">\u2014<\/span>such as the costumed storming of government buildings during the COVID-19 pandemic in Berlin or in Washington, DC, or the chainsaw theatrics of figures like Javier Milei and Elon Musk<span class=\"EM-Dash\">\u2014<\/span>compel us to reconsider the biopolitical environments in which transgressive bodily appearances gain significance. Where some of us within gender studies used to conceptualize the carnivalesque primarily through the lens of queer subversion, as in gender-bending drag, it may now be necessary to critically reassess our research designs and the habitual use of certain figures of thought. This includes historicizing our analytical categories and recognizing their (geographical, often privilege-based) embeddedness.<\/p>\n<p>Our understanding of drag as a paradigm in theorizing queer performativity may thus need expansion. We ought to account for destructive forms of mimesis, for stagings of excess referentiality that weaponize performative spectacle rather than parody hegemonic culture. And in this broader sense, drag has long been part of the spectacles of the right. If understood as a situated practice of transgressive public appearance, it might be reactivated as a tool for critical thinking on the specificity of particular political environments. Rather than confining drag to the domains of queer performance and disidentification, this book reconceptualizes it as an allegory of the ambivalent messiness of mimesis<span class=\"EM-Dash\">\u2014<\/span>with all its potential for both subversion and instrumentalization. <em>Facing Drag <\/em>thus interrogates the divergent affordances of situatedness in order to understand how mimetic practices can function across, and sometimes against, societal conditions and political imaginaries.<\/p>\n<p>In light of today\u2019s appropriation of performative transgressions by the political right, studies of drag may be shifting<span class=\"EM-Dash\">\u2014<\/span>from a predominant focus on gender play to an expanded analysis that incorporates its historical and structural entanglement with performative practices of racialization: as early as the 2000s, Katrin Sieg proposed such a move, shifting the analysis of queer drag toward racialized forms of theatrical appearance (Sieg 2002). This implied a critical turn from the liberatory connotations of \u201cdirty\u201d bodily stagings to the invective exposure of \u201cdirty\u201dfaces<span class=\"EM-Dash\">\u2014<\/span>exemplified by blackfaceas a form of racialized drag in the wake of colonial entanglements and overexploitation. Such performative practices<span class=\"EM-Dash\">\u2014<\/span>marked by grotesque distortion and figurations of difference<span class=\"EM-Dash\">\u2014<\/span>have long weaponized the constitutive referential messiness of mimesis, predating queer theory\u2019s institutionalization (Balke and Linseisen 2022). Mimesis, then, is not inherently subversive, but can also be complicit with hegemonic culture and, at times, operate in the wake of eliminatory violence.<span class=\"Hochgestellt\"><span><a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a><\/span><\/span> By extending our conception of drag beyond its semiotic and affective potential for queer subversion to its transgressive appeal within a politics of resentment and destruction, we can more thoroughly historicize its ambivalent forms and functions and reflect the right\u2019s current occupation of mimetic transgression in the context of its historic precedents, particularly in the racialized articulations of the carnivalesque (Mbembe 2001).<span class=\"Hochgestellt\"><span><a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a><\/span><\/span> This, however, calls for reassessing its scope of reference<span class=\"EM-Dash\">\u2014<\/span>specifying its usages within the slippery terrain where libertarianism intersects with alt-right forms of transgression: What does it imply when it is not the subaltern, but the dystopian anarchism of the self-&#173;proclaimed fittest that sets about dismantling what once was called the <em>master\u2019s house<\/em> (Lorde 2018, originally published 1970)? How does today\u2019s \u201crebellious, anti-systemic theater\u201d (Schuster 2020, 234) of the ruling class reshape calls to recognize representations of queerness as a means of disrupting normative interpellations? In light of these questions, how might we rethink drag?<\/p>\n<p>Extending the concept to encompass color bending<span class=\"EM-Dash\">\u2014<\/span>that is, practices of racialized masking<span class=\"EM-Dash\">\u2014<\/span>broadens the analytic horizon to include the dynamics of political violence more thoroughly. In this expanded frame, drag\u2019s alleged etymology of \u201ctowing a stage costume\u201d comes into play. We might thus \u201cface\u201d<span class=\"EM-Dash\">\u2014<\/span>in both senses of confronting and giving face<span class=\"EM-Dash\">\u2014<\/span>the act of dragging as the &#173;schlepping-along of social entanglements.<span class=\"Hochgestellt\"><span><a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a><\/span><\/span> Rather than relegating performativity to a coaching ideology or reducing drag to representationalism and politics of recognition, this volume foregrounds the analytic relevance of queer theories\u2019 postdeconstructive, materialist conceptual contributions. Elizabeth Freeman\u2019s take on drag, for instance, underscores a \u201cnecessary referential vulgarity\u201d<span class=\"EM-Dash\">\u2014<\/span>a desire to relate to Other(ed), queer bodies across time and space (Freeman 2010). Her approach moves beyond abstract notions of resignification to highlight drag\u2019s affective charge. Crucially, Freeman\u2019s theorizing of drag as a historical pullback also helps to understand the affective operations of right-wing politics<span class=\"EM-Dash\">\u2014<\/span>particularly the mobilizations of resentment (Vogl 2022). In this light, drag emerges as a <em>Gedankenfigur, <\/em>a figure of thought, not only of queer memory and longing, but also as a vehicle for the actual dismantling of material relations and societal infrastructures<span class=\"EM-Dash\">\u2014<\/span>hard-won policies and institutions aimed at redressing structural inequalities. To summarize, drag may have lost some of its appeal as a subversive, empowering, and liberatory mode of staging our messy selves, particularly in the wake of neoliberalism\u2019s increasingly destructive materializations. Yet appearing in drag has been and remains to be contested. An extended notion of dragging, one attentive to its embeddedness in specific historical and sociopolitical contexts, may open up avenues for analyzing the collective trajectories of public appearance and for imagining multi&#173;directional solidarities (Rothberg 2009) that counter the co-optation of the transgressive. This could contribute to a rethinking of what Meredith Heller has called <em>queering drag<\/em> (Heller 2020).<\/p>\n<p>As theorists of creolization have emphasized (Glissant 1990, 1997; Erasmus 2011, 2012, 2020), reappropriations of colonial and exoticist modes of performing illustrate the uncontrollable entanglements of mimesis. These entanglements carry the potential for new agencies. Analyzing and bringing together diverse historical constellations and mimetic practices may expose the possibility of collective acts of microresistance. These performative practices may not offer direct solutions to today\u2019s political catastrophes. But they may give form to a desire for otherwise<span class=\"EM-Dash\">\u2014<\/span>to what Saidiya Hartman has called <em>performing (an) otherwise <\/em>(Hartman 2020). In a time marked by political defeatism, such performative modes of relating may allegorize a disposition to move beyond competitive self-fashioning, provoking us to imagine transversal flight lines<span class=\"EM-Dash\">\u2014<\/span>forms of solidarity not bound to groupism, a terrain successfully occupied by the political right.<\/p>\n<p>How, then, might this concept of drag intersect with questions of temporality and fabulation? What tools can critical race studies and perspectives based in the Global South offer toward an expanded understanding of drag as a mimetic practice embedded in systems of power? Moreover, what is the bio&#173;political backdrop of drag\u2019s contemporary theorization<span class=\"EM-Dash\">\u2014<\/span>especially within today\u2019s media assemblages and commodified visual politics? How can we map the historical, geographical symptomatology of what we involuntarily drag along when we appear in public? And what are the (post)colonial implications of performing within different contexts<span class=\"EM-Dash\">\u2014<\/span>contexts shaped by asymmetrical histories of representation, violence, and resistance?<\/p>\n<p class=\"Normal_Zentriert\">*<\/p>\n<p>Engaging with these concerns, <em>Facing Drag<\/em> is the outcome of international conferences and a concomitant lecture series taking place between 2022 and 2024 at the University of Music and Performing Arts Vienna (mdw)<span class=\"EM-Dash\">\u2014<\/span>conceived at a time when the postpandemic transformations of neoliberalism were not yet as visible as today.<span class=\"Hochgestellt\"><span><a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a><\/span><\/span> These events were organized by what has since become the International Research Center Gender and Performativity (ICGP).<span class=\"Hochgestellt\"><span><a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a><\/span><\/span> The contributions assembled here are primarily grounded in theorizations of performativity and performing arts studies. As a collection ranging from theoretical approaches developed in the Global South to the analyses of premodern European court spectacles, modern minstrelsy, and contemporary popular culture, as well as transcultural entanglements in modern theater, <em>Facing Drag<\/em> spotlights racial masking, colonial mimicry, and digital performance in connection to questions of gendering. In its deliberate heterogeneity and openness, it complements a monograph on minor mimesis and the reconceptualization of dragging as schlepping-along, titled <em>Dirty Dragging <\/em>(Annu\u00df 2025, 2026)<em>, <\/em>which explores the transoceanic trajectories of performative transpositions with regard to apartheid, Nazism, and the Jim Crow era. This volume likewise aims to rethink drag<span class=\"EM-Dash\">\u2014<\/span>bringing together scholars and artists from different fields of study and parts of the globe to address, historicize, and contextualize<span class=\"EM-Dash\">\u2014<\/span>that is, to face<span class=\"EM-Dash\">\u2014<\/span>practices of Othering and of mimesis in the performing arts and in popular culture. Elaborating on aesthetic materials, the assembled contributions to <em>Facing Drag<\/em> analyze differing performative modes of appearing in public. Diverse as they may be, these contributions indicate together a shift in perspectives<span class=\"EM-Dash\">\u2014<\/span>a postintersectional, transversal reflection of colonial relations and their afterlife, a new emphasis in questions of societal environments (H\u00f6rl 2018), the drive to rethink what drag might mean against the backdrop of today\u2019s political affordances.<\/p>\n<h4 class=\"ts_heading_2_notoc\"><span class=\"Fett\">Overview<\/span><\/h4>\n<p><em>Facing Drag <\/em>is framed by contributions from intellectuals who stress the relevance of the Global South for rethinking drag: sociologist <span class=\"Fett\">Zimitri Erasmus<\/span> and artist nora chipaumire in conversation with curator Jay Pather. Possible reformulations of dragging are addressed in four sections following Erasmus\u2019s <span class=\"Fett\">opening<\/span> essay, <em>Caribbean Critical Thought and \u201cDrag\u201d Performances of Indigenization<\/em>, in which she reflects on the distant kinship of theorizing creolization and creolized masking practices in the Archipelago as well as in Southern Africa, seeking to extend established perspectives on coloniality and race.<\/p>\n<p>The book then offers four sections. It starts with issues of temporality in film studies, followed by case studies of racialized drag in the United States and a section on visual popular culture, and concludes with historical &#173;prefigurations of what an extended understanding of drag might imply. It does not seek to give a complete overview on phenomena related to these themes and questions, but rather to offer exemplary readings that resonate, however distantly, with one another.<\/p>\n<p><span class=\"Fett\">Temporal Drag and Queering Fabulations<\/span> (Section&#160;1) opens with two case studies in film. These contributions aim to reconceptualize our understanding of drag in relation to cinema as a paradigmatic medium of transtemporality (Freeman 2010) and to explore the relational dimension of fabulation (Nyong\u2019o 2018). <span class=\"Fett\">Sam Ehrentraut<\/span> analyzes Jessie Dunn Rovinelli\u2019s <em>So Pretty <\/em>and its instrumental quoting of Ronald M. Schernikau\u2019s 1980s novel <em>So sch\u00f6n, <\/em>which depicts the West Berlin drag scene before the fall of the Wall. The film transposes Schernikau\u2019s book into a contemporary transgender constellation in New York City during the Black Lives Matter protests. Revisiting Freeman\u2019s concept of temporal drag, Ehrentraut\u2019s essay <em>Transtemporal Making-Out<\/em><span class=\"EM-Dash\">\u2014<\/span><em>On \u201cTemporal Drag\u201d in Jessie Dunn Rovinelli\u2019s \u201cSo Pretty<\/em>\u201d <em>(2019) <\/em>studies the film\u2019s aesthetics to envision entangled forms of relating. It explores nonappropriative encounters that stage a blurry portrait of collective queer becoming<span class=\"EM-Dash\">\u2014<\/span>beyond the representation of fixed queer identities and beyond a respective \u201cfaceism\u201d (Weigel 2013, 11). <span class=\"Fett\">Nanna Heidenreich\u2019s<\/span> \u201c<em>Whose Portrait?\u201d Fabulations and Triangulations in Shirley Clarke\u2019s<\/em> <em>\u201cPortrait of Jason<\/em>\u201d <em>(1967)<\/em> likewise develops a relational understanding of dragging as a queering practice. Through an analysis of cinematic documentation, fluid appearances and their reception in the context of racialized projections and desires, Heidenreich examines the triangular dynamics within the production and the reception. Her reading explores the potentiality of the film portrait beyond its definition as a medium of self-representation and exemplifies the violence inherent in social and love relations<span class=\"EM-Dash\">\u2014<\/span>violence that is dragged along in the cinematic capture of \u201cthe Other.\u201d In terms of temporal drag and queering fabulations, both contributions move beyond representationalism and reductive notions of binary relations. Ehrentraut emphasizes the queer utopian potential of rethinking drag in temporal terms; Heidenreich, in turn, foregrounds its biopolitical embeddedness within a specific context haunted by racialized violence.<\/p>\n<p><span class=\"Fett\">Performing along \u201cthe\u201d Color Line<\/span>(Section&#160;2) further drags the notion of drag from its associations with empowerment into contexts of racist violence in the United States. By historicizing blackening-up in popular culture, this section reflects on the invective flipside of transgressive performativity in drag. Again working with the trope of temporal drag, <span class=\"Fett\">Eric Lott\u2019s<\/span> <em>Blackface from Time to Time <\/em>addresses the deployment of the minstrel mask coined in the &#173;nineteenth century and their <em>survie<\/em> in contemporary popular culture. He reads the ongoing reappearances of this form of racial drag as indicators of the \u201ctime-to-time-temporality\u201d of unresolved racist relations haunting popular culture<span class=\"EM-Dash\">\u2014<\/span>in film, music, masquerade practices, and political performances. Blackface, Lott argues, has a specific \u201cthrowback quality\u201d that goes beyond \u201ccross-racial\u201d appropriative desires and instead exposes how its afterlife can be mobilized within the political present to \u201ctheatricalize\u201d and thus reinforce the US color line through a recursiveness out of joint. While Lott focuses on the contemporary afterlife of blackface, <span class=\"Fett\">Elaine S. Frantz\u2019s<\/span> <em>Reading the Blackened Faces of the Ku-Klux Klan in the Reconstruction-Era United States <\/em>studies its use as racial mimicry by vigilante white supremacists\u2019 performing carnivalesque terror in the wake of abolition. Drawing on a multiplicity of historical sources, Frantz contextualizes these terrorist masquerades of the first Klan of the late 1860s within the broader popular culture of the time<span class=\"EM-Dash\">\u2014<\/span>especially in racist caricatures of minstrel shows. As she demonstrates, however, blackening the face was not only a mode of cross-racial misrepresentation, but also a sensationalist tool entangled with other traditions of violence. It was associated with nocturnal crime and the return of the undead. In this reading, blackface becomes an empty signifier with multidirectional referentiality, yet within a context of racialized violence that demanded its spectacular promotion. Its referential excesses may thus be understood as prefigurations of today\u2019s right-wing carnival. The section concludes with an outlook on performing arts neglected by hegemonic receptions: on Black drag shows in the mid-twentieth-century \u201cBig Easy.\u201d <span class=\"Fett\">Aur\u00e9lie Godet\u2019s<\/span> <em>Gender Bending in the Southern Babylon: Black \u201cFemale Impersonators\u201d in 1940s<\/em><span class=\"EM-Dash\">\u2014<\/span><em>1960s New Orleans <\/em>focuses on queer performances within the Black community of a Southern city long associated with vice. Drawing on photos, text sources and oral history, Godet revisits the paradigm of performativity theory by foregrounding a community whose drag history has rarely been documented. She sketches out how performing in drag challenged not only binary gender norms, but also a specifically sexualized color line. Focusing on pre-Civil Rights New Orleans, the essay dispels the myth of the Black community as uniformly antiqueer and instead highlights how stars of Black drag<span class=\"EM-Dash\">\u2014<\/span>from Patsy Vidalia to Little Richard and Roberta<span class=\"EM-Dash\">\u2014<\/span>along with the \u201ccross-fertilizing\u201d <em>longue dur\u00e9e<\/em> of their shows, can be read as embodied prefigurations of a societal otherwise: one that transcends intersecting binaries of race, gender and sexuality.<\/p>\n<p><span class=\"Fett\">Facing Contemporary Commodification<\/span>(Section&#160;3) addresses contrary afterlives of blackface: (1) with regard to affect politics in meme culture, and (2) through representations of \u201cthe Other\u201d beyond the US color line. Contemporary media assemblages, shaped by affective politics of resentment, have generated new forms of facial drag that circulate globally<span class=\"EM-Dash\">\u2014<\/span>targeted at distinct societal bubbles, increasingly detached from live appearances. Social media platforms facilitate parallel public spheres in which transgressive visualizations of \u201cthe Other\u201d can circulate and go viral. However, as noted above, drag may also be mobilized in service of racist representational regimes. There is a plethora of ways to \u201cgive a face,\u201d to deface or reface. This is where performance and media analysis can help illuminate the workings of spectacular symbolic politics<span class=\"EM-Dash\">\u2014<\/span>including the ones we are currently confronted with. Analyzing a popular Oprah Winfrey meme, <span class=\"Fett\">Katrin K\u00f6ppert\u2019s <\/span><em>Digital Blackface and Memetic Ambiguity <\/em>reads today\u2019s meme culture as a continuation of the minstrel tradition\u2019s grotesque defacing of Black people<span class=\"EM-Dash\">\u2014<\/span>now instrumentalized as digital signifiers of affect. Focusing on its feminized stagings on social media, K\u00f6ppert shifts the lens from minstrelsy\u2019s masculinism to a contemporary regendering of \u201cthe mask.\u201d She interprets meme culture as a performative appropriation of a specifically situated notion of Blackness in the sense of asignification, that is, as the racialized visualization of affect. <span class=\"Fett\">Raz Weiner\u2019s<\/span> <em>On Arab Masquerades and Necropolitics: Invisibilization and Hypervisibilization in Israeli Popular Culture<\/em> transposes the question of facing and othering to the Middle Eastern conflict zone. His essay compares strategies of invisibilization and hypervisibilization<span class=\"EM-Dash\">\u2014<\/span>and their political function<span class=\"EM-Dash\">\u2014<\/span>through representations of Arabness in Israeli popular culture. Through contextualizing and recontouring the broader political fantasies upon which these impersonations rely, the necropolitical dimension of ethnic mimicry or drag is exposed<span class=\"EM-Dash\">\u2014<\/span>after all evoking today\u2019s sociocidal war crimes.<\/p>\n<p><span class=\"Fett\">Staging (Post)Colonial Relations<\/span>(Section&#160;4) furtherglobalizes and historicizes perspectives. This section discusses manifold appropriations of theatrical performances within early colonialism and modern exoticism and outlines complex transcultural entanglements. <span class=\"Fett\">Karin Harrasser\u2019s<\/span> <em>Borrowed Plumes, Jesuit Drag, and Costumes as Uncontrollable Residuals <\/em>analyzes European performances of indigeneity in the sixteenth century<span class=\"EM-Dash\">\u2014<\/span>long before the nineteenth-century US fashion of <em>playing Indian<\/em> (Deloria 2022). Ranging from courtly cross-dressing allegorizations of America by Friedrich&#160;I, to Jesuit performative <em>conquista<\/em> in Latin America as a governmental tool accompanying colonial extractivism, and to the \u201cindigenizing\u201d of Christian rituals in the context of anticolonial resistance and satire, these historical enactments indicate layers of ambivalent cultural techniques. Their afterlife, Harrasser suggests, may bear witness to an uncontrollable dragging-along of violence<span class=\"EM-Dash\">\u2014<\/span>as well as to the enduring dream of social change within the postcolonial imaginary. <span class=\"Fett\">Julia Ostwald\u2019s<\/span> <em>Japonist Drag: Performing Entangled Exoticisms in Dance and <\/em><em>Theater around 1900 <\/em>interrogates differing modes of (self-)exoticization within European-Japanese cultural encounters. Bringing together performances of Japonisme by the Kawakami ensemble in fin-de-si\u00e8cle Europe and its queer reception by Alexander Sakharoff<span class=\"EM-Dash\">\u2014<\/span>as well as their later straightening Westernization of Japanese modern theater<span class=\"EM-Dash\">\u2014<\/span>Ostwald challenges the notion of drag as cultural appropriation. In a detailed analysis of complementary dance performances, her essay underscores how phantasms of exotic authenticity, their performative queering, and reversals of exoticism complicate retrospective projections of binary power relations. Harrasser\u2019s and Ostwald\u2019s essays thus transpose manifestations of exoticism into a broader quest for epistemologies beyond representation.<\/p>\n<p>The <span class=\"Fett\">Epilogue<\/span>returns to the questions raised by Zimitri Erasmus in the openingsection of <em>Facing Drag<\/em><span class=\"Fett\">. Jay Pather\u2019s<\/span> artist talk with choreographer, performer, and filmmaker <span class=\"Fett\">nora chipaumire<\/span> addresses practices of drag within contemporary performing arts against the backdrop of colonialism and globalization, while rhetorically staging the shapeshifting dimension of drag itself. This shapeshifting is also reflected in the constellation of our volume<span class=\"EM-Dash\">\u2014<\/span>dedicated to research from differing, yet corresponding, angles.<\/p>\n<p><em>Facing Drag<\/em> thus brings together prominent thinkers from various disciplines to reconsider drag beyond its conventional reading as a performance of gender transgression. Through original contributions that engage with cinema, choreography, online media, and critical historiography, the volume examines how drag has transformed through figures of analysis such as temporal and ethnic drag, and how it intersects with legacies of colonial domination, social entanglements, and political spectacle. Amid a worldwide resurgence of hostility against queer and gender-nonconforming articulations, the essays in this volume engage with political implications of various forms of drag. Drawing on contributions from diverse fields of cultural studies and geographic contexts, <em>Facing Drag <\/em>aims to broaden the conversation beyond dominant Northern paradigms, and to provide a cross-cutting, transversal intervention into contemporary debates on performativity and power.<\/p>\n<h4 id=\"1\">References<\/h4>\n<p><\/p>\n<p class=\"bibliography\">Adamczak, Bini. 2017. <em>Beziehungsweise Revolution: 1917, 1968 und kommende. <\/em>Berlin: Suhrkamp.<\/p>\n<p class=\"bibliography\">Annu\u00df, Evelyn. 1998. \u201cThe Butler-Boom: Queer Theory\u2019s Impact on Women\u2019s\/Gender Studies.\u201d In <em>Queering the Canon: Defying Sights in German Literature and Culture<\/em>, edited by Christoph Lorey and John L. Plews, 73<span class=\"EM-Dash\">\u2014<\/span>86. Columbia: Camden House. German original, 1996: \u201cUmbruch und Krise der Geschlechterforschung: Judith Butler als Symptom.\u201d <em>Das Argument&#160;<\/em>216 (1996): 505<span class=\"EM-Dash\">\u2014<\/span>524.<\/p>\n<p class=\"bibliography\">Annu\u00df, Evelyn. 2019. \u201cPopulismus und Theater.\u201d In <em>Was zu f\u00fcrchten vorgegeben wird: Alterit\u00e4t und Xenophobie<\/em>, edited by Susanne Teutsch, 226<span class=\"EM-Dash\">\u2014<\/span>236.Vienna: Praesens.<\/p>\n<p class=\"bibliography\">Annu\u00df, Evelyn. 2024. \u201cPopulismus und Kritik.\u201d In <em>Populismus kritisieren: Kuns<\/em>t<span class=\"EM-Dash\">\u2014<\/span><em>Politik<\/em><span class=\"EM-Dash\">\u2014<\/span><em>Geschlecht<\/em>, edited by Evelyn Annu\u00df, Ralf von Appen, Sarah Chaker, Silke Felber, Andrea Glauser, Therese Kaufmann, Susanne Lettow, 23<span class=\"EM-Dash\">\u2014<\/span>39. Wien\/Bielefeld: mdwPress.<\/p>\n<p class=\"bibliography\">Annu\u00df, Evelyn. 2025. <em>Dirty Dragging: Performative Transpositionen. <\/em>Wien\/Biele&#173;feld: mdwPress<em>.<\/em><\/p>\n<p class=\"bibliography\">Annu\u00df, Evelyn. 2026. <em>Dirty Dragging: Performative Transpositions. <\/em>Wien\/Biele&#173;feld: mdwPress<em>.<\/em><\/p>\n<p class=\"bibliography\">Balke, Friedrich and Elisa Linseisen, eds. 2022. <em>Mimesis Expanded: Die Ausweitung der mimetischen Zone.<\/em> Paderborn: Wilhelm Fink.<\/p>\n<p class=\"bibliography\">Br\u00f6ckling, Ulrich, Susanne Krasmann, and Thomas Lemke, eds. 2024. <em>Glossar der Gegenwart<\/em>. Berlin: Suhrkamp.<\/p>\n<p class=\"bibliography\">Butler, Judith. 1990. <em>Gender Trouble: Feminism and the Subversion of Identity<\/em>. New York: Routledge.<\/p>\n<p class=\"bibliography\">Butler, Judith. 2024. <em>Who\u2019s Afraid of Gender?<\/em> London: Penguin Books.<\/p>\n<p class=\"bibliography\">Cabantous, Laure, Jean-Pascal Gond, Nancy Harding, and Mark Learmonth. 2016. \u201cCritical Essay: Reconsidering Critical Performativity.\u201d <em>Human Relations<\/em>&#160;69, no.&#160;2: 197<span class=\"EM-Dash\">\u2014<\/span>213. <a href=\"https:\/\/doi.org\/10.1177\/0018726715584690\"><span class=\"Hyperlink\">doi.org\/10.1177\/0018726715584690<\/span><\/a>.<\/p>\n<p class=\"bibliography\">Deloria, Philip J. 2022. <em>Playing Indian<\/em>. New Haven: Yale University Press.<\/p>\n<p class=\"bibliography\">Erasmus, Zimitri. 2011. \u201cCreolization, Colonial Citizenship(s) and Degeneracy: A Critique of Selected Histories of Sierra Leone and South Africa.\u201d <em>Current Sociology<\/em>&#160;59, no.&#160;5: 635<span class=\"EM-Dash\">\u2014<\/span>654.<\/p>\n<p class=\"bibliography\">Erasmus, Zimitri. 2012. \u201cApartheid Race Categories: Daring to Question Their Continued Use.\u201d <em>Transformation<\/em>&#160;79: 1<span class=\"EM-Dash\">\u2014<\/span>11.<\/p>\n<p class=\"bibliography\">Erasmus, Zimitri. 2020. \u201c\u2018Who Was Here First?\u2019 or \u2018Who Lives Here Now?\u2019: Indigeneity, a Difference Like No Other.\u201d In <em>Persistence of Race<\/em>, edited by Nina G. Jablonski, 155<span class=\"EM-Dash\">\u2014<\/span>165. Stellenbosch: African Sun Media.<\/p>\n<p class=\"bibliography\">Farris, Sara R. 2017. <em>In the Name of Women\u2019s Rights: The Rise of Femonationalism<\/em>. Durham, NC: Duke University Press.<\/p>\n<p class=\"bibliography\">Foucault, Michel. 2008: <em>The Birth of Biopolitics<\/em>: <em>Lectures at the Coll\u00e8ge de France 1978<\/em><span class=\"EM-Dash\">\u2014<\/span><em>79<\/em>, edited by Michel Senellart, translated by Graham Burchell. Basingstoke: Palgrave Macmillan.<\/p>\n<p class=\"bibliography\">Freeman, Elizabeth. 2010. <em>Time Binds: Queer Temporalities, Queer Histories<\/em>. Durham, NC: Duke University Press.<\/p>\n<p class=\"bibliography\">Glissant, \u00c9douard. 1990. <em>Po\u00e9tique de la relation<\/em>. Paris: Galimard.<\/p>\n<p class=\"bibliography\">Glissant, \u00c9douard. 1997. <em>Poetics of Relation<\/em>. Ann Arbor: University of Michigan Press.<\/p>\n<p class=\"bibliography\">Hartman, Saidiya. 2020. <em>Wayward Lives, Beautiful Experiments: Intimate Histories of Riotous Black Girls, Troublesome Women, and Queer Radicals.<\/em> New York: W. W. Norton.<\/p>\n<p class=\"bibliography\">Heller, Meredith. 2020. <em>Queering Drag: Redefining the Discourse of Gender-Bending<\/em>. Bloomington: Indiana University Press.<\/p>\n<p class=\"bibliography\">H\u00f6rl, Erich. 2018. \u201cThe Environmentalitarian Situation.\u201d Translated by Nils F. Schott. <em>Cultural Politics<\/em>&#160;14, no.&#160;2: 153<span class=\"EM-Dash\">\u2014<\/span>173.<\/p>\n<p class=\"bibliography\">Khubchandani, Kareem. 2023. <em>Decolonize Drag (Decolonize That!). <\/em>New York: QR Books.<\/p>\n<p class=\"bibliography\">Klein, Naomi. 2007. <em>The Shock Doctrine: The Rise of Disaster Capitalism<\/em>. New York: Metropolitan Books, Henry Holt and Company.<\/p>\n<p class=\"bibliography\">Lorber, Judith. 2004. \u201cPreface.\u201d In <em>The Drag Queen Anthology: The Absolutely Fabulous but Flawlessly Customary World of Female Impersonators<\/em>, edited by Steven P. Schacht and Lisa Underwood, xv<span class=\"EM-Dash\">\u2014<\/span>xvi. New York: Harrington Park Press.<\/p>\n<p class=\"bibliography\">Lorde, Audre. 2018. <em>The Master\u2019s Tools Will Never Dismantle the Master\u2019s House<\/em>. London: Penguin Books.<\/p>\n<p class=\"bibliography\">Mbembe, Achille. 2001. <em>On the Postcolony<\/em>. Berkeley: University of California Press.<\/p>\n<p class=\"bibliography\">McGlotten, Shaka. 2021. <em>Dragging: Or, in the Drag of a Queer Life. <\/em>New York: Routledge.<\/p>\n<p class=\"bibliography\">Mu\u00f1oz, Jos\u00e9 Esteban. 1999. <em>Disidentifications: Queers of Color and the Performance of Politics<\/em>. Minneapolis: University of Minnesota Press.<\/p>\n<p class=\"bibliography\">Nyong\u2019o, Tavia. 2018. <em>Afro-fabulations: The Queer Drama of Black Life<\/em>. New York: New York University Press.<\/p>\n<p class=\"bibliography\">Parker, Andrew and Eve Kosofsky Sedgwick. 1995. <em>Performativity and Performance.<\/em> New York, London: Routledge.<\/p>\n<p class=\"bibliography\">Puar, Jasbir K. 2007. <em>Terrorist Assemblages: Homonationalism in Queer Times<\/em>. Durham, NC: Duke University Press.<\/p>\n<p class=\"bibliography\">Reed, Adolph. 2018. \u201cAntiracism: A Neoliberal Alternative to a Left.\u201d <em>Dialectical Anthropology <\/em>42: 105<span class=\"EM-Dash\">\u2014<\/span>115.<\/p>\n<p class=\"bibliography\">Reed, Adolph. 2022. <em>The South: Jim Crow and Its Afterlive<\/em>. London: Verso.<\/p>\n<p class=\"bibliography\">Rothberg, Michael. 2009. <em>Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization<\/em>.Stanford: Stanford University Press.<\/p>\n<p class=\"bibliography\">Sauer, Birgit and Otto Penz. 2023. <em>Konjunktur der M\u00e4nnlichkeit: Affektive Strategien der autorit\u00e4ren Rechten<\/em>. Frankfurt: Campus Verlag.<\/p>\n<p class=\"bibliography\">Schroedl, Jenny and Samu\/elle Striewski, eds. 2025. <em>Drag hier und heute! Theoretische und \u00e4sthetische Positionen zu einer queeren Praxis der Gegenwart<\/em>. Berlin: Neofelis.<\/p>\n<p class=\"bibliography\">Schuster, Aaron. 2020. \u201cBeyond Satire: The Political Comedy of the Present and the Paradoxes of Authority.\u201d In <em>Sovereignty, Inc.: Three Inquiries in Politics and<\/em> <em>Enjoyment<\/em>, edited by William Mozzarella, Eric Santner, and Aaron Schuster, 161<span class=\"EM-Dash\">\u2014<\/span>250. Chicago: University of Chicago Press.<\/p>\n<p class=\"bibliography\">Sieg, Katrin. 2002. <em>Ethnic Drag: Performing Race, Nation, Sexuality in West Germany<\/em>. Ann Arbor: University of Michigan Press.<\/p>\n<p class=\"bibliography\">Thomas, Greg. 2018. \u201cAfro-Blue Notes: The Death of Afro-pessimism (2.0)?\u201d <em>Theory &amp; Event<\/em>&#160;21, no.&#160;1: 282<span class=\"EM-Dash\">\u2014<\/span>317.<\/p>\n<p class=\"bibliography\">Toscano, Alberto. 2023. <em>Late Fascism: Race, Capitalism, and the Politics of Crisis. <\/em>London: Verso.<\/p>\n<p class=\"bibliography\">Vogl, Joseph. 2022: <em>Capital and Ressentiment: A short Theory of the Present. <\/em>Cambridge: Polity.<\/p>\n<p class=\"bibliography\">Weigel, Sigrid. 2013. \u201cDas Gesicht als Artefakt: Zu einer Kulturgeschichte des menschlichen Bildnisses.\u201d In <em>Gesichter: Kulturgeschichtliche Szenen aus der Arbeit am Bildnis des Menschen<\/em>, edited by Sigrid Weigel, in collaboration with Tine Kutschbach, 7<span class=\"EM-Dash\">\u2014<\/span>29. Munich: Wilhelm Fink.<\/p>\n<p class=\"bibliography\">\u017di\u017eek, Slavoj. 2024. \u201cAfter Trump\u2019s Victory: From MAGA to MEGA.\u201d <em>e-flux<\/em>. November&#160;13, 2024. <a href=\"https:\/\/www.e-flux.com\/notes\/641013\/after-trump-s-victory-from-maga-to-mega\"><span class=\"Hyperlink\">www.e-flux.com\/notes\/641013\/after-trump-s-&#173;victor<\/span><span class=\"Hyperlink\">y-from-maga-to-mega<\/span><\/a>. Accessed December&#160;10, 2024.<\/p>\n<h4>Endnotes<\/h4>\n<hr class=\"HorizontalRule-1\" \/>\n<ol>\n<li id=\"fn1\">\n<p>See Erasmus in this volume; on the critique of Afro-pessimist US exceptionalism and its ahistoricity see<span class=\"EM-Dash\">\u2014<\/span>from within US academia<span class=\"EM-Dash\">\u2014<\/span>Thomas 2018, Reed 2018.<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"footnote-006\">\n<div id=\"page12\" role=\"doc-pagebreak\" aria-label=\"12\" epub:type=\"pagebreak\"><\/div>\n<p class=\"ts_footnote\">&#9;See Jack Halberstam\u2019s opening keynote \u201cDereliction: On Feminist Violence\u201dat the 2025 opening of the International Research Center Gender and Performativity at the University of Music and Performing Arts Vienna, www.mdw.ac.at\/icgp\/events\/international-research-center-gender-and-performativity-icgp-opening\/, accessed July&#160;25, 2025.<\/p>\n<\/li>\n<li id=\"fn3\">\n<p>See Katja Diefenbach, Ruth Sonderegger and Pablo Valdivia Orozco at https:\/\/accumulation-race-aesthetics.org\/, accessed September&#160;25, 2024.<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"footnote-004\">\n<div id=\"page14\" role=\"doc-pagebreak\" aria-label=\"14\" epub:type=\"pagebreak\"><\/div>\n<p class=\"ts_footnote\">&#9;See Weiner in this volume.<\/p>\n<\/li>\n<li id=\"fn5\">\n<p>On US blackface minstrelsy, see Lott in this volume.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>See the companion monograph <em>Dirty Dragging <\/em>for a differentiation of heterogeneous modes of drag and a more extensive conceptualization of its relation to dragging as <em>schlepping <\/em>(Annu\u00df 2025, 2026); see also McGlotten 2021, 7.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"footnote-001\">\n<div id=\"page16\" role=\"doc-pagebreak\" aria-label=\"16\" epub:type=\"pagebreak\"><\/div>\n<p class=\"ts_footnote\">&#9;For more information on the conferences, see <a href=\"https:\/\/www.mdw.ac.at\/ikm\/facing-ethnic-drag\/\"><span class=\"Hyperlink\">www.mdw.ac.at\/ikm\/facing-ethnic-drag\/<\/span><\/a> and <a href=\"http:\/\/www.mdw.ac.at\/ikm\/?PageId=4744\"><span class=\"Hyperlink\">www.mdw.ac.at\/ikm\/?PageId=4744<\/span><\/a>; for more information on the film and lecture series, see <a href=\"http:\/\/www.mdw.ac.at\/ikm\/facing-drag-film-and-lecture-series\"><span class=\"Hyperlink\">www.mdw.ac.at\/ikm\/facing-drag-film-and-lecture-series<\/span><\/a>\/, all accessed September&#160;11, 2024.<\/p>\n<\/li>\n<li id=\"fn8\">\n<p>For more information, see www.mdw.ac.at\/icgp\/, accessed July&#160;25, 2025.<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"<p>Evelyn Annu\u00df &nbsp; How do we connect the manifold carnivalesque articulations of colonialism and racism to a queer understanding of drag in the sense of exaggerated display (Lorber 2004)? In what ways are these articulations reinvoked and commodified within new media assemblages and differentiated within diverse geographical contexts and varied trajectories of racialization and Othering? &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":[273],"tags":[],"class_list":["post-8647","post","type-post","status-publish","format-standard","hentry","category-annuss-weiner-facing-drag"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Notes on Facing Drag &#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\/mdwp009-001\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Notes on Facing Drag &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"Evelyn Annu\u00df &nbsp; How do we connect the manifold carnivalesque articulations of colonialism and racism to a queer understanding of drag in the sense of exaggerated display (Lorber 2004)? In what ways are these articulations reinvoked and commodified within new media assemblages and differentiated within diverse geographical contexts and varied trajectories of racialization and Othering? &hellip;\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/\" \/>\n<meta property=\"og:site_name\" content=\"mdwPress\" \/>\n<meta property=\"article:published_time\" content=\"2026-07-28T10:15:21+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-07-29T08:17:50+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png\" \/>\n\t<meta property=\"og:image:width\" content=\"64\" \/>\n\t<meta property=\"og:image:height\" content=\"64\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Jana Diewald\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jana Diewald\" \/>\n\t<meta name=\"twitter:label2\" content=\"Gesch\u00e4tzte Lesezeit\" \/>\n\t<meta name=\"twitter:data2\" content=\"24\u00a0Minuten\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/\"},\"author\":{\"name\":\"Jana Diewald\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba\"},\"headline\":\"Notes on Facing Drag\",\"datePublished\":\"2026-07-28T10:15:21+00:00\",\"dateModified\":\"2026-07-29T08:17:50+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/\"},\"wordCount\":4768,\"publisher\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\",\"articleSection\":[\"Annu\u00df, Weiner (eds.): Facing Drag\"],\"inLanguage\":\"de\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/\",\"name\":\"Notes on Facing Drag &#8211; mdwPress\",\"isPartOf\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\",\"datePublished\":\"2026-07-28T10:15:21+00:00\",\"dateModified\":\"2026-07-29T08:17:50+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/#breadcrumb\"},\"inLanguage\":\"de\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"de\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/#primaryimage\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png\",\"contentUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png\",\"width\":64,\"height\":64,\"caption\":\"orcid\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Startseite\",\"item\":\"https:\/\/www.mdw.ac.at\/mdwpress\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Notes on Facing Drag\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/\",\"name\":\"mdwPress\",\"description\":\"Der Open-Access-Universit\u00e4tsverlag der 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\":\"de\"},{\"@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\":\"de\",\"@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\":\"de\",\"@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\/author\/diewald\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Notes on Facing Drag &#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\/mdwp009-001\/","og_locale":"de_DE","og_type":"article","og_title":"Notes on Facing Drag &#8211; mdwPress","og_description":"Evelyn Annu\u00df &nbsp; How do we connect the manifold carnivalesque articulations of colonialism and racism to a queer understanding of drag in the sense of exaggerated display (Lorber 2004)? In what ways are these articulations reinvoked and commodified within new media assemblages and differentiated within diverse geographical contexts and varied trajectories of racialization and Othering? &hellip;","og_url":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/","og_site_name":"mdwPress","article_published_time":"2026-07-28T10:15:21+00:00","article_modified_time":"2026-07-29T08:17:50+00:00","og_image":[{"width":64,"height":64,"url":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png","type":"image\/png"}],"author":"Jana Diewald","twitter_card":"summary_large_image","twitter_misc":{"Verfasst von":"Jana Diewald","Gesch\u00e4tzte Lesezeit":"24\u00a0Minuten"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/#article","isPartOf":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/"},"author":{"name":"Jana Diewald","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba"},"headline":"Notes on Facing Drag","datePublished":"2026-07-28T10:15:21+00:00","dateModified":"2026-07-29T08:17:50+00:00","mainEntityOfPage":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/"},"wordCount":4768,"publisher":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization"},"image":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/#primaryimage"},"thumbnailUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png","articleSection":["Annu\u00df, Weiner (eds.): Facing Drag"],"inLanguage":"de"},{"@type":"WebPage","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/","url":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/","name":"Notes on Facing Drag &#8211; mdwPress","isPartOf":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/#primaryimage"},"image":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/#primaryimage"},"thumbnailUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png","datePublished":"2026-07-28T10:15:21+00:00","dateModified":"2026-07-29T08:17:50+00:00","breadcrumb":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/#breadcrumb"},"inLanguage":"de","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/"]}]},{"@type":"ImageObject","inLanguage":"de","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/#primaryimage","url":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png","contentUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png","width":64,"height":64,"caption":"orcid"},{"@type":"BreadcrumbList","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp009-001\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Startseite","item":"https:\/\/www.mdw.ac.at\/mdwpress\/"},{"@type":"ListItem","position":2,"name":"Notes on Facing Drag"}]},{"@type":"WebSite","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website","url":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/","name":"mdwPress","description":"Der Open-Access-Universit\u00e4tsverlag der 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":"de"},{"@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":"de","@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":"de","@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\/author\/diewald\/"}]}},"_links":{"self":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/posts\/8647","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/comments?post=8647"}],"version-history":[{"count":8,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/posts\/8647\/revisions"}],"predecessor-version":[{"id":8920,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/posts\/8647\/revisions\/8920"}],"wp:attachment":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/media?parent=8647"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/categories?post=8647"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/tags?post=8647"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}