Prof. Dr. Evangelia Kindinger
Profil
Forschungsthemen1
Liminal Whiteness: Southern Rednecks, Hillbillies, and Crackers in American Culture
Quelle ↗Förderer: DFG Sachbeihilfe Zeitraum: 01/2020 - 01/2023 Projektleitung: Prof. Dr. Evangelia Kindinger
Mögliche Industrie-Partner10
Stand: 26.4.2026, 19:48:44 (Top-K=20, Min-Cosine=0.4)
- 1 Treffer56.9%
- Ark of Inquiry: Inquiry Activities for Youth over EuropeP56.9%
- Ark of Inquiry: Inquiry Activities for Youth over Europe
- 1 Treffer56.9%
- Ark of Inquiry: Inquiry Activities for Youth over EuropeP56.9%
- Ark of Inquiry: Inquiry Activities for Youth over Europe
- 1 Treffer56.9%
- Ark of Inquiry: Inquiry Activities for Youth over EuropeP56.9%
- Ark of Inquiry: Inquiry Activities for Youth over Europe
- 1 Treffer56.9%
- Ark of Inquiry: Inquiry Activities for Youth over EuropeP56.9%
- Ark of Inquiry: Inquiry Activities for Youth over Europe
- 1 Treffer56.9%
- Ark of Inquiry: Inquiry Activities for Youth over EuropeP56.9%
- Ark of Inquiry: Inquiry Activities for Youth over Europe
- Ark of Inquiry: Inquiry Activities for Youth over EuropeP56.9%
- Ark of Inquiry: Inquiry Activities for Youth over Europe
- 3 Treffer54.5%
- EU: Scattering Amplitudes: From Geometry to EXperiment (SAGEX)P54.5%
- EU: Scattering Amplitudes: From Geometry to EXperiment (SAGEX)
- The Novel Materials Discovery Laboratory (NoMaD)P54.2%
- EU: Context Sensitive Multisensory Object Recognition (HBP)P43.4%
- The Novel Materials Discovery Laboratory (NoMaD)
- 1 Treffer54.2%
- The Novel Materials Discovery Laboratory (NoMaD)P54.2%
- The Novel Materials Discovery Laboratory (NoMaD)
- 1 Treffer54.2%
- The Novel Materials Discovery Laboratory (NoMaD)P54.2%
- The Novel Materials Discovery Laboratory (NoMaD)
Publikationen19
Top 25 nach Zitationen — Quelle: OpenAlex (BAAI/bge-m3 embedded für Matching).
“An obese turtle on his back” – fat-shaming Donald J. Trump and the spectacle of fat masculinity
2022Fat Studies · 9 Zitationen · DOI
This article brings together fat studies and masculinity studies to critically read the various stagings of the fat body of former U.S. President Donald J. Trump in U.S. late-night talk shows such as Late Night with Seth Meyers, The Late Show with Stephen Colbert and Jimmy Kimmel Live! During his presidency, these and other late-night hosts stressed that Trump was unfit for office, a sentiment often supported by fat-shaming discourses and imagery of the spectacular transgressions of Trump’s fat, male body that deemed his body as unfit for office as well. In these comedic segments, Trump’s fat, male body was utilized as a visualization of his incompetence, failures, and moral shortfalls. As I argue, these fat-shaming discourses are not merely aimed at making visible Trump’s lack of qualifications for the presidency, they result from deeply ingrained stigmatizations of fatness in popular culture. Specifically, I look at the unstable position of fat masculinity in U.S. public imagination, the dangers it supposedly poses to hegemonic masculinity, and the ways in which its intersection with whiteness (in this case Trump’s whiteness) informs this position. Satire, as a specific kind of communication, functions as a catalyst for anti-fat attitudes that are presented as political commentary.
SHILAP Revista de lepidopterología · 3 Zitationen · DOI
This article proposes a feminist reading of Guillermo del Toro’s horror-ghost film CRIMSON PEAK (2015) that is based on the film’s allusions to nineteenth-century female gothic writing and the slasher’s final girl trope. Del Toro utilises the ghost as a metaphor that mirrors the precarious position of women in patriarchal societies (in general) and in horror narratives (in particular). The film simultaneously sketches the development of the genre as such, from literary fiction to film. CRIMSON PEAK is thus a highly self-referential film that borrows from its predecessors and sheds light on the ghostliness of horror as such.
Zeitschrift für Geschlechterforschung und Visuelle Kultur · 2 Zitationen · DOI
American reality TV has for a long time staged fat bodies in exaggerated and voyeuristic ways. The aim of such programs is to tell cautionary tales about the supposedly disastrous effects of fatness for the individual and society. The fat body needs to change, or be controlled in order to function fully in a capitalist society. One series that interrupts this narrative is TLC’s My Big Fat Fabulous Life (2015-); the title suggests that this narrative is not one of misery and regret, but of joy – certainly an unusual take on fatness in reality TV. It stars Whitney Thore, a woman who claims to be body positive, and who advertises fat politics; politics inspired by fat studies and activism. These clash with the healthist, neoliberal ideology circulated in reality TV. While she announces that she is proud to be fat, her friends and family are constantly shown challenging her. The series thus sends contradicting messages: unable to fully commit to fat and body positivity, it stages Thore’s health problems in a spectacular way and thus undermines the successes and triumphs she experiences as fat role model.
SHILAP Revista de lepidopterología · 2 Zitationen · DOI
Since the early 1960s, numerous Greek American authors of the second and third generation have published personal accounts on their travels to Greece. In this paper, I argue that these authors adopt a double perspective, being both ‘visitors’ and ‘locals’ who are affiliated with both the ‘here’ and the ‘there.’ Returnees often experience a feeling of belatedness when arriving in their ancestral homeland. They overcome this feeling by inscribing themselves into the foreign but - paradoxically - familiar past, and by making a contribution to the Greek diaspora. Although the intersections of travel writing and return writing are strong, in this paper, return writing will be defined as a subgenre of both diaspora writing and travel writing.
Fat Studies · DOI
Abstract Weight-loss dieting refers to purposefully regulating, usually limiting, food intake in order to achieve a specific goal, typically focused on weight management. Weight-loss dieting practices can involve reducing calorie intake, limiting portions, or following a particular eating pattern or regimen—for example, cutting carbohydrates and fats while preferring proteins. Yet dieting is much more than an individual activity. It is influenced by and mirrors a society’s power dynamics and social hierarchies that are also determined by weight and body shape. Looking particularly at the history of this phenomenon in modern industrialized societies like the United States, developments in weight-loss dieting are closely intertwined with gender and citizenship. Weight-loss dieting was a male practice in the 19th century and became a decidedly feminized practice in the 20th century. Furthermore, there have been concerns about the negative effects of weight-loss dieting as voiced by anti-diet nutritionists and the academic field of fat studies. Weight management is expressive of public discourses around health, capitalism, and body politics.
Fat Studies · DOI
Autor*innen
2022KörperKulturen · DOI
Curvy
2022KörperKulturen · DOI
Evangelia Kindinger widmet sich in diesem Beitrag der Bedeutung des Wortes »curvy«, das als Beschreibung dicker Körper verwendet wird und hier kritisch hinterfragt wird.
Frontmatter
2022KörperKulturen · DOI
Fat Studies · DOI
KörperKulturen · DOI
KörperKulturen · DOI
Evangelia Kindinger und Katharina Vetter widmen sich in diesem Beitrag der Fernsehsendung »The Biggest Loser« und hinterfragen die Praktiken, die dort angewandt werden, um Gewichtsverlust zu erzielen.
Fat Donnie
2022KörperKulturen · DOI
Evangelia Kindinger widmet sich in diesem Beitrag der verschiedenen Diskurse um den dicken Körper von Donald Trump, besonders in U.S.-Medien.
Inhalt
2022KörperKulturen · DOI
Appalachian Journal · DOI
International audience
Counter-Diaspora: The Greek Second Generation Returns "Home." by Anastasia Christou and Russell King
2018Journal of modern Greek studies · DOI
Reviewed by: Counter-Diaspora: The Greek Second Generation Returns "Home." by Anastasia Christou and Russell King Evangelia Kindinger (bio) Anastasia Christou and Russell King, Counter-Diaspora: The Greek Second Generation Returns "Home." Cambridge, MA: Harvard University Press. 2014. Pp. ix + 278. 3 tables. Cloth $39.99. In Cartographies of Diaspora: Contesting Identities, sociologist Avtar Brah comments on the complexity of "home," especially for diasporans: "Where is home? On the one hand, 'home' is a mythic place of desire in the diasporic imagination. In this sense it is a place of no return, even if it is possible to visit the geographical territory that is seen as the place of 'origin.' On the other [End Page 206] hand, home is also the lived experience of a locality" (Brah 1996, 192). In their book on second-generation Greek-Americans and Greek-Germans who return "home" to Greece, Anastasia Christou and Russell King carefully navigate through this supposed impossibility of return, the lived experiences of a second generation that does not shy away from returning, and the mythical status of the ancestral or original homeland that lures this generation. As the authors claim, they want to shed light on this under-researched group and its "'return' to the 'ethnic homeland'" (1). Second-generation returnees supposedly upset the order of migration because they move in the "'wrong' direction" (1), back to a "home" that was never experienced as such but merely imagined. This "counter-diasporic" movement, the authors argue, blurs "the constructions of origin and destination" (1). Greek-American author and returnee Adrianne Kalfopoulou in her latest collection of essays voices the same sentiment when reflecting upon her return: "My mother and father were stunned that I chose to live in Greece. 'Why would you go back there?' they often asked, which was incongruous, since it was not 'back' for me, who had never lived in Greece to have ever left" (Kalfopoulou 2014, 55). With their remarkably detailed and insightful study, Christou and King demonstrate that there is no incongruity; second-generation diasporans can and do return to a home where they have never lived. The "life-histories" (7) they have assembled through interviews in Greece, the United States, and Germany own "narrative capital" (7), and they display the indispensable knowledge that everyday experts of diaspora—diasporans themselves—can offer for the study of migration. The authors' research is not interested in "'grand narratives' of human ambition and progress" (65), but rather in what Brah refers to as "lived experiences" (1996, 192). The book's structure elegantly and appropriately mirrors the interviewees' experiences as well as the sequence of their return movements: the myth of Greece-as-homeland in the US and Germany; the personal circumstances that lead to the decision to return; and the effects of having returned. Since its resurrection as an analytical tool in the 1990s, diaspora has often been accused of "terminological fussiness" (Tölölyan 2007, 649). Christou and King avoid this and provide thorough conceptualizations of terms such as home, generation, return, belonging, and transnationalism, alongside diaspora. They write in the spirit of James Clifford, who declared that diasporas need to be "embedded in specific maps and histories" (Clifford 1994, 254) in order to offer meaningful insights into people's transnational dispersions. The authors root their research in two of the most important settings of the Greek diaspora: the United States and Germany (admittedly excluding Australia). This comparative [End Page 207] approach is logical, as both countries are home to a large number of "Greek-origin populations" (3). Beyond the numbers, though, what qualifies this comparison further are the different national approaches to migration and naturalization. The United States has historically understood itself as a nation of immigrants who arrive seeking refuge and security, settle down, and become Americans. Return to the homeland is not part of the American immigration narrative. In the German context, however, return has—until recently—been an integral part of the country's immigration narrative. The postwar migrants' status as Gastarbeiter (guest workers) factors into their notion of return: every "guest" leaves eventually and returns home. Of course, this does not reflect the realities of immigration, as first-generation Greeks settled in Germany...
Every discussion of Louisa May Alcott’s sensationalist fiction, most of which was published in the 1860s, begins with reminding readers that Alcott’s writing is more diverse than Little Women. Ever since Barbara Welter’s influential essay “The Cult of True Womanhood”, “true womanhood,” represented by the four virtues piety, purity, submission, and domesticity, is understood as the dominant image of white, middle-class American femininity, propagated especially by women’s periodicals and sentimental culture. The “painted woman,” that is, “a woman of fashion, who poison polite society with deception and betrayal by dressing extravagantly and practicing the empty forms of false etiquette” was imagined as the antagonist to the “true woman.” For Alcott, female anger was an important tool in her sensational writing and feminist politics, because it allowed her characters to be rebellious and defying, whether in the private or the public.
“I Wanna Be Fat”
2017GenderOpen - Repositorium für die Geschlechterforschung · DOI
American reality TV has for a long time staged fat bodies in exaggerated and voyeuristic ways. The aim of such programs is to tell cautionary tales about the supposedly disastrous effects of fatness for the individual and society. The fat body needs to change, or be controlled in order to function fully in a capitalist society. One series that interrupts this narrative is TLC’s My Big Fat Fabulous Life (2015-); the title suggests that this narrative is not one of misery and regret, but of joy – certainly an unusual take on fatness in reality TV. It stars Whitney Thore, a woman who claims to be body positive, and who advertises fat politics; politics inspired by fat studies and activism. These clash with the healthist, neoliberal ideology circulated in reality TV. While she announces that she is proud to be fat, her friends and family are constantly shown challenging her. The series thus sends contradicting messages: unable to fully commit to fat and body positivity, it stages Thore’s health problems in a spectacular way and thus undermines the successes and triumphs she experiences as fat role model.
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Stammdaten
Identität, Organisation und Kontakt aus HU-FIS.
- Name
- Prof. Dr. Evangelia Kindinger
- Titel
- Prof. Dr.
- Fakultät
- Sprach- und literaturwissenschaftliche Fakultät
- Institut
- Institut für Anglistik und Amerikanistik
- Arbeitsgruppe
- Literatur und Kultur Nordamerikas mit dem Schwerpunkt kulturelle Identitäten
- Telefon
- +49 30 030 2093 70934
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- 26.4.2026, 01:07:15