Addressed to art historians as both teachers and researchers, this essay reconsiders the well-trodden case of Édouard Manet's Olympia (1863) to challenge the conventional assumptions about the nude as a sign for gender. Aligning itself with the interdisciplinary field of transgender studies, the essay models one version of how art historians might teach a sceptical history of the nude in which we leave open the multiple and transformable genders that can be proposed by it. This essay argues that even a canonical episode about a non-trans artist such as Manet (and his scandalous display of Olympia in 1865) contains ample opportunities (in both the contemporary criticism and art-historical literature) to address transgender, non-binary, and intersex themes. To question the equation of seeing and knowing when confronted with a naked body is both an ethical and a methodological imperative for art history – a field that traffics in nudes as central to its defining narratives.

中文翻译：

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跨性别研究后如何教授马奈的奥林匹亚

这篇文章面向作为教师和研究人员的艺术史学家，重新考虑了爱德华·马奈 (Édouard Manet) 的《奥林匹亚》 (1863) 的经典案例，以挑战关于裸体作为性别标志的传统假设。与跨性别研究的跨学科领域保持一致，这篇文章模拟了艺术史学家如何教授关于裸体的怀疑历史的一个版本，在这个版本中，我们对它可以提出的多重和可转换的性别敞开大门。这篇文章认为，即使是关于像马奈这样的非跨性别艺术家的经典插曲（以及他对奥林匹亚的丑闻）1865 年）包含大量机会（在当代批评和艺术史文学中）来处理跨性别、非二元和双性主题。质疑当面对裸体时看到和知道的等式，对于艺术史来说既是伦理上的，也是方法论上的要求——一个以裸体作为其定义叙事的核心的领域。