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This book's primary task is to test the contemporary value of performance and performativity. Performative Identities in Culture: From Literature to Social Media undertakes this task via a host of chapters on a vast spectrum of performativity-related topics such as: literature (British, American, Welsh), film, art, social media, and sports. Within these contexts, the book raises a number of questions relevant today. How is minority culture constructed and performed in literature? How can one manifest identity in multicultural contexts? How has performativity been transformed in audiovisual media, like film, video games and social media? And, can the digital itself be performative?
This book is an important addition to the current body of scholarly material on contemporary performance and theatre as it provides both a detailed focus on a number of important performance works as well as developing a framework for the interpretation of contemporary performance. and the author demonstrates the myriad ways in which cultural identity can be represented and interpreted in performance.colonial cultural landscape."
This book provides a timely intervention in the fields of performance studies and theatre history, and to larger issues of global cultural exchange. The authors offer a provocative argument for rethinking the scholarly assessment of how diverse performative cultures interact, how they are interwoven, and how they are dependent upon each other. While the term ‘intercultural theatre’ as a concept points back to postcolonialism and its contradictions, The Politics of Interweaving Performance Cultures explores global developments in the performing arts that cannot adequately be explained and understood using postcolonial theory. The authors challenge the dichotomy ‘the West and the rest’ – where Western cultures are ‘universal’ and non-Western cultures are ‘particular’ – as well as ideas of national culture and cultural ownership. This volume uses international case studies to explore the politics of globalization, looking at new paternalistic forms of exchange and the new inequalities emerging from it. These case studies are guided by the principle that processes of interweaving performance cultures are, in fact, political processes. The authors explore the inextricability of the aesthetic and the political, whereby aesthetics cannot be perceived as opposite to the political; rather, the aesthetic is the political. Helen Gilbert’s essay ‘Let the Games Begin: Pageants, Protests, Indigeneity (1968–2010)’won the 2015 Marlis Thiersch Prize for best essay from the Australasian Drama, Theatre and Performance Studies Association.
This book uses identity theories to explore the struggles of indigenous peoples against the domination of the settler imaginary in Australia, Canada, New Zealand and the United States. The book argues that a new relational imaginary can revolutionize the way settler peoples think about and relate to indigenous difference.
The volume assesses performative structures within a variety of medieval forms of textuality, from vernacular literature to records of parliamentary proceedings, from prayer books to musical composition. Three issues are central to the volume: the role of ritual speech acts; the way in which authorship can be seen as created within medieval texts rather than as a given category; finally, phenomena of voice, created and situated between citation and repetition, especially in forms which appropriate and transform literary tradition. The volume encompasses articles by historians and musicologists as well as literary scholars. It spans European literature from the West (French, German, Italian) to the East (Church Slavonic), vernacular and Latin; it contrasts modes of liturgical meditation in the Western and Eastern Church with secular plays and songs, and it brings together studies on the character of ‛voice’ in major medieval authors such as Dante with examples of Dante-reception in the early twentieth century.
Translating and interpreting are unpredictable social practices framed by historical, ethical, and political constraints. Using the concepts of situatedness and performativity as anchors, the authors examine translation practices from the perspectives of identity performance, cultural mediation, historical reframing, and professional training. As such, the chapters focus on enacted events and conditioned practices by exploring production processes and the social, historical, and cultural conditions of the field. These outlooks shift our attention to social and institutionalized acts of translating and interpreting, considering also the materiality of bodies, artefacts, and technologies involved in these scenes.
This book explores belonging as a performative achievement. The contributors investigate how identities are embodied and effected, and how lines of allegiance and fracture are produced and reproduced. Questions of ′difference′ are tackled from a perspective that attends to the complexities of history and politics. Drawing on sociology, philosophy and anthropology, this collection brings together leading commentators, including Judith Butler, Paul Gilroy and Arjun Appadurai, as well as a range of new scholars. It examines questions of visuality, political affiliation, ethics, mimesis, spatiality, passing, and diversity in modes of embodied difference. The volume advances conceptual and theoretical issues through testing various propositions around specific examples or questions. What emerges is a rich engagement with the complexity of contemporary forms of belonging.
This book makes a case for cultural naturalism as a basis for a philosophy of art education. It argues for a holistic approach that avoids hard boundaries between artistic disciplines in the educational context, applying cultural naturalism to challenges that are topical for the whole art(s) education field, including challenges related to ecology, social justice, and technological transformation of culture. The book is written in the form of a conditional argument that considers the consequences of cultural naturalism for today’s philosophical problem-solving in art(s) education. It contains a systematic and historical analysis of cultural naturalism that support the philosophical reflection of educators and other scholars operative in this field. The result is a late modern reading of Deweyan cultural naturalism that highlights the continuance of key philosophical ideas from the modern to present discourses. The key topics discussed are of particular interest to present-day art(s) educators: ecological sustainability, social justice, and technological transformation of culture. In addition, this book provides an example of pragmatist argumentation, suggesting an alternative to analytical and post-philosophical approaches.
Performance and Cultural Politics is a groundbreaking collection of essays which explore the historical and cultural territories of performance, written by the foremost scholars in the field. The essays, exploring performance art, theatre, music and dance, range from Oscar Wilde to Eric Clapton; from the Rose Theatre to U.S. Holocaust museums. The topic includes: * Sex Play: Stereotype, Pose and Dildo * Grave Performances: The Cultural Politics of Memory * Genealogies: Critical Performances * Identity Politics: Passing, Carnival and the Law In the concluding section, `Performer's Performance', performance artist Robbie McCauley offers the practitioner's perspective on performance studies. Interdisciplinary, thought-provoking and rich in new ideas, Performance and Cultural Politics is a landmark in the emerging field of performance studies.