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What role can provocation play in the process of renewal, both of individuals and of societies? Provocation in Popular Culture is an investigation into the practice of specific provocateurs and the wider nature of cultural provocation, examining, among others: Banksy Sacha Baron Cohen Leo Bassi Pussy Riot Philippe Petit Archaos. Drawing on Bim Mason’s own twenty-five year career as performer, teacher and creative director, this book explores the power negotiations involved in the relationship between provocateur and provoked, and the implications of maintaining a position on the ‘edge’. Using neuroscience as a bridge, it proposes a similarity between complexity theory and cultural theories of play and risk. Three inter-related analogies for the ‘edge’ on which these performers operate – the fulcrum, the blade and the border – reveal the shifts between structure and fluidity, and the ways in which these can combine in a single moment.
Much has changed since Camille Paglia first burst onto the scene with her groundbreaking Sexual Personae, but the laser-sharp insights of this major American thinker continue to be ahead of the curve—not only capturing the tone of the moment but also often anticipating it. Opening with a blazing manifesto of an introduction in which Paglia outlines the bedrock beliefs that inform her writing—freedom of speech, the necessity of fearless inquiry, and a deep respect for all art, both erudite and popular—Provocations gathers together a rich, varied body of work spanning twenty-five years, illuminating everything from the Odyssey to the Oscars, from punk rock to presidents past and present. Whatever your political inclination or literary and artistic touchstones, Paglia’s takes are compulsively readable, thought provoking, galvanizing, and an essential part of our cultural dialogue, invariably giving voice to what most needs to be said.
Provocation in Popular Culture is a study of provocative artists who use comedy and playfulness to subvert. Bim Mason draws on his decades of practice as a performer, director and teacher in the fields of street theatre and circus to inform his analysis of the work of key artists Leo Bassi, Sacha Baron Cohen, Banksy, Archaos, Pussy Riot and others. Unlike political provocateurs who are serious and confrontational these cultural provocateurs attract and animate the wider public with a lighter tone that takes an otherwise antagonistic relationship into a more creative, populist space. Mason also shows how the provocative model can be applied to teaching and creative practice, working with individuals and improvisational methods.
A timely, nuanced work that dissects the thorny debate around cultural appropriation and the literary imagination. How do we properly define cultural appropriation, and is it always wrong? If we can write in the voice of another, should we? And if so, what questions do we need to consider first? In Appropriate, creative writing professor Paisley Rekdal addresses a young writer to delineate how the idea of cultural appropriation has evolved—and perhaps calcified—in our political climate. What follows is a penetrating exploration of fluctuating literary power and authorial privilege, about whiteness and what we really mean by the term empathy, that examines writers from William Styron to Peter Ho Davies to Jeanine Cummins. Lucid, reflective, and astute, Appropriate presents a generous new framework for one of the most controversial subjects in contemporary literature.
This book focuses on spirit possession and its role in the lives and experiences of rural Tamil women in South India.
In the 1960s and 70s, a new youth consciousness emerged in Western Europe which gave this period its distinct character. This volume demonstrates how international developments fused with national traditions, producing specific youth cultures that became leading trendsetters of emergent post-industrial Western societies.
Exploring the relationship between crime, law and popular culture in Europe from the 16th century onwards, this title looks at how crime was understood and dealt with by ordinary people, as well as looking at to what degree official law and the criminal justice system was rejected as a means of dealing with criminal activity.
This collection of essays takes on two of the most pressing questions that face the discipline of Comparative Literature today: “Why compare?” and “Where do we go from here?”. At a difficult economic time, when universities all over the world once again have to justify the social as well as academic value of their work, it is crucial that we consider the function of comparison itself in reaching across disciplinary and cultural boundaries. The essays written for this book are by researchers from all over the world, and range in topic from the problem of translating biblical Hebrew to modern atheism, from Freud to Marlene van Niekerk, from the formation of one person’s identity to experiences of globalisation, and the relation of history to fiction. Together they display the ground-breaking, ideas which lie at the heart of an act as deceptively simple as comparing one piece of writing to another.
Scholars of state socialism have frequently invoked “nostalgia” to identify an uncritical longing for the utopian ambitions and lived experience of the former Eastern Bloc. However, this concept seems insufficient to describe memory cultures in the Czech Republic and other contexts in which a “retro” fascination with the past has proven compatible with a steadfast critique of the state socialist era. This innovative study locates a distinctively retro aesthetic in Czech literature, film, and other cultural forms, enriching our understanding of not only the nation’s memory culture, but also the ways in which popular culture can structure collective memory.
The main purpose of this volume is to look into a wide spectrum of artistic ventures which provoke, challenge habitual thinking, and cross boundaries. The essays offer a truly interdisciplinary perspective and deal with creative acts of transgression from a broad range of fields: literature, theatre, visual art, film, and others.