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The Explicit Body in Performance interrogates the avant-garde precedents and theoretical terrain that combined to produce feminist performance art. Among the many artists discussed are: * Carolle Schneemann * Annie Sprinkle * Karen Finley * Robbie McCauley * Ana Mendieta * Ann Magnuson * Sandra Bernhard * Spiderwoman Rebecca Schneider tackles topics ranging across the 'post-porn modernist movement', New Right censorship, commodity fetishism, perspectival vision, and primitivism. Employing diverse critical theories from Benjamin to Lacan to postcolonial and queer theory, Schneider analyses artistic and pop cultural depictions of the explicit body in late commodity capitalism. The Explicit Body in Performance is complemented by extensive photographic illustrations and artistic productions of postmodern feminist practitioners. The book is a fascinating exploration of how these artists have wrestled with the representational structures of desire.
For better or worse, pornography and sexual representation suffuse American culture. This first comprehensive guide to the literature includes the history of pornography in the United States and discusses pornography in a vast range of media. It presents information regarding bibliographies and reference tools concerning pornography and reviews of references devoted to the histories of sexuality and its representations and on theoretical works on erotica and pornography. A chronology of important dates in the history of American Pornography and a discussion of child pornography outline issues and events throughout its history. Dramatic, visual, and electronic media are gathered and arranged by topic. Pornography in all of its forms is explored in this three volume reference. Slade includes many avenues upon which pornography and sexual representation have had an impact including research and policy in the medical and social sciences, the law in the United States, and the economics of pornography. An invaluable tool for further research, this guide to the literature of pornography and sexual representation will appeal to scholars and students of popular culture, gender and women's studies, and gay and lesbian studies. It will also interest those in the field of American history and mass media.
Dance and literary studies have traditionally been at odds: dancers and dance critics have understood academic analysis to be overly invested in the mind at the expense of body signification; literary critics and theorists have seen dance studies as anti-theoretical, even anti-intellectual. Bodies of the Text is the first book-length study of the interconnections between the two arts and the body of writing about them. The essays, by scholar-critics of dance and literature, explore dances actual and fictional to offer powerful new insights into issues of gender, race, ethnicity, popular culture, feminist aesthetics, historical "embodiment," identity politics, and narrativity. The general introduction traces the genealogy of dance studies in the academy to suggest why critical and theoretical attention to dance--and dance's challenges to writing--is both compelling and overdue. A milestone in interdisciplinary studies, Bodies of the Text opens both its fields to new inquiry, new theoretical precision, and to new readers and writers.
This ain't no Dreamgirls," Rhodessa Jones warns participants in the Medea Project, the theater program for incarcerated women that she founded and directs. Her expectations are grounded in reality, tempered, for example, by the fact that women are the fastest growing population in U.S. prisons. Still, Jones believes that by engaging incarcerated women in the process of developing and staging dramatic works based on their own stories, she can push them toward tapping into their own creativity, confronting the problems that landed them in prison, and taking control of their lives. Rena Fraden chronicles the collaborative process of transforming incarcerated women's stories into productions that incorporate Greek mythology, hip-hop music, dance, and autobiography. She captures a diverse array of voices, including those of Jones and other artists, the sheriff and prison guards, and, most vividly, the women themselves. Through compelling narrative and thoughtful commentary, Fraden investigates the Medea Project's blend of art and activism and considers its limits and possibilities for enacting social change. Rhodessa Jones is co-artistic director of the San Francisco-based performance company Cultural Odyssey and founder of the Medea Project: Theater for Incarcerated Women. An award-winning performer, she has taught at the Yale School of Drama and the New College of California.
What happens when the shock of artistic transgression wears off, when scandal dissipates, when outrage becomes a tired routine? In this original new book, Theo Reeves-Evison argues that transgressive art no longer succeeds on its own terms in societies where language, prohibition and morality have become increasingly malleable. This compels us to rethink the relationship between contemporary art and ethics, and focus our attention on the potential of artworks to propose new values rather than simply challenge pre-existing moral codes. Assembling a novel theoretical framework from the writings of Félix Guattari, Jacques Lacan and others, Ethics of Contemporary Art narrates a journey away from transgression towards a new critical paradigm for the relationship between ethics and aesthetics that places questions of subjectivity centre stage. Along the way artworks by Kader Attia, Artur Zmijewski, Dora Garcia and others serve as springboards launching discussions of the varied pathways along which a renewed ethics of contemporary art might develop.
This book provides a critical reappraisal of Barbara Creed’s ground-breaking work of feminist psychoanalytic film scholarship, The Monstrous-Feminine, which was first published in 1993. The Monstrous-Feminine married psychoanalytic thinking with film analysis in radically new ways to provide an invaluable corrective to conventional approaches to the study of women in horror films, with their narrow emphasis on woman’s victimhood. This volume, which will mark 25 years since the publication of The Monstrous-Feminine, brings together essays by international scholars working across a variety of disciplines who take up Creed’s ideas in new ways and fresh contexts or, more broadly, explore possible futures for feminist and/or psychoanalytically informed art history and film theory.