Performance art Books
New York University Press Falling Floating Flickering
Book SynopsisInsists on the importance of embodiment and movement to the creation of Black socialityLinking African diasporic performance, disability studies, and movement studies, Falling, Floating, Flickering approaches disability transnationally by centering Black, African, and diasporic experiences. By eschewing capital's weighted calculus of which bodies hold value, this book centers alternate morphologies and movement practices that have previously been dismissed as abnormal or unrecognizable. To move beyond binaries of ability, Hershini Bhana Young traverses multiple geohistories and cultural forms stretching from the United States and the Mediterranean to Sierra Leone, Nigeria, and South Africa, as well as independent and experimental film, novels, sculptures, images, dance, performances, and anecdotes. In doing so, she argues for the importance of differential embodiment and movement to the creation and survival of Black sociality, and refutes stereotypic notioTrade ReviewA stellar work of scholarship. Young is fearless in her questions and generous in her thinking, providing readers with the tools to imagine, critique, and speculate alongside her. She powerfully demonstrates the necessity of reading disability in context and transforms our understandings of disability and performance. * Alison Kafer, author of Feminist, Queer, Crip *Falling, Floating, Flickering demonstrates that Black sociality emerges from and can be reconsidered by foregrounding differential embodiment. Throughout the book, moments of tension, moving through rich theoretical ideas and difficult lived and performed embodiments, are followed by moments of relief, where Hershini Bhana Young offers not simply places to rest, but places to be invigorated. Reading this work is incredibly pleasurable, and I am grateful for its clarity and capaciousness. * Keguro Macharia, author of Frottage: Frictions of Intimacy across the Black Diaspora *
£23.74
New York University Press Disability Works
Book Synopsis
£62.90
New York University Press Disability Works
Book Synopsis
£22.49
University of Minnesota Press This Is Not My World: Art and Public Space in
Book SynopsisA close-up history of the Yugoslav artists who broke down the boundaries between public and private In the decades leading up to the dissolution of socialist Yugoslavia, a collective of young artists based in Zagreb took to using the city’s public spaces as a platform for radical individual expression. This Is Not My World presents a detailed account of the Group of Six Authors and their circle in the prolific and experimental period from 1975 to 1985, highlighting the friction between public and private that underlied their innovative practices. Looking to circumvent the rigid bureaucracy of official art institutions, this freewheeling group of conceptual artists and their peers brought artistic activities directly to an unwitting public by staging provocative performances, exhibiting artworks, and interacting with passersby on the streets. Exploring artworks such as Vlasta Delimar’s act of tying herself to a tree in a busy pedestrian area, Željko Jerman’s production of a giant banner declaring “Intimate Inscription” in the city’s central square, and Vlado Martek’s creation of an artwork on a seaside beach using women’s underwear, Adair Rounthwaite examines the work of these artists as a site of tension between the intimacy of artistic expression and the political structure of the public sphere under state socialism. Whereas many histories of modern and contemporary art in formerly socialist countries tend to be dominated by discussions of ideology and resistance, This Is Not My World focuses its attention on the affective aspects of the group’s activities, using artist interviews and extensive documentation to bring the reader closer to the felt experience of their public interventions. Situating the group’s work within the context of broader developments in conceptualism and theories of the avant-garde, Rounthwaite provides a fresh consideration and newly detailed account of this marginalized episode in global art history. Trade Review "This Is Not My World is a highly original take on the Zagreb experimental art scene of the 1970s. While studiously situating the practices of the Group of Six Authors in their cultural–political context, Adair Rounthwaite’s remarkable achievement is to simultaneously snatch them away from this context and open them up to concepts and readings that make them relevant beyond the frameworks of Yugoslav and East European art history."—Ivana Bago, independent scholar "This Is Not My World is not just a detailed account of the work of the Group of Six Authors but a response to it. As experimental in its scholarship as its subjects were in their artmaking, this book is poised to make an important critical and methodological intervention in the recent turn toward ‘global’ art histories."—Branislav Jakovljević, author of Alienation Effects: Performance and Self-Management in Yugoslavia, 1945–91
£23.39
Fordham University Press Transmedial Resonance
£86.02
New Village Press Meeting the Moment: Socially Engaged Performance,
Book SynopsisThe experiences of a diverse range of progressive theater and performance makers in their own words. Curated stories from over 75 interviews and informal exchanges offer insight into the field and point out limitations due to discrimination and unequal opportunity for performance artists in the United States over the past 55 years. In this work, performers, often unknown beyond their immediate audience, articulate diverse influences. They also reflect on how artists are educated and supported, what content is deemed valuable and how it is brought to bear, as well as which audiences are welcome and whether cross-community exchange is encouraged. The book’s voices bring the reader from 1965 through the first wave of the covid-19 pandemic in 2020. They point to more diverse and inclusive practices and give hope for the future of the art.
£64.00
Arc Humanities Press Caroline Bergvall’s Medievalist Poetics:
Book Synopsis
£120.00
Liverpool University Press Jewish–Muslim Interactions: Performing Cultures
Book SynopsisBy exploring dynamic Jewish-Muslim interactions across North Africa and France through performance culture in the 20th and 21st centuries, we offer an alternative chronology and lens to a growing trend in media and scholarship that views these interactions primarily through conflict. Our volume interrogates interaction that crosses the genres of theatre, music, film, art, and stand-up, emphasising creative influence and artistic cooperation between performers from the Maghrib, with a focus on Algeria, Tunisia, Morocco, and diaspora communities, notably in France. The plays, songs, films, images, and comedy sketches that we analyse are multilingual, mixing not only with the former colonial language French, but also the rich diversity of indigenous Amazigh and Arabic languages. The volume includes contributions by scholars working across and beyond disciplinary boundaries through anthropology, ethnomusicology, history, sociology, and literature, engaging with postcolonial studies, memory studies, cultural studies, and transnational French studies. The first section examines accents, affiliations, and exchange, with an emphasis on aesthetics, familiarity, changing social roles, and cultural entrepreneurship. The second section shifts to consider departure and lingering presence through spectres and taboos, in its exploration of absence, influence, and elision. The volume concludes with an autobiographical afterword, which reflects on memories and legacies of Jewish-Muslim interactions across the Mediterranean. Contributors: Cristina Moreno Almeida, Jamal Bahmad, Adi Saleem Bharat, Aomar Boum, Morgan Corriou, Ruth Davis, Samuel Sami Everett, Fanny Gillet, Jonathan Glasser, Miléna Kartowski-Aïach, Nadia Kiwan, Hadj Miliani, Vanessa Paloma Elbaz, Elizabeth Perego, Christopher Silver, Rebekah Vince, Valérie ZenattiTrade Review"This collection dances off the page, with a series of engaging, accessible, insightful essays on the many ways in which Jewish and Muslim artists and performers from North Africa engaged (and continue to engage) with one another creatively, through comedy, art, film, theater, and music, from the colonial period to the present day."Sarah Abrevaya Stein, UCLA"Excellent ouvrage appelé à faire date. Savamment argumenté et novateur, il bouscule intelligemment des schèmes et des préjugés fossilisés. Les éclairages qu'il apporte sur les relations entre Juifs et Musulmans, oubliées ou occultées, sont pertinents et vivifiants. La mise en évidence, solidement argumentée et nuancée, de leurs affinités artistiques, culturelles et autres, va à contre-courant de l'approche conflictuelle habituelle de leurs interactions. Ce livre a l'immense mérite de sortir des sentiers battus et d'ouvrir de stimulantes perspectives de recherches. A l'ère des extrêmes et du déferlement du populisme, sa lecture s'impose absolument." - Mohammed Kenbib, Université Mohammed V de Rabat [Original quote]"A landmark volume that skilfully and innovatively disrupts fossilized schemas and prejudices through its arguments. The insights that it brings to bear on Jewish-Muslim relations, hitherto obfuscated or forgotten, are pertinent and restorative. Its elucidation of artistic and cultural affinities, convincingly argued and with great nuance, serves as a counterpoint to the more commonplace narrative of conflict when it comes to such interactions. This book is particularly noteworthy as it takes us off the beaten track and opens up stimulating avenues for research. In an era of extremes and a surge in populism it is a must read." - Mohammed Kenbib, Université Mohammed V de Rabat [English translation]"Quand les arts et la création artistique racontent les relations des juifs et des musulmans, ils offrent, alors, au lecteur les échos vibrants d'une histoire partagée dont les héritages résonnent encore aujourd'hui. C'est le défi relevé par les auteurs de cet ouvrage, affranchis des paradigmes politiques et idéologiques, et qui entre passé et présent renouent avec une histoire qui n'existe plus." - Karima Dirèche, CNRS TELEMME [Original quote]"When the creative and performing arts recount relations between Jews and Muslims, they offer to the reader vibrant echoes of a shared history whose legacies continue to resound today. Such is the challenge taken up by the authors of this volume who, free from political and ideological paradigms, reconnect with a forgotten history, somewhere between past and present." - Karima Dirèche, CNRS TELEMME [English translation]"A fascinating, eminently readable collection of essays documenting the dynamic, creative, and surprisingly close collaboration between Muslims and Jews in all domains of the performing arts in the Maghreb and in France from the 1920s to the contemporary post-independence period. In this collection, we encounter a colourful gallery of artists, authors, producers – both Muslims and Jews – who together entertained generations of mixed audiences with theatre plays in vernacular Arabic, cabaret performances, concerts, films, and comic one-man shows.This volume offers us a welcome and timely antidote to the feeling of complete deterioration of the relations between Jews and Muslims in recent decades."Professor Lucette Valensi, École des hautes études en sciences sociales'In brief, this is an exciting and much needed contribution to intercommunal religious studies in North Africa and France. …Scholars in art, music, theater and film will undoubtedly applaud the incontestable demonstration that the arts deeply matter in history and geopolitics.' Tamara Dee Turner, The Journal of North African Studies Table of ContentsAcknowledgements Introduction Samuel Sami Everett and Rebekah Vince I. Accents, Affiliations, and Exchange Albert Samama, a Tunisian Filmmaker in the Ottoman Empire at War (1911–1913) Morgan Corriou Translated by David Motzafi-Haller More than Friends? On Muslim-Jewish Musical Intimacy in Algeria and Beyond Jonathan Glasser Nationalist Records: Jews, Muslims, and Music in Interwar North Africa Christopher Silver Marie Soussan: A Singular Trajectory Hadj Miliani and Samuel Sami Everett Retelling the Jewish Past in Tunisia through Narratives of Popular Song Ruth F. Davis ‘Free, but United’? Artistic and Political Issues of Intercommunal Solidarity in Tunisia and Algeria, 1940–1960 Fanny Gillet Translated by David Motzafi-Haller II. Absence, Influence, and Elision Neglected Legacies: Omissions of Jewish Heritage and Muslim-Jewish Relations in Algerian Bandes Dessinees, 1967 through the 1980s Elizabeth Perego Forgotten Encounters: Sounds of Coexistence in Moroccan Rap Music Cristina Moreno Almeida Unmuted Sounds: Jewish Musical Echoes in Twenty-first Century Moroccan and Israeli Soundscapes Aomar Boum Connecting the Disconnect: Music and its Agency in Moroccan Cinema’s Jewish-Muslim Interactions Vanessa Paloma Elbaz Jerusalem Blues: On the Uses of Affect and Silence in Kamal Hachkar’s Tinghir-Jerusalem: Les echos du Mellah (2012) Jamal Bahmad A Newfound Voice from across the Mediterranean: Kamal Hachkar’s Dans tes yeux, je vois mon pays (2019) Milena Kartowski-Aiach Translated by David Motzafi-Haller Creative Coexistence or Creative Co-resistance? Transcultural Complexity in the Work of Street Artist ‘Combo’ Nadia Kiwan Shalom alikoum! Challenging the Conflictual Model of Jewish-Muslim Relations in France through Stand-up Comedy Adi Saleem Bharat Post-face Valerie Zenatti Afterword - Translated by Samuel Sami Everett About the Contributors Index
£29.99
Arlen House Fear Not
Book SynopsisPoet Stephen James Smith's sympathies lie with the addicted and the convicted, often responding to what he finds on life's margins. His sharp-edged forceful language derives from his gifts as a performance poet and his fearlessness in looking into the eye of his subject matter. His poems get their charge, as well as their shape and substance, from his use of demotic rhythms, the vividness of his vernacular and his emotional directness.
£19.76
Boydell & Brewer Ltd The Multimedia Works of Contemporary Latin
Book SynopsisIn contemporary Latin America, an emerging crosscurrent of pioneering female writers and artists with an interest in transgressing traditional boundaries of genre, media, gender and nation are using their work to voice dissent against pressing social issues including neo-liberal consumerism, environmental degradation, mass migration and gender violence.Table of ContentsList of Illustrations List of Contributors Acknowledgements INTRODUCTION: A Crosscurrent of Contemporary Latin American Women Multimedia Artists and Writers, S.E.L. Bowskill and J.E. Lavery CHAPTER 1: The Transliterary: The Novel and Other Multimedia Horizons Beyond (and Close to) the Textual, Ana Clavel CHAPTER 2: Commentary on Fe/males: Sieges of the Post Human (Transmedia Installation), Eugenia Prado Bassi CHAPTER 3: An Anthropaphagic Ch'ixi Poetics, Eli Neira CHAPTER 4: My Relationship with Artistic Creation Began with Words, Regina José Galindo CHAPTER 5: imagetext, Carla Faesler CHAPTER 6: Voices/Bodies, Mónica Nepote CHAPTER 7: Redefining Meaning: The Interweaving of the Visual and Poetic, Pilar Acevedo CHAPTER 8: The Territory is Home, Gabriela Golder and Mariela Yeregui CHAPTER 9: Reflections on a Multimedia Practice, Jacalyn Lopez Garcia CHAPTER 10: Digital Weaving, Lucia Grossberger Morales CHAPTER 11: Eli Neira, Regina José Galindo and Ana Clavel: "Polluting" Corporealities and Intermedial/Transliterary Crossings, Jane E. Lavery CHAPTER 12: The Digital Condition: Subjectivity and Aesthetics in "Fe/males" by Eugenia Prado Bassi, Carolina Gainza CHAPTER 13: The Transmedia, Post-Medium, Postnational and Nomadic Projects of Pilar Acevedo, Rocío Cerón and Mónica Nepote, Sarah E.L. Bowskill CHAPTER 14: The Art of the Hack: Poets Carla Faesler and Mónica Nepote and Booktuber Fátima Orozco, Emily Hind CHAPTER 15: The Places of Pain: Intermedial Mode and Meaning in Via Corporis by Pura López Colomé and Geografía de dolor by Monica González, Nuala Finnegan CHAPTER 16: Words, Memory and Space in Intermedial Works by Gabriela Golder and Mariela Yeregui, Claudia Kozak CHAPTER 17: Fungibility and the Intermedial Poem: Ana María Uribe, Belén Gache and Karen Villeda, Debra Ann Castillo CHAPTER 18: Hypertext and Biculturality in Two Autobiographical Hypermedia Works by Latina Artists Lucia Grossberger Morales and Jacalyn Lopez Garcia, Thea Pitman CHAPTER 19: Dialogues Across Media: The Creation of (New?) Hybrid Genres by Belén Gache and Marina Zerbarini, Claire Taylor Bibliography Index
£80.75
Rutgers University Press Speaking Truths: Young Adults, Identity, and
Book SynopsisThe twenty-first century is already riddled with protests demanding social justice, and in every instance, young people are leading the charge. But in addition to protesters who take to the streets with handmade placards are young adults who engage in less obvious change-making tactics. In Speaking Truths, sociologist Valerie Chepp goes behind-the-scenes to uncover how spoken word poetry—and young people’s participation in it—contributes to a broader understanding of contemporary social justice activism, including this generation’s attention to the political importance of identity, well-being, and love. Drawing upon detailed observations and in-depth interviews, Chepp tells the story of a diverse group of young adults from Washington, D.C. who use spoken word to create a more just and equitable world. Outlining the contours of this approach, she interrogates spoken word activism’s emphasis on personal storytelling and “truth,” the strategic uses of aesthetics and emotions to politically engage across difference, and the significance of healing in sustainable movements for change. Weaving together their poetry and personally told stories, Chepp shows how poets tap into the beautiful, emotional, personal, and therapeutic features of spoken word to empathically connect with others, advance intersectional and systemic analyses of inequality, and make social justice messages relatable across a diverse public. By creating allies and forging connections based on friendship, professional commitments, lived experiences, emotions, artistic kinship, and political views, this activist approach is highly integrated into the everyday lives of its practitioners, online and face-to-face. Chepp argues that spoken word activism is a product of, and a call to action against, the neoliberal era in which poets have come of age, characterized by widening structural inequalities and increasing economic and social vulnerability. She illustrates how this deeply personal and intimate activist approach borrows from, builds upon, and diverges from previous social movement paradigms. Spotlighting the complexity and mutual influence of modern-day activism and the world in which it unfolds, Speaking Truths contributes to our understanding of contemporary social change-making and how neoliberalism has shaped this political generation’s experiences with social injustice.Trade Review"This beautifully written work deftly interweaves vignettes and poems to illustrate the culture of spoken word in meticulous detail." -- Jerusha O. Conner * author of The New Student Activists: The Rise of Neoactivism on College and University Campuses. *"In this timely and deeply incisive investigation of poet-activists in Washington, D.C., Chepp illuminates the capacity of spoken word to transcend single-axis identity politics and create visionary, intersectional coalitions." -- Patrick Ryan Grzanka * Editor of Intersectionality: Foundations and Frontiers *"Valerie Chepp’s Speaking Truths beautifully adds to the growing literature on poetry slams, spoken word, and their surrounding communities. By exploring young poets as social justice activists, Chepp reminds us of the arts' undying capacity to imagine and build new, just, and more equitable worlds. Speaking Truths is a necessary offering in the burgeoning sub field of slam and spoken word studies." -- Javon Johnson * author of Killing Poetry: Blackness and the Making of Slam and Spoken Word Communities *New Books Network: New Books in Popular Culture interview with Valerie Chepp * New Books Network: New Books in Popular Culture *"This beautifully written work deftly interweaves vignettes and poems to illustrate the culture of spoken word in meticulous detail." -- Jerusha O. Conner * author of The New Student Activists: The Rise of Neoactivism on College and University Campuses. *"In this timely and deeply incisive investigation of poet-activists in Washington, D.C., Chepp illuminates the capacity of spoken word to transcend single-axis identity politics and create visionary, intersectional coalitions." -- Patrick Ryan Grzanka * Editor of Intersectionality: Foundations and Frontiers *"Valerie Chepp’s Speaking Truths beautifully adds to the growing literature on poetry slams, spoken word, and their surrounding communities. By exploring young poets as social justice activists, Chepp reminds us of the arts' undying capacity to imagine and build new, just, and more equitable worlds. Speaking Truths is a necessary offering in the burgeoning sub field of slam and spoken word studies." -- Javon Johnson * author of Killing Poetry: Blackness and the Making of Slam and Spoken Word Communities *New Books Network: New Books in Popular Culture interview with Valerie Chepp * New Books Network: New Books in Popular Culture *"Speaking Truths provides a nuanced examination of the inner workings of spoken word activism, draws clear connections to a diverse body of sociological theory, and perhaps most importantly, firmly situates creative activism as a meaningful form of social justice work." -- Julie Gouweloos * Mobilization *Table of ContentsList of Tables Preface 1 Spoken Word Activism: Young Adults and Social Justice in the Age of Neoliberalism 2 Spinning Stories from Words Got Spit: Researching a Verbal Arts Community 3 Speaking Truths: Experiential Knowledge, Embodied Testimony, and Activist Storytelling 4 Creative Politics: Art, Justice, and Empathic Possibilities 5 Healing Justice: The Politics of Healthy Selves and Communities 6 #Activism and Beyond: Sustainability and Social Change in a Digital World 104 7 Intersectionality as Activist Strategy: Toward a New Identity Politics Appendix A: Doing Ethnographic Research in the Era of Social Media Appendix B: Core Sample by Venue Participation Acknowledgments Notes Bibliography Index
£55.25
Rutgers University Press Caribes 2.0: New Media, Globalization, and the
Book SynopsisIn Caribes 2.0, author Jossianna Arroyo looks at the Caribbean mediasphere in the twenty-first century. Arroyo argues that we have seen a return to tropes such as blackface, brownface, cultural and ethnic stereotypes, and violent representations of the poor, the marginalized, and the racialized. Caribes 2.0 looks at these tropes as well as the work of writers, vloggers, performers, and photographers that have become media figures or have used new media platforms to promote their work and examines how they are challenging and negotiating these media representations. It analyzes contemporary Caribbean cultures to discuss, taste, guides, and actions (social and virtual) that shape Caribbean global communities today. Departing from Edouard Glissant’s insight that “Caribbean reality might not be accessed by remote control” the book considers what types of political and social agencies are created by mediation. Caribes 2.0 deviates from these historical-globalized views of subjected, colonized Caribbean bodies, and their material conditions, to examine the relationship between the local and the global in contemporary Caribbean cultures, and the role that media is playing in the invisibility or hyper-visibilty of Caribbean cultures in the islands and the U.S. diaspora. Trade Review"Jossianna Arroyo offers a magistral deconstruction of 21st-century forms of necropolitics insidiously wielded via Twitter, Youtube, Instagram, Facebook, TikTok, and other digital platforms; television; and literary and cinematic production. With sophisticated straightforwardness, Arroyo compels us to critically look at the too-familiar imagery accompanying the invention and reproduction of Caribbean otherness across centuries and nations." -- Odette Casamayor-Cisneros * associate professor of Latin American and Caribbean Literatures and Cultures, University of Pennsylv *“Caribes 2.0 offers canny insight into the logics of visibility, performance and politics that blossom in the mediascapes of a globalized Caribe. Refusing easy takes, the book tracks the afterlives of slavery and ongoing anti-Black racism as they morph and reassemble in twenty-first-century Caribbean media. Moving seamlessly between TikTok and Televisa, Santo Domingo and Orlando, Arroyo offers fascinating readings of what 'viral' racial images and outlaw performativity reveal about neoliberal codes for self-making—and their refusal.” -- Rachel Price * associate professor of Spanish and Portuguese, Princeton University *Table of Contents 1 Caribbean Mediascapes: After the Image 2 Enacting Others: Blackface, Brownface, and Caribbean Selves 3 Ratchetness and Vlogging the Self 4 Cities of the Dead: Performing Life in the Caribbean 5 Indebted Citizenships and Afterlives of Disaster Acknowledgments Notes Works Cited Index
£107.20
Rutgers University Press King of Hearts: Drag Kings in the American South
Book SynopsisWhile drag subcultures have gained mainstream media attention in recent years, the main focus has been on female impersonators. Equally lively, however, is the community of drag kings: cis women, trans men, and non-binary people who perform exaggerated masculine personas onstage under such names as Adonis Black, Papi Chulo, and Oliver Clothesoff. King of Hearts shows how drag king performers are thriving in an unlikely location: Southern Bible Belt states like Tennessee, Georgia, and South Carolina. Based on observations and interviews with sixty Southern drag kings, this study reveals how they are challenging the region’s gender norms while creating a unique community with its own distinctive Southern flair. Reflecting the region’s racial diversity, it profiles not only white drag kings, but also those who are African American, multiracial, and Hispanic. Queer scholar Baker A. Rogers—who has also performed as drag king Macon Love—takes you on an insider’s tour of Southern drag king culture, exploring its history, the communal bonds that unite it, and the controversies that have divided it. King of Hearts offers a groundbreaking look at a subculture that presents a subversion of gender norms while also providing a vital lifeline for non-gender-conforming Southerners.Trade Review"If you live on the fringe of society and challenge its most predominant norm, the majority isn't going to tell your story, or frankly, even know you exist. It's up to us to tell our own stories and Roger's brilliant book does just that. They share their story as well as the unique experience of Southeastern drag kings. They're taking up space, showcasing a specific demographic, and leading the way for others. The Kings have come."— Murray Hill, New York City drag king and comedian "King of Hearts is a readable and accessible adventure in the world of drag kinging, gender bending, and transmasculine life in the South. The author locates the spectacular performances of these drag kings within the place where they live and the rich history of drag kinging in the American South. If you are interested in being a drag king, understanding shows, or expanding your ideas about gender and sexuality, this is the book for you."— Amy L. Stone, author of Cornyation: San Antonio's Outrageous Fiesta TraditionTable of ContentsIntroduction Chapter 1: History of Drag Kinging in the Southeastern United States Chapter 2: Drag Kinging at the Intersections of Identities Chapter 3: Drag Kinging as a Resource for Everyday Life Chapter 4: Controversies in the Drag King Community Conclusion Acknowledgments Appendix A: Demographics Table Appendix B: My Queer Methodology References Index
£21.59
Rutgers University Press King of Hearts: Drag Kings in the American South
Book SynopsisWhile drag subcultures have gained mainstream media attention in recent years, the main focus has been on female impersonators. Equally lively, however, is the community of drag kings: cis women, trans men, and non-binary people who perform exaggerated masculine personas onstage under such names as Adonis Black, Papi Chulo, and Oliver Clothesoff. King of Hearts shows how drag king performers are thriving in an unlikely location: Southern Bible Belt states like Tennessee, Georgia, and South Carolina. Based on observations and interviews with sixty Southern drag kings, this study reveals how they are challenging the region’s gender norms while creating a unique community with its own distinctive Southern flair. Reflecting the region’s racial diversity, it profiles not only white drag kings, but also those who are African American, multiracial, and Hispanic. Queer scholar Baker A. Rogers—who has also performed as drag king Macon Love—takes you on an insider’s tour of Southern drag king culture, exploring its history, the communal bonds that unite it, and the controversies that have divided it. King of Hearts offers a groundbreaking look at a subculture that presents a subversion of gender norms while also providing a vital lifeline for non-gender-conforming Southerners.Trade Review"If you live on the fringe of society and challenge its most predominant norm, the majority isn't going to tell your story, or frankly, even know you exist. It's up to us to tell our own stories and Roger's brilliant book does just that. They share their story as well as the unique experience of Southeastern drag kings. They're taking up space, showcasing a specific demographic, and leading the way for others. The Kings have come." -- Murray Hill * New York City drag king and comedian *"King of Hearts is a readable and accessible adventure in the world of drag kinging, gender bending, and transmasculine life in the South. The author locates the spectacular performances of these drag kings within the place where they live and the rich history of drag kinging in the American South. If you are interested in being a drag king, understanding shows, or expanding your ideas about gender and sexuality, this is the book for you." -- Amy L. Stone * author of Cornyation: San Antonio's Outrageous Fiesta Tradition *"If you live on the fringe of society and challenge its most predominant norm, the majority isn't going to tell your story, or frankly, even know you exist. It's up to us to tell our own stories and Roger's brilliant book does just that. They share their story as well as the unique experience of Southeastern drag kings. They're taking up space, showcasing a specific demographic, and leading the way for others. The Kings have come." -- Murray Hill * New York City drag king and comedian *"King of Hearts is a readable and accessible adventure in the world of drag kinging, gender bending, and transmasculine life in the South. The author locates the spectacular performances of these drag kings within the place where they live and the rich history of drag kinging in the American South. If you are interested in being a drag king, understanding shows, or expanding your ideas about gender and sexuality, this is the book for you." -- Amy L. Stone * author of Cornyation: San Antonio's Outrageous Fiesta Tradition *Table of ContentsIntroduction Chapter 1: History of Drag Kinging in the Southeastern United States Chapter 2: Drag Kinging at the Intersections of Identities Chapter 3: Drag Kinging as a Resource for Everyday Life Chapter 4: Controversies in the Drag King Community Conclusion Acknowledgments Appendix A: Demographics Table Appendix B: My Queer Methodology References Index
£55.25
Rutgers University Press Neo-Burlesque: Striptease as Transformation
Book SynopsisThe neo-burlesque movement seeks to restore a sense of glamour, theatricality, and humor to striptease. Neo-burlesque performers strut their stuff in front of audiences that appreciate their playful brand of pro-sex, often gender-bending, feminism. Performance studies scholar and acclaimed burlesque artist Lynn Sally offers an inside look at the history, culture, and philosophy of New York’s neo-burlesque scene. Revealing how twenty-first century neo-burlesque is in constant dialogue with the classic burlesque of the nineteenth and twentieth centuries, she considers how today’s performers use camp to comment on preconceived notions of femininity. She also explores how the striptease performer directs the audience’s gaze, putting on layers of meaning while taking off layers of clothing. Through detailed profiles of iconic neo-burlesque performers such as Dita Von Teese, Dirty Martini, Julie Atlas Muz, and World Famous *BOB*, this book makes the case for understanding neo-burlesque as a new sexual revolution. Yet it also examines the broader community of “Pro-Am” performers who use neo-burlesque as a liberating vehicle for self-expression. Raising important questions about what feminism looks like, Neo-Burlesque celebrates a revolutionary performing art and participatory culture whose acts have political reverberations, both onstage and off.Trade Review"A thorough exploration of the genre, Lynn Sally's insightful Neo-Burlesque: Striptease as Transformation has earned its place on the shelf of every neo-burlesque academic.” -- Dita Von Teese * author of Burlesque and the Art of the Teese/Fetish and the Art of the Teese *"A smart, feminist tour de force that strips away the stigmas, social, and legal bullshit surrounding burlesque, and gets down to the nitty-gritty of this sacred art form and the potentially deeply inspiring experience it holds for performers and audience alike. A must read for anybody interested in dance, art, and sexy fun." -- Annie Sprinkle and Beth Stephens * artists and authors of Assuming the Ecosexual Position *"With the deft eye of a performer-turned-ethnographer, Lynn Sally provides an insider’s account of the history and stakes of burlesque performance. Indeed, Neo-Burlesque demonstrates that underneath the performer’s coy wink, tuck, and flash lie a matrix of political entanglements that inform how gender, power, and sexuality shape our society’s engagement with popular entertainment." -- E. Patrick Johnson * author of Honeypot: Black Southern Women Who Love Women *"Lynn Sally taps her secret history as a burlesque dancer as well as multiple histories of the performing female body in this dazzling study of contemporary burlesque’s cultural meanings. Smart, funny, and moving, Sally's stories and insights will make you rethink this art form and the women who participate in it." -- Linda Mizejewski * author of Ziegfeld Girl: Image and Icon in Culture and Cinema *"Artist-scholar Lynn Sally shines a spotlight on some of the most iconic neo-burlesque performers of the past two decades. A rich addition to the field of striptease studies, Neo-Burlesque deftly reveals how 'unruly' and 'awarish' women creatively and critically interrogate their own construction through the wit of a knowing wink." -- Dr. Sherril Dodds * Professor of Dance at Temple University and editor of The Bloomsbury Companion to Dance Studies *"Neo-Burlesque is an impassioned manifesto for the transformative power of burlesque performance. Sally engages her insider perspective to document and theorize how neo-burlesque performers are remaking gender, sexuality, beauty, and feminist politics through the art of the striptease." -- Jillian Hernandez * author of Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment *"Theoretically sophisticated, rigorously researched, and written with confidence and ease, Neo-Burlesque: Striptease as Transformation takes aim at blind spots in academic approaches to sexuality, the female body and the boundaries between high and low cultures. Sally uses case studies enriched by her own experience as a stripper to argue for the radical potential of neo-burlesque. At the same time, she brings a critical eye to its failures to disentangle race from the cultural ideals of femininity and female beauty that neo-burlesque put—literally—on stage. Sally makes a bold and important contribution to the growing body of scholarship on unruly, 'nasty' women who, with fearlessness and wit, insist on not only being heard but also seen. An engrossing and eye-opening read!" -- Kathleen Rowe Karlyn * founding director of the Cinema Studies program and professor emerita at the University of Oregon and author of The Unruly Woman: Gender and the Genres of Laughter *"Through interviews with performers and descriptive analyses of their acts, Sally characterizes burlesque as a complex practice with interesting historical underpinnings and unexpected contemporary manifestations. It is truly special to read an academic book where the author ensures that its primary subjects—burlesque performers—get to define, in their own words, what they are doing and why. An engaging read that builds toward a more holistic understanding of burlesque." -- Meredith Heller * author of Queering Drag: Redefining the Discourse of Gender-Bending *"Lynn Sally has written the account of record of the germination of the Neo Burlesque movement. Her perspective has been formed through her insider position as a performer, producer and emcee, giving her the authority to name the key contributions that the Neo Burlesque movement has made to feminism, politics, sexuality, and gender. This inclusive account of burlesque history will be enjoyed by burlesque audiences and scholars of performance and feminism. It is a book you will want to read cover to cover." -- Dr. Alison J. Carr * artist and author of Viewing Pleasure and Being a Showgirl: How Do I Look? *"Dr. Lynn Sally shares an essential insider’s view of an individualistic performing art and how it combines nostalgia and irony to comment on current events. Entertaining and academically diligent, this book connects all the dots between feminism and fun." -- Jo Weldon * founder of The New York School of Burlesque and author of Fierce: The History of Leopard Print *"A Different Kind of Coming Out: AFAB Dreams of Becoming a Drag Queen," by Lynn Sally * The Gay & Lesbian Review *"This remarkable treatise on a formerly taboo subject is a serious examination of an art form that has been tossed off as frivolous entertainment....But the book is not solely a scholarly treatise. Sally delights in taking her reader right into adult entertainment nightclubs via the book’s fabulous color photos, giving them front row seats, as one reviewer put it, as Sally 'shines a spotlight on the most iconic performers of the last two decades.'" * Sierra County Sun *"Striptease, once seen broadly as a symbol of women’s oppression, becomes in Sally's book a tool of empowerment, and she shows how different artists choose to wield it. Peppered with photographs and film stills from a vast array of performances, the book opens up a vibrant, engaging dialogue. Whether readers are new to or familiar with neo-burlesque, they’ll find that Sally’s book is an entertaining and informative study of striptease as performance art." * Library Journal *"?NEO-BURLESQUE SLAPS GLITTER ON FEMINISM AND MAKES IT SHINE," by Lynn Sally * Zócalo Public Square *"?Ladies' Night 2 for 1 refill with "Dr. Lucky" Lynn Sally" * Coffee, Candy, and Creatives podcast *"A thorough exploration of the genre, Lynn Sally's insightful Neo-Burlesque: Striptease as Transformation has earned its place on the shelf of every neo-burlesque academic.” -- Dita Von Teese * author of Burlesque and the Art of the Teese/Fetish and the Art of the Teese *"A smart, feminist tour de force that strips away the stigmas, social, and legal bullshit surrounding burlesque, and gets down to the nitty-gritty of this sacred art form and the potentially deeply inspiring experience it holds for performers and audience alike. A must read for anybody interested in dance, art, and sexy fun." -- Annie Sprinkle and Beth Stephens * artists and authors of Assuming the Ecosexual Position *"With the deft eye of a performer-turned-ethnographer, Lynn Sally provides an insider’s account of the history and stakes of burlesque performance. Indeed, Neo-Burlesque demonstrates that underneath the performer’s coy wink, tuck, and flash lie a matrix of political entanglements that inform how gender, power, and sexuality shape our society’s engagement with popular entertainment." -- E. Patrick Johnson * author of Honeypot: Black Southern Women Who Love Women *"Lynn Sally taps her secret history as a burlesque dancer as well as multiple histories of the performing female body in this dazzling study of contemporary burlesque’s cultural meanings. Smart, funny, and moving, Sally's stories and insights will make you rethink this art form and the women who participate in it." -- Linda Mizejewski * author of Ziegfeld Girl: Image and Icon in Culture and Cinema *"Artist-scholar Lynn Sally shines a spotlight on some of the most iconic neo-burlesque performers of the past two decades. A rich addition to the field of striptease studies, Neo-Burlesque deftly reveals how 'unruly' and 'awarish' women creatively and critically interrogate their own construction through the wit of a knowing wink." -- Dr. Sherril Dodds * Professor of Dance at Temple University and editor of The Bloomsbury Companion to Dance Studies *"Neo-Burlesque is an impassioned manifesto for the transformative power of burlesque performance. Sally engages her insider perspective to document and theorize how neo-burlesque performers are remaking gender, sexuality, beauty, and feminist politics through the art of the striptease." -- Jillian Hernandez * author of Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment *"Theoretically sophisticated, rigorously researched, and written with confidence and ease, Neo-Burlesque: Striptease as Transformation takes aim at blind spots in academic approaches to sexuality, the female body and the boundaries between high and low cultures. Sally uses case studies enriched by her own experience as a stripper to argue for the radical potential of neo-burlesque. At the same time, she brings a critical eye to its failures to disentangle race from the cultural ideals of femininity and female beauty that neo-burlesque put—literally—on stage. Sally makes a bold and important contribution to the growing body of scholarship on unruly, 'nasty' women who, with fearlessness and wit, insist on not only being heard but also seen. An engrossing and eye-opening read!" -- Kathleen Rowe Karlyn * founding director of the Cinema Studies program and professor emerita at the University of Oregon an *"Through interviews with performers and descriptive analyses of their acts, Sally characterizes burlesque as a complex practice with interesting historical underpinnings and unexpected contemporary manifestations. It is truly special to read an academic book where the author ensures that its primary subjects—burlesque performers—get to define, in their own words, what they are doing and why. An engaging read that builds toward a more holistic understanding of burlesque." -- Meredith Heller * author of Queering Drag: Redefining the Discourse of Gender-Bending *"Lynn Sally has written the account of record of the germination of the Neo Burlesque movement. Her perspective has been formed through her insider position as a performer, producer and emcee, giving her the authority to name the key contributions that the Neo Burlesque movement has made to feminism, politics, sexuality, and gender. This inclusive account of burlesque history will be enjoyed by burlesque audiences and scholars of performance and feminism. It is a book you will want to read cover to cover." -- Dr. Alison J. Carr * artist and author of Viewing Pleasure and Being a Showgirl: How Do I Look? *"Dr. Lynn Sally shares an essential insider’s view of an individualistic performing art and how it combines nostalgia and irony to comment on current events. Entertaining and academically diligent, this book connects all the dots between feminism and fun." -- Jo Weldon * founder of The New York School of Burlesque and author of Fierce: The History of Leopard Print *"A Different Kind of Coming Out: AFAB Dreams of Becoming a Drag Queen," by Lynn Sally * The Gay & Lesbian Review *"This remarkable treatise on a formerly taboo subject is a serious examination of an art form that has been tossed off as frivolous entertainment....But the book is not solely a scholarly treatise. Sally delights in taking her reader right into adult entertainment nightclubs via the book’s fabulous color photos, giving them front row seats, as one reviewer put it, as Sally 'shines a spotlight on the most iconic performers of the last two decades.'" * Sierra County Sun *"Striptease, once seen broadly as a symbol of women’s oppression, becomes in Sally's book a tool of empowerment, and she shows how different artists choose to wield it. Peppered with photographs and film stills from a vast array of performances, the book opens up a vibrant, engaging dialogue. Whether readers are new to or familiar with neo-burlesque, they’ll find that Sally’s book is an entertaining and informative study of striptease as performance art." * Library Journal *"NEO-BURLESQUE SLAPS GLITTER ON FEMINISM AND MAKES IT SHINE," by Lynn Sally * Zócalo Public Square *"Ladies' Night 2 for 1 refill with "Dr. Lucky" Lynn Sally" * Coffee, Candy, and Creatives podcast *Table of ContentsPreface: Revelations and Disidentification Introduction: Definitions and Methodologies 1 Burlesque as Popular Performance: MsTickle’s Explicit Body as Palimpsest 2 Burlesque as Monster/Beauty: Beautiful Monsters and the Monstrosity of Beauty in Dita Von Teese 3 Burlesque as Unruly: Dirty Martini and the Political Efficacy of an Invisible Wink 4 Burlesque as Pretty/Funny: The Comedic Stylings of Little Brooklyn’s Burlesquing Burlesque 5 Burlesque as Parodic Pageantry: The Agitprop Theatrics of Bambi the Mermaid’s Miss Coney Island Pageant 6 Burlesque as Camp: Gender Becoming in World Famous *BOB*’s “One Man Show” 7 Burlesque as Revolution: The Ridiculous Theatre of Julie Atlas Muz Conclusion: Nasty Women and Female Chauvinist Pigs Acknowledgments Notes Bibliography Index
£44.20
Diaphanes AG Performing Human Rights – Contested Amnesia and
Book SynopsisThe invisibilization of political violence, its material traces, and spatial manifestations, characterizes conflict and post-conflict situations. Yet, artists, writers, and human rights activists increasingly seek to challenge this invisibility, contesting the related historical amnesia through counter-semantics and dissonant narratives. Adopting “performance” as a concept that is defined by repetitive, aesthetic practices—such as speech and bodily habits through which both individual and collective identities are constructed and perceived—this collection addresses various forms of performing human rights in transitional situations in Spain, Latin America, and the Middle East. Bringing scholars together with artists, writers, and curators, and working across a range of disciplines, Performing Human Rights addresses these instances of omission and neglect, revealing how alternate institutional spaces and strategies of cultural production have intervened in the processes of historical justice and collective memory. Table of ContentsPERFORMING HUMAN RIGHTSContested Amnesia and Aesthetic Practices in the Global South TABLE OF CONTENTS Liliana Gómez: Performing human rights. An introduction BETWEEN LAW AND THE WRITING OF HISTORY Zahira Aragüete Toribio: Epistemic encounters amidst impunity: forensic investigations of mass crimes in Post-Franco Spain Vikki Bell: Taking the risk of images, after all: between form and formlessness at the Espacio Memoria y Derechos Humanos, ex-ESMA, Argentina Liliana Gómez: Beyond the courtroom: on dust, haunting, and the archive FORENSIC AESTHETICS AND POLITICS OF MEMORY Friederike Pannewick: The poetics and politics of the body in pain. Sinan Antoon’s novel The Corpse Washer Elena Rosauro: To speak of the silence of a country. An approach to Spanish contemporary artistic practices related to history and memory Stephenie Young: Boundary-aesthetics: obscured scenographies of violence at the U.S./Mexican Border PERFORMING HUMAN RIGHTS Joscelyn Jurich: Performing karama: Abounaddara’s emergency cinema in theory and praxis Pauline Bachmann: The subversive potential of opacity: Poema/processo and 3Nós3’s artistic strategies during Brazil’s military dictatorship Dorota Sajewska: Performing periphery or the ambivalence of demodernization. Notes on Artur Żmijewski’s film Glimpse POSTSCRIPTUM Uriel Orlow: Letter from Lubumbashi
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Karolinum,Nakladatelstvi Univerzity Karlovy,Czech Republic Czech Action Art: Happenings, Actions, Events,
Book SynopsisCzech action art - a medium similar to performance art that does not require an audience - emerged out of the political and social turmoil of the 1960s. This movement has received little critical attention, however, as the Iron Curtain prevented its dissemination to an international audience. Here theorist and art historian Pavlina Morganova gives this art scene its due, chronicling its inception and tracing its evolution through to the present. Morganova explains the various forms of action art, from the "actions" and "happenings" of the 1960s; to the actions of land art that encompass stones, trees, water, or fire; to recent displays of body art; to the actions of the latest generation of artists, who are using the principles of action art in contemporary postconceptual and participative art. Along the way, she introduces the most prominent Czech artists of each specific niche, including Milan Knizak, Zorka Saglova, Ivan Kafka, Petr Stembera, Karel Miler, Jiri Kovanda, and Katerina Seda, and demonstrates not only the changes in the art forms themselves but also the shifting roles of artists and spectators after World War II. With over one hundred illustrations, Czech Action Art introduces this heretofore overlooked but fascinating art form to a global readership.
£17.99
Editorial Tenov S.L. Joseph Beuys–Manresa – A Spiritual Geography
Book SynopsisThe first performances by Joseph Beuys were a radical turning point for twentieth-century art. Beuys saw art as a transformative action that is both personal and communal, and his expanded artistic practice engaged spirituality, personal mythology, political structures, and symbolic materials. For Manresa, one of his legendary performance actions, which took place on December 15, 1966 in Düsseldorf, he collaborated with the Danish artists Henning Christiansen and Bjørn Nørgaard. This book presents never-before-seen materials from the performance, including texts, images, scripts, and preparatory drawings, alongside contributions from scholars and critics that offer further insight. Friedhelm Mennekes, an art critic and Jesuit priest, analyses Saint Ignatius of Loyola’s imprint on Beuys’s work while elucidating its spiritual complexity, looking beyond the popular vision of the artist as shaman. Pilar Parcerisas examines Beuys’s spiritual geography, explaining the importance the town of Manresa within it and also laying out the physical and mystical coordinates of Eurasia, a site that was always present in Beuys’s work. Klaus-D. Pohl addresses the paradoxical union between Beuys’s mysticism and the neo-Dadaists of Fluxus. Beuys’s collaborator Bjørn Nørgaard recalls his time working with the German artist and reflects on the paths he opened up. Finally, art historian Harald Szeemann considers the possibility of liberating politics through spirituality.Table of ContentsM A N R E S A (Homage to Schmela) - Joseph Beuys, Henning Christiansen and Björn NörgaardArt and religion as a movement of resurgence - Friedhelm MennekesI also fly to you, Manresa - Pilar ParcerisasThe Manresa features at the Block Beuys in Darmstadt - Klaus D.PohlJoseph Beuys and his place within the Fluxus movement - Klaus D.Pohl“Where is Element 3” - Harald SzeemannManresa - Björn NörgaardOpening lecture for the performance carried out in Manresa in 1994 - Harald SzeemannReality multiplied by 3 - Henning ChristiansenThe cross of Björn Nörgaard - Pilar Parcerisas
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Editorial Tenov S.L. Henning Christiansen, Bjørn Nørgaard–MANRESA
Book SynopsisA collection of materials and essays contextualizing a performance by Christiansen and Nørgaard in homage to Joseph Beuys. Joseph Beuys performed one of his most radical pieces, the action Manressa, on December 15, 1966, at the Galerie Schmela in Düsseldorf. He was accompanied by the Danish artists Henning Christiansen and Bjørn Nørgaard, who, in 1994, created Manresa Hauptbahnhof (Manresa, Central Station), a new performance in homage to the original. The performance was carried out in Manresa, the city that both gave the name to the original action and was where Saint Ignatius Loyola had the revelations that led him to write his Spiritual Exercises, which Beuys considered essential reading. This book brings together all the material related to the 1994 performance—including images, scripts, and preparatory drawings—as well as a selection of critical texts that situate the action within its European context. In one essay, Friedhelm Mennekes analyses the action by delving into its spiritual meaning, exploring the symbolism of the objects employed. In another, Pilar Parcerias uses the metaphor of the central station to discover the city of reference and redraw the map of Europe with unexpected connections between Manresa and Copenhagen. In the final essay, Peter van der Meijden contextualizes the two performances, which represented a meeting place for different artistic personalities working on the cutting edge in creating a new form of art. Table of ContentsTABLE OF CONTENTSScores and preparatory drawings Images of the performancesHenning Christiansen – Time Henning Christiansen – Reality Multiplied by Three. Four Epistles on Joseph Beuys’ Working MethodsMENNEKES- I fly to you, Manresa PARCERISAS – A journey and an invocationPeter Van der Meijden -
£24.00
Manohar Publishers and Distributors A bibliography of the Sanskrit drama
Book SynopsisIt further elaborates on the details of the names of the works and their authors, the nature and the classification of the work.
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Tulika Books Tilt Pause Shift – Dance Ecologies in India
Book Synopsis
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University of Hawaii Press Beyond the Sewol
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Book SynopsisThe Routledge Comedy Studies Reader is a selection of the most outstanding critical analysis featured in the journal Comedy Studies in the decade since its inception in 2010.The Reader illustrates the multiple perspectives that are available when analysing comedy. Wilkie's selections present an array of critical approaches from interdisciplinary scholars, all of whom evaluate comedy from different angles and adopt a range of writing styles to explore the phenomenon. Divided into eight unique parts, the Reader offers both breadth and depth with its wide range of interdisciplinary articles and international perspectives.Of interest to students, scholars, and lovers of comedy alike, The Routledge Comedy Studies Reader offers a contemporary sample of general analyses of comedy as a mode, form, and genre.Trade ReviewPraise for A Comedy Studies Reader, ed. Ian WilkieAn important resource for those bent on taking comedy seriously, this collection gathers disparate studies from the innovative Journal of Comedy Studies and elsewhere to illuminate contemporary performative comedy. It should prove invaluable for students in Comedy Studies and also remind many in Humour Studies about the importance of the relationship between a piece of humour and its mediator, whether professional or or amateur, as a creator of amusement and laughter.Jessica Milner Davis FRSN, University of SydneyTable of ContentsForeword by Ian WilkieAcknowledgementsPart I: Back to Basics: What is Comedy and Where Does It Come From?1. Against Comedy Chris Ritchie2. Thoughts on the current state of humour theory Peter Marteinson3. The origins of comic performance in adult–child interaction Ian Wilkie and Matthew Saxton 4. The science of baby laughter Caspar Addyman and Ishbel Addyman Part II: Old Comedy: Taproots and Tropes 5. The time-travelling miser: Translation and transformation in European comedy Rachel Kirk6. Conflict and slapstick in Commedia dell’Arte – The double act of Pantalone and Arlecchino Louise Peacock7. Clowns do ethnography: an experiment in long-distance comic failure Barnaby King and Richard TalbotPart III: Class, Gender, Race: Reading Comedy’s Issues 8. ‘To what base uses we may return, Horatio!’ – Hamlet, Comedy and Class Struggle Isaac Hui9. No other excuse: Race, class and gender in British Music Hall comedic performance 1914–1949 David Huxley and David James10. 'Women Like Us?' Gilli Bush-BaileyPart IV: Doing Comedy: Giving, Receiving, Causes and Effects11. Pretty funny: Manifesting a normatively sexy female comic body Hannah Ballou12. No greater foe? Rethinking emotion and humour, with particular attention to the relationship between audience members and stand-up comedians Tim Miles13. The roots of alternative comedy? – The alternative story of 20th Century Coyote and Eighties Comedy Lloyd Peters14. Life memory archive translation performance memory archive life: textual self-documentation in stand-up comedy Christopher MolineuxPart V: New Comedy? Interviews with Practitioners15. Not the definitive version: an interview with Ross Noble Oliver Double16. Scenes in the House of Comedy: Interview with Stewart Lee Tony Moon17. Up and down with Barry Cryer: From an interview conducted on 22 July 2011 Tony Moon18. Interview with Charlie Hanson Gary Turk19. ‘Words are my weapons’: Tiffany Stevenson interview Tony Moon20. Russell Kane: Comic chameleon Sam Friedman21. Les Dennis: Man out of time Sam Friedman22. ‘Not a funny place to live’: An interview with Chris Rock Kara Hunt23. A series of ghastly mistakes that turned out right in the end Tony Moon interview with John Lloyd (comedy producer)24. Interview with Kate Fox - stand-up poet Ian Wilkie Part VI: Critical Angles: Essays on a Joan Rivers’ Routine25. From toothpick legs to dropping vaginas: Gender and sexuality in Joan Rivers’ stand-up comedy performance Sharon Lockyer26. Joan Rivers – Reading the meaning Louise Peacock27. ‘A pleasure working with you’: Humour theory and Joan Rivers Brett MillsPart VII: The World of Comedy: Culture and Satire28. Obscenity, dirtiness and licence in Jewish comedy Debra Aarons and Marc Mierowsky29. Satire in a multi-cultural world: a Bakhtinian analysis Grant Julin30. Silly meets serious: discursive integration and the Stewart/Colbert era Amanda Martin, Brbara K. Kaye and Mark D. Harmon31. The comedian, the cat, and the activist: the politics of light seriousness and the (un)serious work of contemporary laughter Ian Reilly32. Borat, Sacha Baron Cohen, and the seriousness of (mock) documentary Cate BloukePart VIII: New Comedy? Emerging Platforms and Forms of Expression 33. A book and a movie walk into a bar Kyle Meikle34. Kidding around: children, comedy, and social media Peter Kunze35. A new economy of jokes?: #Socialmedia #Comedy Rebecca Krefting and Rebecca Baruc36. Comedy meets media: how three new media features have influenced changes in the production of stand-up comedy Jillian M. Belanger37. The animated moving image as political cartoon Lucien Leon38. Is vlogging the new stand-up? A compare/contrast of traditional and online models of comedic content distribution Matthew McKeagueIndex
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