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California Sojourns in Five Lessons
Site-Seeing Aesthetics: California Sojourns in Five Installations takes the reader to Dodger Stadium, Fort Ross, Chinese Camp, the Winchester House, and letters from the Gold Country in a writing and reading of cultural time and site performance. These sojourns’ are informed by insights from among other literary and cultural studies, site-specific performance studies, human geography, archeology, and history into a kind of “literary chorography.” Along the road, the book considers how places come before us as dramatized, hybrid creations of layered and “haunted” scripts. In its interdisciplinary nature, Site-Seeing in California thus gestures to alternate paths into our time’s fascination with place, region, and memory, engaging also with questions of and dialogues between region and transnationalism in their aesthetic reflections.
This transdisciplinary project represents the most comprehensive study of imagination to date. The eclectic group of international scholars who comprise this volume propose bold and innovative theoretical frameworks for (re-) conceptualizing imagination in all of its divergent forms. Imagination and Art: Explorations in Contemporary Theory explores the complex nuances, paradoxes, and aporias related to the plethora of artistic mediums in which the human imagination manifests itself. As a fundamental attribute of our species, which other organisms also seem to possess with varying degrees of sophistication, imagination is the very fabric of what it means to be human into which everything is woven. This edited collection demonstrates that imagination is the resin that binds human civilization together for better or worse.
World Political Theatre and Performance: Theories, Histories, Practices is the second collection of essays to emerge from the Political Performances Working Group at the International Federation for Theatre Research. Bringing together scholars and practitioners from multiple locations, the book analyses a range of examples – historical and contemporary – of counter-hegemonic theatre and performance.
Part 1 offers a diachronic view of the relationship between activism and performance; Part 2 focuses on the changing nature of what constitutes ‘political theatre’ today. Case studies from Finland to India and from Chile to China are framed by section introductions that underline both commonalities and tensions, while the general introduction reflects on what a radical practice can look like in the face of global neoliberalism.

Contributors: Julia Boll, Paola Botham, Marco Galea, Aneta Głowacka, Pujya Ghosh, Camila González Ortiz, Bérénice Hamidi-Kim, Fatine Bahar Karlıdağ, Madli Pesti, José Ramón Prado-Pérez, Trish Reid, Mikko-Olavi Seppälä, Andy Smith, Evi Stamatiou, Wei Zheyu.
Silence, Implicite et Non-Dit chez Rousseau/Silence, the Implicit, and the Unspoken in Rousseau prend acte d’un grand nombre de publications ayant trait à l’analyse par Rousseau des langues et du langage, de la parole par rapport à l’écriture, de la voix (y compris la voix de la nature). Mais ce volume se consacre tout particulièrement au fonctionnement et aux effets du silence, de l’implicite et du non-dit dans la pensée de Rousseau. Son approche est à la fois polyvalente et cohérente, et ses réflexions sur le silence sont associées à d’autres préoccupations esthétiques, politiques, et morales de son œuvre.

Silence, Implicite et Non-Dit chez Rousseau/Silence, the Implicit, and the Unspoken in Rousseau capitalizes on a great number of publications dealing with Rousseau’s analysis of languages and language, speech versus writing, of voice (including the voice of nature). But this volume is particularly dedicated to the study of the functioning and the effects of silence, the implicit and the unspoken in Rousseau’s thought. His approach is both polyvalent and consistent, and his reflections on silence are associated with other aesthetic, political, and moral concerns in his work.
Gao Xingjian's Theatre of the Tragic
Author: Letizia Fusini
In Dionysus on the Other Shore, Letizia Fusini argues that throughout his early exile years (late 1980s-1990s), Gao Xingjian gradually moved away from Absurdist Drama to develop a dramaturgical system with tragic characteristics. Drawing on a range of contemporary theories of tragedy, this book reconfigures some of the key tropes of Gao’s post-1987 theater as varied articulations of the Dionysian sparagmos mechanism. They are the dismemberment of the dramatic self, the usage of constricted spaces, the divisive nature of gender relations, and the agony of verbal language. Through a text-based analysis of seven plays, the author ultimately aims to show that in Gao’s theater, tragedy is an ongoing and mostly subtextual dynamism generated by an interplay of psychic forces concurrently cohesive and divisive.
Tracing the Development of the Pirate Motif with Disney’s Pirates of the Caribbean
Author: Susanne Zhanial
Postmodern Pirates offers a comprehensive analysis of Disney’s Pirates of the Caribbean series and the pirate motif through the lens of postmodern theories. Susanne Zhanial shows how the postmodern elements determine the movies’ aesthetics, narratives, and character portrayals, but also places the movies within Hollywood’s contemporary blockbuster machinery. The book then offers a diachronic analysis of the pirate motif in British literature and Hollywood movies. It aims to explain our ongoing fascination with the maritime outlaw, focuses on how a text’s cultural background influences the pirate’s portrayal, and pays special attention to the aspect of gender. Through the intertextual references in Pirates of the Caribbean, the motif’s development is always tied to Disney’s postmodern movie series.
Author: Julie Gaillard
Réalités pseudonymes explore la question de la réalité à travers le prisme du nom propre et de ses mécanismes référentiels dans la littérature et les arts au tournant du 21ème siècle. Julie Gaillard convoque les œuvres de penseurs, auteurs et artistes qui ont en commun de remettre en question l'évidence référentielle du nom propre pour interroger la fabrique du réel et montrer comment il peut être transformé, suspendu ou encore détourné : Jean-François Lyotard, Samuel Beckett, Édouard Levé, ainsi que les artistes Renaud Cojo et Invader. Situé au carrefour de plusieurs disciplines, l'ouvrage interroge la trame de la réalité à l’heure où les sociétés glissent de modalités analogiques à des modalités numériques de sa médiation.

Réalités pseudonymes explores the question of reality through the lens of the proper name and its referential mechanisms in French literature and arts at the turn of the 21st century. Julie Gaillard analyzes the works of thinkers, authors, and artists who all question the referential transparency of the proper name to question the fabric of reality and show how it can be transformed, suspended or even faked: Jean-François Lyotard, Samuel Beckett, Édouard Levé, as well as the artists Renaud Cojo and Invader. Situated at the crossroads of several disciplines, the book questions the fabric of reality at a time when societies are shifting from analogue to digital modalities of its mediation.
Spaces of Stasis, Delay and Deferral
Timescapes of Waiting explores the intersections of temporality and space by examining various manifestations of spatial (im-)mobility. The individual articles approach these spaces from a variety of academic perspectives – including the realms of history, architecture, law and literary and cultural studies – in order to probe the fluid relationships between power, time and space.
The contributors offer discussion and analysis of waiting spaces like ante-chambers, prisons, hospitals, and refugee camps, and also of more elusive spaces such as communities and nation-states.

Contributors: Olaf Berwald, Elise Brault-Dreux, Richard Hardack, Kerstin Howaldt, Robin Kellermann, Amanda Lagji, Margaret Olin, Helmut Puff, Katrin Röder, Christoph Singer, Cornelia Wächter, Robert Wirth.
Contemporary Reviews and Observations
Editor: John G. Peters
Conrad’s Drama: Contemporary Reviews and Observations collects both book reviews and performance reviews of Conrad’s three plays: The Secret Agent, One Day More, and Laughing Anne. These reviews and observations show how Conrad’s plays were received by his contemporaries. More than this, however, Conrad’s Drama reveals the larger conversations surrounding his plays: the state of British drama in the early 20th century, the role the drama critic has in a play’s reception, and the difficulty most fiction writers experience in trying to write for the stage. No other reference work exists for those studying Conrad’s plays, and this volume should prove to be an indispensable reference work for those working on this topic.
Exploring the Black Venus Figure in Aesthetic Practices critically examines a longstanding colonial fascination with the black female body as an object of sexual desire, envy, and anxiety. Since the 2002 repatriation of the remains of Sara Baartman to post-apartheid South Africa, the interest in the figure of Black Venus has skyrocketed, making her a key symbol for the restoration of the racialized female body in feminist, anti-racist and postcolonial terms.

Edited by Jorunn Gjerden, Kari Jegerstedt, and Željka Švrljuga, this volume considers Black Venus as a product of art established and potentially refigured through aesthetic practices, following her travels through different periods, geographies and art forms from Baudelaire to Kara Walker, and from the Caribbean to Scandinavia.

Contributors: Kjersti Aarstein, Carmen Birkle, Jorunn Svensen Gjerden, Kari Jegerstedt, Ulla Angkjær Jørgensen, Ljubica Matek, Margery Vibe Skagen, Camilla Erichsen Skalle, Željka Švrljuga.