The human body as cultural object always
is a performing subject, which binds the political with the theatrical, shows the construction of ethnicity and technology, unveils private and public spaces, transgresses race and gender, and finally becomes a medium that overcomes the borders of art and life. Since there cannot be a universal definition of the human body due to its culturally performative role as a producer of interactive social spaces, this volume discusses body images from diverse cultural, historical, and disciplinary perspectives, such as art history, human kinetics and performance studies. The fourteen case studies reach from Asian to European studies, from 19th century French culture to 20th century German literature, from Polish Holocaust memoirs to contemporary dance performances, from Japanese avant-garde theatre to Makeover Reality TV shows.
This volume is of interest for performance studies artists as well. By focusing on the intersection of body and space, all contributions aim to bridge the gap between art practices and theories of performativity. The innovative impulse of this approach lies in the belief that there is no distinction between performing, discussing, and theorizing the human body, and thus fosters a unique transdisciplinary and international collaboration around the theme performative body spaces. (I. Biopolitical Choreographies, II. Transcultural Topographies, III. Corporal Mediations, IV. Controlled Interfaces.)
Silence in Modern Irish Literature is the first book to focus exclusively on the treatment of silence in modern Irish literature. It reveals the wide spectrum of meanings that silence carries in modern Irish literature: a mark of historical loss, a form of resistance to authority, a force of social oppression, a testimony to the unspeakable, an expression of desire, a style of contemplation. This volume addresses silence in psychological, ethical, topographical, spiritual and aesthetic terms in works by a range of major authors including Yeats, Joyce, Beckett, Bowen and Friel.
After Beckett / D’après Beckett (edited by Anthony Uhlmann / Sydney; Sjef Houppermans / Leiden and Bruno Clément / Paris) constitutes a collection of over 40 articles selected from contributions to the Sydney Symposium of January 2003 that – as a part of an International Sydney Festival – was one of the major events related to Samuel Beckett of the last decade.
The three sections of the book reflect the most vibrant fields of research in Beckett studies today: “Intertextuality and Theory”, “Philosophy and Theory” and “Textual Genesis, Contextual Genesis and Language”. Scholars from all over the world participating in this collection testify to the durable and universal nature of interest in Beckett’s work.
After Beckett / D’après Beckett (édité par Anthony Uhlmann / Sydney; Sjef Houppermans / Leiden et Bruno Clément / Paris) constitue une collection de plus de 40 articles présentant une sélection parmi les contributions au Colloque International de Sydney qui a eu lieu en janvier 2003 dans le cadre du Festival International de Sydney. Cette réunion a été l’un des événements majeurs de ce début du troisième millénaire pour ce qui concerne les études beckettiennes.
Les trois sections du recueil reflètent les champs d’intérêt les plus importants de la critique beckettienne actuelle: “Intertextualité et confluence”, “Philosophie et Théorie” et “Genèse textuelle, Genèse contextuelle et Langage”. Des universitaires du monde entier ont participé à ce livre et témoignent ainsi de l’intérêt universel et durable de l’œuvre de Samuel Beckett
light .” 49 In this way, any remaining glimpse of Woman’s identity as either/both actress and character is eventually negated. Woman does definitely not exist as an independent subject but rather as a stage prop, with neither voice nor agency of her own, like Man before her. Throughout the play, Woman
Mother, who tries to console Young Girl, represents a voice outside of the chorus. She connects their predicament to their gender and ascribes to it a kind of natural guilt that recalls Beckett’s definition of tragedy as expounded in an early critical work, Proust (1931): Tragedy is not concerned with
subconscious level, and may be derived from the relationship between character and cosmos. The tragic that inheres in material existence and that literature gives voice to, is, in Gao’s own words, less of a personal vision than of a condition ; a truth that the author limits himself to acknowledge as manifest
evoking images of angst and terror and culminating in her transformation into a mere stage prop—a bunch of abandoned clothes signifying the fragments of herself, her mind emptied of any clear sense of identity. Under the influx of a Dionysian-like voice, the mysterious Traveller in Nocturnal Wanderer
theatre historian Nicola Savarese has termed Eurasian Theatre. For my part, I have always been fascinated by Gao’s repeated refusals to be considered a “Chinese” writer and by his vigorous self-presentation of his work as “the voice of the individual.” 12 In this sense, I do not agree with Yeung when she
where anguish is passed onto each member of the group and death is a constant, shared obsession, 81 it can be argued that Girl’s anxiety to voice her terror and share her trauma with Young Man and, later, with Middle-aged Man, marks the beginning of this tragic community. Here, death is not conquered