Performing South. The U.S. South as Transmedial Message

Beata Zawadka

Uzyskaj dostęp

ISBN/ISSN:

978-83-7972-058-3

DOI:

Wydawnictwo:

Wydawnictwo Naukowe Uniwersytetu Szczecińskiego

Rok wydania:

2015

Liczba stron:

248

XML:ISBN/ISSN:

ONIX MARC21

Bibliografia:

Zawadka, Beata. Performing South. The U.S. South as Transmedial Message. Red. . : Wydawnictwo Naukowe Uniwersytetu Szczecińskiego, 2015, 248 s. ISBN 978-83-7972-058-3

Bibliografia refWorks:

RT Book, Whole

SR Electronic(1)

A1 Zawadka, B.

T1 Performing South. The U.S. South as Transmedial Message

PB Wydawnictwo Naukowe Uniwersytetu Szczecińskiego

YR 2015

SN 978-83-7972-058-3

Bibliografia BibTex:

@Book{ 166902, author = "Zawadka, Beata", editor = "", title = "Performing South. The U.S. South as Transmedial Message", publisher = "Wydawnictwo Naukowe Uniwersytetu Szczecińskiego", year = "2015", address = "", isbn = "978-83-7972-058-3" }

Bibliografia endNote:

TY - BOOK

AU - Zawadka, Beata

ED -

TI - Performing South. The U.S. South as Transmedial Message

PB - Wydawnictwo Naukowe Uniwersytetu Szczecińskiego

CY -

PY - 2015

SN - 978-83-7972-058-3

ER -

Netografia (standard APA):

Zawadka, Beata. Performing South. The U.S. South as Transmedial Message [baza danych online] : Wydawnictwo Naukowe Uniwersytetu Szczecińskiego, 2015 [dostęp: 23 07 2024]. Dostęp w Ibuk Libra: https://libra.ibuk.pl/reader/performing-south-the-us-south-as-transmedial-message-beata-zawadka-166902.

kultura, Stany Zjednoczone

Performing South. The U.S. South as Trans/medial Message Abstract This collection of twelve essays focuses on how the U.S. South has been playing itself out, locally and globally, as various embodied cultural practices — or performances. The...

Więcej

ISBN/ISSN:

978-83-7972-058-3

DOI:

Wydawnictwo:

Wydawnictwo Naukowe Uniwersytetu Szczecińskiego

Rok wydania:

2015

Liczba stron:

248

XML:ISBN/ISSN:

ONIX MARC21

Introduction – Dixie-Land: The U.S. South as a Performative Franchise – Beata Zawadka8
(POST)SPIRITUAL PERFORMANCES24
Remembering Colleagues, Remembering Friends, Remembering Peter Nicolaisen and Noel Polk– Agnieszka Salska26
The Church Performing in the South: From Catholicism to Evangelical Catholicism – John Andreas Fuchs38
Performances Religious and Secular in Chris Fuhrman’s Dangerous Lives of Altar Boys – Marcel Arbeit56
Drama and Trauma in Elizabeth Madox Roberts’ My Heart and My Flesh – Gisele Sigal82
(POST)GENDER PERFOMANCES102
Performing Southern Womanhood in Katherine Anne Porter’s Miranda Stories – Susana María Jiménez Placer104
Homo Performans in Erskine Caldwell’s Short Stories – Irina Kudriavtseva122
The Masquerade of Masculinity in Gone With the Wind. Per(e)forming Men Through Emotions – Emmeline Gross136
(POST)CULTURAL PERFORMANCES158
Performing Ethnicities, Performing Regions: The Crossroads of Time, History, and Culture in Alfred Uhry’s The Last Night of Ballyhoo – John Wharton Lowe160
Come Dine With Me, Or Not: Performing Racial Relations in the Domestic Sphere in Alfred Uhry’s Driving Miss Daisy – Urszula Niewiadomska-Flis178
“Manners Are Not Intelligent, They’re Just Automatic”: Performing the South in Elizabeth Spencer’s For Lease or Sale – Gerald Preher196
Staging Southern Culture: Liminality and Cultural Performance in Donald Davidson’s The Big Ballad Jamboree – Carmen Rueda-Ramos218
Contributors238
Index244

Dixie-Land:TheU.S.SouthasaPerformativeFranchise

canappeartobesimultaneouslystealthilysimulatingthepotentialofafatwa-in-

stigatingculturaluterrorism.”

Muchasthispost/colonialmimicryprinciplethatthesouthernperfor-

mancestudiesseemstoworkbycanindeedtranspiretobeamaskofglobal

standardization,16itneverthelessalsoappearstohavethepowertoturnthesame

culturalstandardsitsetsonaglobalscalebackonthemselves.Onereasonforthis

isthatmimicry,ortheuironicdisturbance”oftheso-calleduuniversals,”includ-

ingtheverynotionofmimesis(astheperformancetheoristElinDiamondsees

it),17feedsontheambivalenceunderstoodnotsomuchasaconﬂictofcodes,but

ratherastheirexcessandexaggeration(Carlson2004:189).Whenﬂaunted,the

samecodesconsciouslyumakeaspectacle”ofthemselves,andthusdisafrmrath-

erthanpropoundtheculturaluniversalsinquestion(e.g.race,gender,orsexu-

ality)theyperformascategoriesofdominance/subordination(Irigaray1985:76).

Eventhoughsuchumasqueradeperformances”ofthesouthernculture,tousethe

phrasingoftheﬁlmcriticMaryAnnDoane,18do(not)posethedangerofbeing

conventionallyreappropriatedby,andreinscribedinto,thesystem,19theynever-

theless,byvirtueoftheirobviouslyperformativenon/resistancetowardsitsown

convention-whichexposesthisconvention)sownnon/resistancetoreform-can

(not)signiﬁcantlychangetheopticsofthesouthernculture)s(non/spectatorial)

participants,andthuschangetheglobalviewoftheentiretransculturalsystem

theycollectivelyreproduce.

16Foradiscussionofperformativit

yasapowerdiscourse(viatheworksofHerbertMarcuse,Jean-

FrançoisLyotard,andJudithButler)seee.g.McKenzie2001:155-171.

17Diamond,Elin.uMimesis,Mimicr

y,andtheCTrue-Real)

.”ActingOut:FeministPerformances.Ed.

LyndaHart,PeggyPhelan.AnnArbor:TeUniversityofMichiganPress1993:363-382.Seealso:

Diamond,Elin.UnmakingMimesis.EssaysonFemininityandmeatre.NewYork:Routledge1997.;

Irigaray,Luce.misSexWhichIsNotOne.NewYork:TeCornellUniversityPress1985:68-85.

18Doane,Mar

yAnn.uFilmandtheMasquerade.TeorizingtheFemaleSpectator.”Screen.Vol.23,

No.3-4(Autumn1982):74-88.

19Erickson,Jon.uAppropriationandTransgressioninContemporar

yAmericanPerformance.Te

WoosterGroup,HollyHughes,andKarenFinley.”meatreJournal.(May1990).Vol.42,No.2(May

1990):225-236.Inhisarticle,Ericsonclaimsthatsuchreinscriptionswilloccuraslongastheper-

formedcodesareusolelydeﬁnedbywhatwearetransgressing,resisting,ordeconstructing.”(uAp-

propriation…”235)

Brak wyników

Performing South. The U.S. South as Transmedial Message

Treść książki

Znajdź bibliotekę blisko siebie, i uzyskaj dostęp do ebooka w systemie IBUK Libra