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

Beata Zawadka

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ISBN/ISSN:

978-83-7972-058-3

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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...

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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

versestageinwhichawoman,performing,transformsfemininityitselfintoape-

culiarcatwalkforDixietoartisticallyparadeitselfintothelargerworld.

TeSouth)s(Post)GenderPerformances-thetitleofthesecondsectionofthis

book-comprisestheessaysbythefollowingscholars:SusanaMariaJiménez

Placer(UniversityofSantiagodeCompostela),IrinaKudriavstseva(MinskState

LinguisticUniversity),andEmmelineGros(UniversityofToulon).Onthewhole,

theseessaysconcentrateondemonstratinghowDixie,traditionallyunderstood

asawoman)sname,canconsciously(down)playthetraditionsoastoadvanceit-

selfinthelargerworldinculturallybroaderterms.SusanaMariaJiménezPlacer,

theauthoroftheﬁrstoftheessaysinthissectionentitlednPerformingSouthern

WomanhoodinKatherineAnnePorter)sMirandaStories,”seeslanguage,per-

ceivedbothasymbolicandsemioticagent,aslettingthefemale-modelledDixie

intoamoregenerically,ergo,culturallydiversiﬁedrole.Dependingonhowefec-

tiveausetheSouthcanmakeofthegapexistingbetweenthesetwo(i.e.symbol-

ic-cognitiveandsemiotic-afective)embodimentsoflanguage,thatitsperfor-

mativepotentialcanshowup-claimsPlaceranddemonstratesthisexamining

thewaysMiranda-thecharacterofPorter)smostfamouscycleofshortstories-

givesrepresentationagency.

AccordingtoPlacer,Mirandamanagestodosobyforgingthesouthernfe-

maleheritage-i.e.thepassivelyunderstoodattitudeofnmakingthemostofit”-

intoanembodiedactivityofrole-playing.Tatsuchanactivitynotonlyallows

forself-expressionbutalsoinvitesemotionalconnection,inmaleandfemale

southernersalikeisthetopicofanessaybyIrinaKudriavstsevaentitlednHomo

PerformansinErskineCaldwell)sShortStories.”Discussingvariousaspectsof

Caldwell)sshortproseastheperformanceofancycloramaofsouthernlife”(123),

Kudriavstsevasimultaneouslydemonstrateshowsuchanextendedperformance,

anactionnvaluableinitself”(125)forafrmingnindividualandculturalvalues”

(125),additionallyre/createshumanbonds.Kudriavstsevabelievesthat,whenit

comestosoutherners,thesebondsresembleaudience-performerinteractionand,

assuch,aretheartofemotionexchange.Tisexchangeoccurringonnotalways

consciouslevelistoKudriavstsevaasmuchanexpressionofacollectivesouth-

ernidentitythatCaldwell)scharacters(and,infacthisentireliterarywork)areall

partofasitisaprotestagainstanysouthernculturalhomogenization.

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