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 -

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Zawadka, Beata. Performing South. The U.S. South as Transmedial Message [baza danych online] : Wydawnictwo Naukowe Uniwersytetu Szczecińskiego, 2015 [dostęp: 22 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

BeataZawadka

Tatafectiveperformancecanbeawayofcheckingontherealityofaper-

son)sexistencebecomesevenmoreclearlyvisibleinthetextnTeMasqueradeof

MasculinityinGoneWiththeWind:Per(e)formingMenthroughEmotionsand

Privacy”byEmmelineGroswhichendsthe(Post)GendersectionofPerforming

South…Analyzingthedeceptivequalityofmasculinecomportmentasexpressed

bythemasculineexterior(dress),Grosdemonstrateshowthesouthernculture

n…draw[s]faultylinesbetweensincerityandperformance,confessionandsecret,

[…]manandpersona,”(140)alltowinandsecureparticularformsofprivateand

publicafects.Shealsoshowshow,bybreaking,moreorlesssuccessfully,across

theselines,malesouthernersreachouttonewgender,classorracedimensions

and,consequently,nforce[their]culturetoconfrontnewformsofthinking.”(140)

Insodoing,thesemenalsoreconﬁgurethe-abstract-realityoftheircultural

existenceinmorencorpo-real”terms.

Teresulting,(Post)CulturalPerformancesoftheSouth,performanceswhich

advancetheregionasanembodimentofculturalpowersgreaterthanitselfthus

becomesthethreadconnectingintoasectiontheessaysbyfourmorescholars,

namely,JohnWhartonLowe(UniversityofGeorgia),UrszulaNiewiadomska-Flis

(JohnPaulIICatholicUniversityofLublin),GeraldPreher(InstitutCatholiquede

Lille),andCarmenRueda-Ramos(UniversitatRoviraiVirgili).Teﬁrstofthem

entitlednPerformingEthnicities,PerformingRegions:TeCrossroadsofTime,

History,andCultureinAlfredUhry)smeLastNightofBallyhoo”byLowenpon-

ders”astheAuthorhimselfformulatesit,nthewaysinwhichJewishimmigrants

andtheirdescendantsareincreasinglyperformingregionalmodesandmanner-

isms.”(159)However,setatthetimeofthepremiereofGoneWiththeWind,the

play,asexaminedbyLowe,whileperformingthemovieasthenquintessential

southern…ﬁlm”(159),alsoitselfgetsreconﬁguredasaculturalcontextincor-

poratingvariousaudiences-fromJewstoLowehimself-intheregion)sglobal

makings.TusdoingjusticetotheversatilityofGWTW)sculture,Uhry)sdramat-

icpiecewhichLoweseesasthencomedyofredemption”(168)atoncepropounds

thiscultureastheSouth)sveryownnredemptiveagent”inthewideworld.

AsNiewiadomska-FlisdemonstratesinherarticlenComeDineWithMe,or

Not:PerformingRacialRelationsintheDomesticSphereinAlfredUhry)sDriv-

ingMissDaisy,”Uhryhimselfmakesuseoftheredemptivepotentialofsuchacul-

ture.Tearticleinquestionexaminingthecontemporarilyexisting,broadlyun-

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