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

Beata Zawadka

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Wydawnictwo Naukowe Uniwersytetu Szczecińskiego

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2015

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248

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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: 25 08 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

tion.4Itisduetothedeconstructionistsofthelatterera-e.g.anthropologists,

ethnographers,sociologists,psychologists,linguists,orliteraturecritics,aswell

asreallifeartists,politicalactivistsandotherprofessionals-who,byperceiving

theworldasinterpretablediscourse,turnedthetraditionalvisionofcultureas

aunitarysystemonitshead:aparadigmofparticularformalstylesanddevic-

essohighlytechnicalandabstractthatitcouldonlybeapproachablebyanar-

rowcircleofartistsandcritics.5Consequently,theytooktheﬁrststepdirected

totransgressingthecontemplationimageofthehumanitiestowardsoneofend-

lesstransformation-or,assomeofthesenon/theoristswouldprefertoseeitlat-

eron,performance.

Isthereadiferencebetweenthesetwoperceptionsofthehumanitiesatall?

Letapartofperformancetheoryitself,poststructuralism)sprodigalson,serveas

anexplanationofthisverycomplexfamilyrelationship:uPerformancesareac-

tions….[taken]veryseriouslyinfourways,”wroteSchechnerin2002andpointed

toubehavior,”uartisticpractice,”uﬁeldwork,”andusocialpracticesandadvocacies”

asthechiefobjectsofstudyofperformancestudies.(PerformanceStudies…1-2)

Seenviathepostmoderndiscursivelens,thecontentofalltheseinvertedcommas,

includingthemselves(andconstituting,alongwiththebracketsorslashes,the

essenceofperformativestatements),andviawhichSchechnerperformsacriti-

calalternativeorpossibility,wouldtypicallybenpostcolonized”(orudeconstruct-

ed”)asthisaction)slimits,andsubsequentlyrereadforthepurposeofliberating

itstextualanti-identity.Poststructuralism)stransformativepotentialasregards

performativitywouldthereforeattesttoanabilitytoverballyuenact”thelatter

concept)s-alleged-act-ivepowerbalance,sothatitbecomes,toparaphrasethe

upope”ofpoststructuralism,JacquesDerrida,udis/placed”asaunon/conceptual

However,Schechnerclaimsthatuthereisnohistoricallyorculturallyﬁxablelimittowhatisoris

notCperformance)

.”(PerformanceStudies…2)Consequently,theactualbeginningsofperformance

studies-whichearlyperformancecriticstendedtoidentifywiththebeginningsoftheatre-are

impossibletobegrasped.

Inthecontextofperformance,aﬁnesynthesisofpostmodernismasananti-paradigmistobe

foundine.g.Carlson,Marvin.Performance.ACriticalIntroduction.NewYork:Routledge2004.

SeealsoDomańska,Ewa.uCZwrotperformatywny)wewspółczesnejhumanistyce.”TekstyDrugie.

No.5,2007:48-61.http://www.staf.amu.edu.pl.AccessedAugust8,2014.

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