Feminist science fiction that anticipates a post-patriarchal future.
Seeking to overthrow all constraints on what can be done with and to the body, Preciado offers a provocative challenge to even the most radical claims about gender, sexuality, and desire.
Works against the framing of black and brown bodies as sexualized, objectified, and abject, and offers multiple ways of thinking with and through sensation and aesthetics.
Part of the Library of Performing Rights (P3041).
A sweeping account of the way lesbian, gay, and bisexual people have challenged and changed society.
Analyzes the cultural work of spectacular suffering in late-medieval France and the twenty-first century, reading recent dramatizations of torture and performances of self-mutilating conceptual art against late-medieval saint plays.
Part of the Library of Performing Rights (P3041)
Analyzes artistic performances, social performances, archival remains, and memoirs of the underground theater scene in 1960s New York.
A study of how contemporary women artists have reconceptualised the figure of the female nude.
Feminist and Queer Performance traces a rich personal, political and theatrical history. Mapping the central theoretical strategies of interpretation in feminist and queer studies, and examining the leading performance artists in the field, each chapter responds to and is situated in the lively and compelling debates of the moment.
Detailed critical analysis of the work of Jack Smith from the early 1960s until his AIDS-related death in 1989.
Stand issue one was commissioned by Indivisible and Leeds Metropolitan University as part of (in)Xclusion programme of events.
Addresses the multi-layered issue of camp, whose inexhaustible breadth of reference and theoretical relevance to the issues taken up by academic research in recent years have made it one of the most salient and challenging issues on the contemporary critical stage.
Engaging a series of critical models, this article examines the place of the ‘exotic’ in thinking about sexual and racial difference, as a means of thinking difficult or volatile modes of cultural practice. As such, it stages a confrontation between ‘exotic ritual’ and ‘apocalyptic tone’, to challenge conventions about scholarly practice and find new ways of examining uncomfortable spaces and modes of working.
Considers what sustained attention to the affective force of trauma might yield for critical theory.