Using interdisciplinary cultural studies to examine the gothicism in queer art, literature, and thought the author argues that during the twentieth and twenty-first centuries a queer culture has emerged that challenges and responds to traumatic marginalization by creating a distinctly gothic aesthetic.
Part of the Library of Performing Rights (P3041).
On group practice, space making in rehearsal, working with directors/actors.
Combines extracts from over 70 international practitioners, companies, collectives and makers from the fields of dance, theatre, music, live and performance art, and activism to form a sourcebook for students, researchers and practitioners.
An occasional publication that aims to collate and investigate ideas around place, or more specifically: “indeterminate geographies”. In the second issue, the topic is ‘suburb’.
Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the circulation of minstrel tropes in Liverpool and in Afro-Mexican settlements in Oaxaca, and the reach of hip-hop politics as people around the world embrace the music and dance.
Part of the Library of Performing Rights (P3041)
Asks whether, and how, it is possible to re-appropriate pornography and think through it critically and creatively for a project of liberation.
Explores the histories of race and technology in a world made by slavery, colonialism, and industrialization. Beginning in the late nineteenth century and moving through to the twenty-first, the book argues for the dependent nature of those histories.
A collection of historical essays, critical papers, case studies, interviews, and comments from scholars and practitioners that shed new light on the field of collaborative art.
A queer phenomenology, Ahmed contends, reveals how social relations are arranged spatially, how queerness disrupts and reorders these relations by not following the accepted paths, and how a politics of disorientation puts other objects within reach, those that might, at first glance, seem awry.
The preeminent posthumanist shows how the history of Western civilization can be read as a suppression and return of rage.