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Literary Readings as Performance

On the Career of Contemporary Writers in the New Ireland

Helena Wulff

Drawing on an anthropological study of the social organisation of the world of Irish writers, this article investigates the literary reading as performance which has become central for the career and promotion of contemporary writers. How is the reading - live as well as recorded - constituted, and how is it experienced from the writer's point of view? The data are derived from participant observation and interviews at literary festivals and conferences, writers' retreats, book launches and more informal situations with writers, as well as from fiction and essays by the writers. For this article, I asked some of the writers to write short texts on the reading. It turned out that the frames of the reading as performance reach beyond the reading event, and also that a reading includes elements of risk, such as not attracting a big enough audience or performing badly. Finally, the article considers the changing role of the ethnographer.

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Corporeal performance in contemporary ethnonationalist movements

The changing body politic of Basque and Catalan secessionism

Mariann Vaczi and Cameron J Watson

Over the past ten years, the Catalan independence movement has intensified and gained considerable social support. State–region relations hit bottom in late 2019, when demonstrations and night street fights occurred as a result of the Constitutional Court decision to imprison Catalan pro‐independence politicians. In the Basque Country, a reverse process may be observed: after decades of its violent ‘Troubles’, the Basque Country now enjoys peace and channels its pro‐independence politics in formal directions. Beyond discursive messages, the Basque and Catalan movements have deployed body techniques to call attention to their political objectives. The historically changing moods and dispositions of the two movements may be traced through the corporeal performance techniques they have chosen as their symbols and allegories. The hand, palm, fist, skin, touch and verticality become ideological configurations that reproduce political imaginaries that express the dispositions, risks and desires of nationalist constructions.

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Common Purpose

Performance and Curation as Allied Socially Engaged Practices

Brogan Bunt

If performance and curation have now entered into new, more intimate relation, it is because both fields, as well as the wider social, critical, and artistic context have shifted. It is not as though the issues associated with their traditional

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Coming to Our Senses

From the Birth of the Curator Function to Curating Live Arts

Ed McKeon

practices within the museum's “expanded field.” That is, the invention of Performance Art and Sound Art among others as visual practices distinct from the performing arts and their traditions was a curatorial construct. In brief, the role consolidated the

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Intimidation, reassurance, and invisibility

Israeli security agents in the Old City of Jerusalem

Erella Grassiani and Lior Volinz

understand the nature of this kind of policing. Our second point of departure is to analyze the policing strategies mentioned above as performances, in which visuality plays a significant role (see Cook and Whowell 2011 ; Diphoorn 2016 ). With this approach

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Jens Kreinath and Refika Sariönder

in both its constitutive parts and overall design, ranging from the modes of performance and participation to the intended audiences. As a response to different audiences in the environs of cities like Istanbul, there have been some collective

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Diane Duclos, Sylvain L. Faye, Tidiane Ndoye, and Loveday Penn-Kekana

act of locating, understood as an approach to capturing epistemologies in the making and to reflecting on the role and responsibilities of anthropology as a community of practice, will be used to understand how ‘performance’ was both studied and co

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Gary Bettinson

isolate two expressive devices as especially fertile: figure staging and actors’ performances. In what follows, I seek to disclose the techniques of staging and performance by which Deathtrap generates suspense and surprise; I attempt to lay bare the

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Knitted Naked Suits and Shedding Skins

The Body Politics of Popfeminist Musical Performances in the Twenty-first Century

Maria Stehle

anti-rock and anti-essentialist purpose. The real site of her attack on heteronormativity, however, is her body—as topic of her songs but also as a tool for her performance. 1 In a role-play between naked alien and red-glittery glamour queen, McGowan

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Introduction

Why Q1 Hamlet Matters

Terri Bourus

, a paperback anthology of revenge plays, textbooks designed for college students. Early in 2015, Zachary Lesser wrote a groundbreaking, award-winning history of the effect – on criticism, scholarship and performance – of the rediscovery of Q1. 1