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Stiletto Socialism

Social Class, Dressing Up, and Women's Self-Positioning in Socialist Slovenia

Polona Sitar

positions. According to Erving Goffman, social status is not a material thing that is possessed and displayed, but a pattern of proper performance, whether it occurs in an elegant or embarrassing way. 62 To provide a more multifaceted reflection on social

Open access

Masculinity on Stage

Dueling in the Greek Capital, 1870–1918

Dimitra Vassiliadou

violence, and emotion attracted social and cultural historians, who highlighted its profound connection to an array of masculine competitive attributes and performances. 14 As stated, despite their socioeconomic status all people possessed some sense of

Open access

Maria Bucur, Alexandra Ghit, Ayşe Durakbaşa, Ivana Pantelić, Rochelle Goldberg Ruthchild, Elizabeth A. Wood, Anna Müller, Galina Goncharova, Zorana Antonijević, Katarzyna Sierakowska, Andrea Feldman, Maria Kokkinou, Alexandra Zavos, Marija M. Bulatović, Siobhán Hearne, and Rayna Gavrilova

, intellectual interest, performance, and political debate, and how they eventually destroyed their own experiment. The author takes as a model for the history of this tight-knit group Marci Shore's Caviar and Ashes , which similarly followed the complicated and

Open access

Instead of a Novel

Sophia Yablonska's Travelogues in the History of Modern Ukrainian Literature

Olena Haleta

Berber fabulist as a show and a performance; she does not understand his words or care that she does not: He drew the attention of the spectators with nothing else but his facial expressions and body movements. Many Arabs in the crowd were not able to

Open access

Adriana Zaharijević, Kristen Ghodsee, Efi Kanner, Árpád von Klimó, Matthew Stibbe, Tatiana Zhurzhenko, Žarka Svirčev, Agata Ignaciuk, Sophia Kuhnle, Ana Miškovska Kajevska, Chiara Bonfiglioli, Marina Hughson, Sanja Petrović Todosijević, Enriketa Papa-Pandelejmoni, Stanislava Barać, Ayşe Durakbaşa, Selin Çağatay, and Agnieszka Mrozik

acts of performance (supposedly passive “nonacts,” like standing motionless in the public, are, in fact, performative) constantly bring the past back into “our” time, thereby unsettling its smooth archiving into an unambiguous, single, and hegemonic

Open access

Voices that Matter?

Methods for Historians Attending to the Voices of the Past

Josephine Hoegaerts

successfully used by scholars in different disciplines to historicize singing, speaking, and listening bodies. And third, I will present some ways in which historians, drawing on methodologies from sound studies, musicology, and performance studies, can, in

Open access

Sara Selwood and Lillia McEnaney

Attitudes: The 36th Report . London : The National Centre for Social Research . https://www.bsa.natcen.ac.uk/media/39363/bsa_36.pdf (accessed 1 March 2020 ). Department of Culture Media and Sport (DCMS) . 2012 . “ Performance Indicators 2011

Open access

Objects as Archives of a Disrupted Past

The Lengnangulong Sacred Stone from Vanuatu in France, Revisited

Hugo DeBlock

these performances and are interpreted only by some local people. The biggest local cultural festival that features in the current cultural revivalist movement in the archipelago, arguably, is the yearly Back to My Roots Festival of Halhal Fantor in

Open access

Postcolonial Finance

The Political History of ‘Risk-Versus-Reward’ Investment in Emerging Markets

Cecilia Schultz

continued relevance of its structures and relations of power. To illustrate this point, this paper shows how representations of emerging markets as ‘risk-versus-reward’ investments engender the volatility of their market performance and reproduce their

Open access

Fadi Amer

constructed world until performance becomes truth (2010). Michal Pagis, secondly, describes how sustained meditative practice infuses bare notional familiarity with profound subjective experience, to realise true knowledge (2010). Finally, Brian Lande depicts