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Introduction

Men and Masculinities under Socialism: Toward a Social and Cultural History

Peter Hallama

number of prescriptive texts concerning the ideal husband or father. However, it is much more difficult for historians to assess everyday masculinities. Statistics and sociological surveys provide a partial insight into everyday gender performances. 52

Open access

Cosmonaut Gossip

Socialist Masculinity as Private-Public Performance in the Kamanin Diaries

Erica L. Fraser and Kateryna Tonkykh

's diaries (a private text) as gossip (a public act) opens new avenues for understanding the peculiarities of socialist masculinity: it was built and maintained in part through the specific hybridized private-public performances in which elite men engaged. 28

Open access

Comment: Socialism's Mal(e)contents

Masculinity as Performance Art in Postwar and Late Socialism

Marko Dumančić

mimicry, which was, in retrospect, a kind of drag performance. Much in the way I cannot “shed” my Yugoslav self, I find it difficult to determine how much of my “hetero-passing” has now become so habituated that it feels authentic. Because these articles

Open access

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

Kristen Ghodsee, Hülya Adak, Elsa Stéphan, Chiara Bonfiglioli, Ivan Stankov, Rumiana Stoilova, Rochelle Goldberg Ruthchild, Mara Lazda, Adrienne Harris, Ayşe Durakbaşa, Lex Heerma van Voss, Lejila Mušić, Zdeňka Kalnická, Sylwia Kuźma-Markowska, Evguenia Davidova, Tsoneva Tsoneva, Georgi Medarov, and Irina Genova

Vladimir Dedijer. Many of these poems—written by both professional and amateur poets—were turned into songs and performed by the grassroots choirs formed within antifascist brigades or during theater performances staged by partisan-actors in the liberated

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