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Christopher Howard and Wendelin Küpers

See Christopher A. Howard, “Horizons of Possibilities: The Telos of Himalayan Travel,” Literature and Aesthetics 22, no. 1 (2012): 134–155; Michael Haldrup and Jonas Larsen, Tourism, Performance and the Everyday: Consuming the Orient (New York

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Lazy Labor, Modernization, and Coloniality

Mobile Cultures between the Andes and the Amazon around 1900

Jaime Moreno Tejada

Runa mobility undermined modernity’s foundations, while reinforcing the pact of coloniality. Coloniality, in my understanding of the term, is the modern performance of colonial habits: embodied submission, the ever renewed actuality of tired rituals of

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The correct secret

Discretion and hypertransparency in Chinese biosecurity

Katherine A. Mason

vermin, wipe out disease, and grow impossible bounties of wheat, all in front of the ready eye of a camera ( Huang 1998 ). Government officials were primed to respond to political directives with public performance. Given the emphasis on reporting and

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“Montag ist wieder Pegida-Tag!”

Pegida’s Community Building and Discursive Strategies

Helga Druxes

present a configuration that would fit into existing political institutions, they stage their own identity as a fluid performance of rebellious discontent with government and globalization. Their loose organizational structure allows Pegida to affiliate

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The Best of Times, the Worst of Times

Angela Merkel, the Grand Coalition, and “Majority Rule” in Germany

Joyce Marie Mushaben

periods with positive performance records. Both undertook complicated federalism reforms, and orchestrated serious economic restructuring with “Stability and Growth Packages” (1967, 2008). Each pulled off the adoption of unpopular domestic security

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Christy Desmet

The Shakespeare Memorial Theatre in Stratford-upon-Avon opened on 23 April 1879 with a performance of Much Ado About Nothing; sixty-five year old Helen Faucit, long semi-retired from the stage, played the role of Beatrice. This essay explores the cultural politics informing the event from the perspective of Faucit's involvement, exploring her significance to the performance and the performance's significance to her through a series of textual lenses - including theatre reviews, Faucit's personal correspondence, her critical work On Some of Shakespeare's Female Characters and Sir Theodore Martin's posthumous biography of his wife. From a public perspective, Faucit endowed the supposedly provincial town of Stratford, its festival and its new theatrical institution with national stature; from the actress's private perspective, the event was both a professional engagement and a community celebration among old and new friends, bringing together the different facets of her long personal engagement with Shakespeare.

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Intimate Passports

The Subversive Performances of Tanja Ostojić

Jehanne-Marie Gavarini

The article explores the artwork of Tanja Ostojić, an interdisciplinary artist from Serbia who uses performance art to examine social and political issues. Ostojić in particu- lar expresses the migrant woman’s perspective when facing today’s world of political and economic inequities. With caustic humor, the artist examines who occupies cen- ter positions and who remains in the margins. Ostojić’s subversive performances blur the boundaries between art and life. Her use of her own body, personal history, and identity reflects a feminist perspective. Placing Ostojić’s work in the longer history of performance art, this article analyzes how this provocative artist pushes the boundar- ies of art and culture by denouncing the power dynamics that rule exclusive systems such as the Western-dominated art world and the European Union.

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The Adventures of Miss Brown, Miss Jones and Miss Robinson

tourist writing and tourist performance from 1860 to 1914

Jill Steward

Judith Adler has described travel as an art of performance (Adler 1989a: 1368), a way of ‘world-making’, in which the corporeal and discursive strategies adopted by the traveller moving through space from one place to another utilise the equivalent of classic aesthetic devices in the construction of the narrative through which the journey is registered and the realities it evokes for the audience whose presence is implied by the metaphor (1382–3). The audience too plays a role in the creative process in that its particular expectations constitute ‘one source of explicitly articulated standards of performance’ (1378).

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European Bodies?

Class and Gender Dynamics among EU Civil Servants in Brussels

Paweł Lewicki

Drawing upon ethnographic fieldwork between 2007 and 2011 in Brussels, this article shows how visual markers, class distinctions and classification of gender performances come together to create a ‘Euroclass’ among European civil servants. These markings, distinctions and classifications are denoted on bodily hexis and body performance and evoke stereotypes and essentialised representations of national cultures. However, after the enlargements of the EU in 2004 and 2007 they also reveal a postcolonial and imperial dynamic that perpetuates the division into ‘old’ and ‘new’ Europe and enables people from old member states to emerge as a different class that holds its cultural power firm in a dense political environment permeated by networks.

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Susan Signe Morrison, Women Pilgrims in Late Medieval England: Private Piety as Public Performance Rosemary Tzanaki

Georgia Frank, The Memory of the Eyes. Pilgrims to Living Saints in Christian and Late Antiquity Ian Rutherford

Wes Williams, Pilgrimage and Narrative in the French Renaissance: ‘The Undiscovered Country’ Joan-Pau Rubiés

John Eade and Michael J. Sallnow (eds) Contesting the Sacred: The Anthropology of Christian Pilgrimage Marion Bowman