| 1 |
Theater and Peacebuilding in Post-Conflict Settings: Participants’ Experiences in the Morning Star Theater Program in South Sudan
|
|
|
|
In: Antioch University Full-Text Dissertations & Theses (2022)
|
|
BASE
|
|
Show details
|
|
|
| 2 |
Vedantic Basis and Praxis of the Integral Advaita of Sri Aurobindo
|
|
|
|
In: Monsoon: South Asian Studies Association Journal (2022)
|
|
BASE
|
|
Show details
|
|
|
| 3 |
Tusha Hiti: The Origin and Significance of the Name
|
|
|
|
In: Monsoon: South Asian Studies Association Journal (2022)
|
|
BASE
|
|
Show details
|
|
|
| 4 |
Diversity, Equity, and Inclusion: Perspectives from Contemporary India and 6th Century Jain Yoga
|
|
|
|
In: Monsoon: South Asian Studies Association Journal (2022)
|
|
BASE
|
|
Show details
|
|
|
| 5 |
Ganges in Indian Sculpture and Literature: Mythology and Personification
|
|
|
|
In: Monsoon: South Asian Studies Association Journal (2022)
|
|
BASE
|
|
Show details
|
|
|
| 6 |
Digital and Spatial Humanities Mapping: Eurasia-Pacific Early Trade and Belief Linkages
|
|
|
|
In: Monsoon: South Asian Studies Association Journal (2022)
|
|
BASE
|
|
Show details
|
|
|
| 7 |
UNO at Edinburgh: Devised Physical Theatre in Cross-Cultural Contexts
|
|
|
|
In: Student Research and Creative Activity Fair (2020)
|
|
BASE
|
|
Show details
|
|
|
| 8 |
Cinematic Representation of Ethnic Minorities in PRC and Postcolonialism
|
|
|
|
In: CLCWeb: Comparative Literature and Culture (2020)
|
|
BASE
|
|
Show details
|
|
|
| 9 |
Why I Write in Yiddish
|
|
|
|
In: CLCWeb: Comparative Literature and Culture (2020)
|
|
BASE
|
|
Show details
|
|
|
| 10 |
Poetry in Response to the “Disengagement Plan”: Identity, Poetics and Politics
|
|
|
|
In: CLCWeb: Comparative Literature and Culture (2020)
|
|
BASE
|
|
Show details
|
|
|
| 11 |
Readymade or Made [to be] Ready, Replicant or Surplus: Social Reproduction and the Biopolitics of Abstraction Prefigured in Contemporary Art
|
|
|
|
In: CLCWeb: Comparative Literature and Culture (2020)
|
|
Abstract:
The artist may be one of the last subject-positions within capitalism to determine their own labour under the sign of “creativity,” and to be held at an oblique angle to value productive labour; they are dialectically “free” to be creative (Adorno, Vishmidt, Stakemeir, Beech). But since 1973 if not 1915, artists mark this creative capacity as a process whereby reification has migrated from that of the object to that of the subject, to the artist-subject, now heightened in a post-industrial era of “feminized” and immaterial labour where service eclipses production. Artists in the “post medium condition” elaborate practices that track parallel to the service economy and yet continue to be mythologized as agents capable of delivering exceptional experience, an experience institutionally deemed to be specialized and singular. Artist Santiago Sierra mobilizes and elaborates delegated performance art with avowed and explicit reflexive cruelty to raise the contradiction inherent in the expectation of exceptional content delivered by free and creative agents to query the question of collective agency in instances where persons are expelled by the labour market in relation to state status. 33 Persons Paid to Have their Hair Dyed Blonde from 2001 dramatizes not only the global class war inherent in racialized stateless surplus populations in the context of collapsing social contracts set by the Keynesian state and operative from the 1930s to but the degree to which these populations come to be seen as less-than-human, as less than bearers of labor-power, but as disposable.
|
|
Keyword:
American Studies; and Sexuality Studies; Arts and Humanities; Comparative Literature; Education; European Languages and Societies; Feminist; Film and Media Studies; Gender; Other Arts and Humanities; Other Film and Media Studies; Reading and Language; Rhetoric and Composition; Social and Behavioral Sciences; Television; Theatre and Performance Studies
|
|
URL: https://docs.lib.purdue.edu/clcweb/vol22/iss2/9
https://docs.lib.purdue.edu/cgi/viewcontent.cgi?article=3844&context=clcweb
|
|
BASE
|
|
Hide details
|
|
|
| 12 |
Kofifi/Covfefe: How the Costumes of "Sophiatown" Bring 1950s South Africa to Western Massachusetts in 2020
|
|
|
|
In: Masters Theses (2020)
|
|
BASE
|
|
Show details
|
|
|
| 13 |
Moon Over Buffalo Playbill
|
|
|
|
In: Playbill and Promotion (2019)
|
|
BASE
|
|
Show details
|
|
|
| 14 |
The Performance of Racialized Bodies and Brecht’s Operatic Anthropology
|
|
|
|
In: World Languages and Cultures Publications (2019)
|
|
BASE
|
|
Show details
|
|
|
| 15 |
The lighting programmer as creative collaborator
|
|
|
|
In: Behind the Scenes: Journal of Theatre Production Practice (2019)
|
|
BASE
|
|
Show details
|
|
|
| 16 |
On Editing Jacinto Cordeiro's Los doce de Ingalaterra
|
|
|
|
In: South East Coastal Conference on Languages & Literatures (SECCLL) (2019)
|
|
BASE
|
|
Show details
|
|
|
| 17 |
Constructed Languages and Their Role in Drama
|
|
|
|
In: Honors Theses and Capstones (2019)
|
|
BASE
|
|
Show details
|
|
|
| 18 |
Pura Belpré’s Puppetry at the NYPL Children’s Rooms: 1921-1982
|
|
|
|
In: Living Objects: African American Puppetry Essays (2019)
|
|
BASE
|
|
Show details
|
|
|
| 19 |
Subjectivity, Institutions and Language in Contemporary Israeli Film
|
|
|
|
In: CLCWeb: Comparative Literature and Culture (2019)
|
|
BASE
|
|
Show details
|
|
|
| 20 |
Mimicry: A Short Play
|
|
|
|
In: Journal of Southeast Asian American Education and Advancement (2019)
|
|
BASE
|
|
Show details
|
|
|
|
|
