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This book deals with the broader theoretical and philosophical context of performance art in former Yugoslavia, focusing on more than three decades of politically engaged performance activity of the Montazstroj group. Their activity is only a starting point for a deeper analysis of some of the key notions of contemporary "art-ivism" in a much broader post-political and globalized context before, during, and after Yugoslavia and its Socialist paradigm collapsed. The author analyzes and sets notions of agonism, engagement, terrorism, post-war trauma, political populism, social Darwinism,…mehr
This book deals with the broader theoretical and philosophical context of performance art in former Yugoslavia, focusing on more than three decades of politically engaged performance activity of the Montazstroj group. Their activity is only a starting point for a deeper analysis of some of the key notions of contemporary "art-ivism" in a much broader post-political and globalized context before, during, and after Yugoslavia and its Socialist paradigm collapsed. The author analyzes and sets notions of agonism, engagement, terrorism, post-war trauma, political populism, social Darwinism, participation and publicness, and the public sphere into different theoretical matrixes.
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Autorenporträt
Leo Rafolt is a professor in the Department of Theatre at Josip Juraj Strossmayer University.
Inhaltsangabe
List of Figures Acknowledgments 1. Preamble: Performance as Revolt, and the Scums of History 2. Perpetual Dynamism of Labored Bodies: From the Intrusion into the Institution 3. Meyerhold Bound, and the Barbaric Discipline of the Machine 4. Topography of Excess, or the Profanation of Performative Risk 5. Messianic Time, and Decay of the Post-Yugoslav Idea 6. Queer Immanence, and Technocentric Utopia of the Master and the Slave 7. On Emancipation Politics: Public Sphere between Irruption and Institution 8. Emancipate, Participate, or Else: Not Every Performance is a Democratic Regime 9. On Obstinacy, Minoritarianism, and the Performance Gaze 10. Performance of/or Debt: The Economy's Frank Face 11. Terror of Acceptance: Mass-Murders and Political Dystopia Performance References References Index About the Author
List of Figures Acknowledgments 1. Preamble: Performance as Revolt, and the Scums of History 2. Perpetual Dynamism of Labored Bodies: From the Intrusion into the Institution 3. Meyerhold Bound, and the Barbaric Discipline of the Machine 4. Topography of Excess, or the Profanation of Performative Risk 5. Messianic Time, and Decay of the Post-Yugoslav Idea 6. Queer Immanence, and Technocentric Utopia of the Master and the Slave 7. On Emancipation Politics: Public Sphere between Irruption and Institution 8. Emancipate, Participate, or Else: Not Every Performance is a Democratic Regime 9. On Obstinacy, Minoritarianism, and the Performance Gaze 10. Performance of/or Debt: The Economy's Frank Face 11. Terror of Acceptance: Mass-Murders and Political Dystopia Performance References References Index About the Author
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