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Performing South. The U.S. South as Transmedial Message
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Performing South.
The U.S. South as Trans/medial Message Abstract
This collection of twelve essays focuses on how the U.S. South has been playing itself out, locally and globally, as various embodied cultural practices — or performances. The contributors to this volume — historians and literature and culture experts alike — explore the many southern performances as they appear to them clad in (post) spiritual,(post) gender, and, finally, also (post)cultural robes. The resulting southern embodiment seems to be a challenging trans/cultural methodology (no longer) complicated by race, religious denomination, sex, class, politics, or past, and thus — affectively —
a live presence that escapes all attempts to pinpoint it. In the end, these essays therefore demonstrate the southern cultural performance as fit for trans/coding the region in the "post-McLuhan" terms of "trans/medial message."
| Rok wydania | 2015 |
|---|---|
| Liczba stron | 246 |
| Kategoria | Teoria kultury |
| Wydawca | Wydawnictwo Naukowe Uniwersytetu Szczecińskiego |
| ISBN-13 | 978-83-7972-058-3 |
| Język publikacji | polski |
| Informacja o sprzedawcy | ePWN sp. z o.o. |
POLECAMY
Ciekawe propozycje
Spis treści
| Introduction – Dixie-Land: The U.S. South as a Performative Franchise – Beata Zawadka | 7 |
| (POST)SPIRITUAL PERFORMANCES | 23 |
| Remembering Colleagues, Remembering Friends, Remembering Peter Nicolaisen and Noel Polk– Agnieszka Salska | 25 |
| The Church Performing in the South: From Catholicism to Evangelical Catholicism – John Andreas Fuchs | 37 |
| Performances Religious and Secular in Chris Fuhrman’s Dangerous Lives of Altar Boys – Marcel Arbeit | 55 |
| Drama and Trauma in Elizabeth Madox Roberts’ My Heart and My Flesh – Gisele Sigal | 81 |
| (POST)GENDER PERFOMANCES | 101 |
| Performing Southern Womanhood in Katherine Anne Porter’s Miranda Stories – Susana María Jiménez Placer | 103 |
| Homo Performans in Erskine Caldwell’s Short Stories – Irina Kudriavtseva | 121 |
| The Masquerade of Masculinity in Gone With the Wind. Per(e)forming Men Through Emotions – Emmeline Gross | 135 |
| (POST)CULTURAL PERFORMANCES | 157 |
| Performing Ethnicities, Performing Regions: The Crossroads of Time, History, and Culture in Alfred Uhry’s The Last Night of Ballyhoo – John Wharton Lowe | 159 |
| Come Dine With Me, Or Not: Performing Racial Relations in the Domestic Sphere in Alfred Uhry’s Driving Miss Daisy – Urszula Niewiadomska-Flis | 177 |
| “Manners Are Not Intelligent, They’re Just Automatic”: Performing the South in Elizabeth Spencer’s For Lease or Sale – Gerald Preher | 195 |
| Staging Southern Culture: Liminality and Cultural Performance in Donald Davidson’s The Big Ballad Jamboree – Carmen Rueda-Ramos | 217 |
| Contributors | 237 |
| Index | 243 |
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