By J. Parker-Starbuck
This e-book articulates the 1st theoretical context for a 'cyborg theatre,' metaphorically integrating on-stage our bodies with the technologized, digitized, or mediatized, to re-imagine subjectivity for a post-human age. It covers numerous examples, to suggest new theoretical instruments for knowing functionality in our altering international.
Read or Download Cyborg Theatre: Corporeal/Technological Intersections in Multimedia Performance PDF
Similar feminist theory books
This e-book bargains the 1st specific nearby learn of women’s politics within the uk within the interval sooner than the 1st international struggle. Its function is to enquire how women’s politics functioned on the grass roots, clear of the schisms and character clashes of the nationwide political scene. The booklet investigates the club, actions and campaigning methodologies of a number of formal political organisations starting from branches of nationwide auxiliary our bodies corresponding to the Women’s Liberal Federation via women’s involvement in neighborhood branches of the self reliant hard work social gathering and directly to the self reliant suffrage firms.
This arguable e-book is the 1st systematic feminist analyzing of the paintings of Jean Baudrillard, essentially the most pivotal figures in modern cultural idea, and is key studying for college students of feminist conception, sociology and cultural theory. Drawing at the complete diversity of Baudrillard's writings the writer engages in a debate with: * the paintings of Luce Irigaray, Judith Butler and Rosi Braidotti on identification, energy and wish* the feminist hindrance with 'difference' as an emancipatory build* writings on transgenderism and the functionality of gender* feminist matters in regards to the objectification of girls.
Analyzing chinese language family in addition to overseas situations surrounding the emergence of an autonomous women's move in Beijing within the Nineties, this ebook seeks to provide an explanation for how this sort of flow may have arisen after the repression of pupil activists in Tiananmen sq. in 1989. It additionally areas this emergence within the context of theories of social activities, civil society and globalization.
This feminist vintage explores the numerous manifestations of friendship among ladies and examines the methods ladies have created their very own groups and destinies via friendship.
- Global Perspectives on Gender Equality: Reversing the Gaze (Routledge Unrisd Research in Gender and Development)
- Gossips, Gorgons and Crones: The Fates of the Earth
- Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning
- Emergent Writing Methodologies in Feminist Studies
- The Feminine Subject
Extra resources for Cyborg Theatre: Corporeal/Technological Intersections in Multimedia Performance
For Lehmann, “the spread and then omnipresence of the media in everyday life since the 1970s has brought with it a new multiform kind of theatrical discourse that is here going to be described as postdramatic theatre” (2006: 22). Hayles’s post-human is, in 1999, responding to the assimilation of technologies put forth in Judith Halberstam and Ira Livingston’s collection Posthuman Bodies from 1995 which clearly states: The posthuman does not necessitate the obsolescence of the human; it does not represent an evolution or devolution of the human.
Her influence is disrupted, however, when she is captured and replaced by a robot “Maria,” who is sent to incite the workers to violence, allowing for a retaliatory response. As opposed to the maternal Maria, the robot Maria is sexualized and uncontrollable, a cyborg literally conflating woman and technology – to be feared unless restrained. However, the inability to control this “technology” is ultimately not seen to be the fault of the technology, but is instead represented by the wild sexual and lascivious behavior of the feminine, as Huyssen has noted, “The threat of technology has successfully been replaced by the threat of woman” (1986: 77).
While working as a composer, director, and writer, he wrote Sandmann following the Battle of Dresden (1813) where he was working at the time. This experience and increasing financial instability at the end of the war prompted his employment as a judge in Berlin until his death. 7 Following and adding complexity to the creator-protagonist-objectabject roles from earlier narratives, Sandmann is framed by the character Nathanael’s childhood fear of the Sandman, a figure who is said to steal children’s eyes and who takes shape in the character of Coppelius/Coppola, a frightening man who collaborates with the BACKspace: Historical/Theoretical Intersections 25 scientist Spalanzani to create the automaton Olympia.