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A unique survey of 350 artworks by a global and diverse array of
LGBTQ+ artists – many underrecognized and overlooked – from the
last 50 years Though the Stonewall Riots might now be shorthand for
the start of the gay rights movement, so much of art and culture
has been ‘queer’ since the beginning of time. In About Face,
art historian and curator Jonathan D. Katz explores this concept
head-on, curating a tapestry of works that connect historical
threads and reveal how gender and sexual identity have been
interwoven by artists contemporaneous to and since Stonewall. With
more than 350 artworks by over 40 LGBTQ+ artists across
nationalities and generations, and original texts by artists and
scholars, About Face is as stunning as it is important.
Winner of the 2014 Outstanding Book Award presented by the
Association for Theatre in Higher Education Taking a performance
studies approach to understanding Asian American racial
subjectivity, Joshua Takano Chambers-Letson argues that the law
influences racial formation by compelling Asian Americans to embody
and perform recognizable identities in both popular aesthetic forms
(such as theater, opera, or rock music) and in the rituals of
everyday life. Tracing the production of Asian American selfhood
from the era of Asian Exclusion through the Global War on Terror, A
Race So Different explores the legal paradox whereby U.S. law
apprehends the Asian American body as simultaneously excluded from
and included within the national body politic. Bringing together
broadly defined forms of performance, from artistic works such as
Madame Butterfly to the Supreme Court's oral arguments in the
Cambodian American deportation cases of the twenty-first century,
this book invites conversation about how Asian American performance
uses the stage to document, interrogate, and complicate the
processes of racialization in U.S. law. Through his impressive use
of a rich legal and cultural archive, Chambers-Letson articulates a
robust understanding of the construction of social and racial
realities in the contemporary United States.
"Some playwrights have a gift to amuse; Frances Ya-Chu Cowhig has a
darker gift. Anyone with romantic notions of Chinese culture will
be unsettled by the jagged, unsentimental portrait of modern urban
China."(Chicago Reader) Poetic and devastating, sensuous and
politically acute, Frances Ya-Chu Cowhig's China Plays explore the
forces of global capital as they explode within the lives of
everyday people in contemporary China. This volume collects
together the three plays in the series, including Cowhig's
exploration of the human cost of development in China's socialist
market economy (The World of Extreme Happiness), of justice and
revenge amidst ecological and economic catastrophe (Snow in
Midsummer), and the tale of the trade in blood that brought the
AIDS crisis to rural China (The King of Hell's Palace). In addition
to Cowhig's plays, the volume includes a host of supplemental
materials including an editorial preface and three (previously
published) brief essays responding to each play by the editor,
Joshua Chambers-Letson; a new introduction by theatre/performance
scholar and dramaturg Christine Mok that explores the key themes in
Cowhig's body of work; a summary discussion between Cowhig,
Chambers-Letson, and Mok, on Cowhig's process and the political and
aesthetic currents animating her work. The World of Extreme
Happiness: "Fearless, zippily-paced, and satirical . . . Cowhig
forces us down the long hard look path" (Independent) Snow in
Midsummer: "Gripping and affecting... graceful and impassioned"
(Times) The King of Hell's Palace: "A medical-scandal drama that we
can't afford to ignore" (Telegraph)
A 10th anniversary edition of this field defining work-an
intellectual inspiration for a generation of LGBTQ scholars
Cruising Utopia arrived in 2009 to insist that queerness must be
reimagined as a futurity-bound phenomenon, an insistence on the
potentiality of another world that would crack open the pragmatic
present. Part manifesto, part love-letter to the past and the
future, Jose Esteban Munoz argued that the here and now were not
enough and issued an urgent call for the revivification of the
queer political imagination. On the anniversary of its original
publication, this edition includes two essays that extend and
expand the project of Cruising Utopia, as well as a new foreword by
the current editors of Sexual Cultures, the book series he
co-founded with Ann Pellegrini 20 years ago. This 10th anniversary
edition celebrates the lasting impact that Cruising Utopia has had
on the decade of queer of color critique that followed and
introduces a new generation of readers to a future not yet here.
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The Sense of Brown (Paperback)
Jose Esteban Munoz; Edited by Joshua Chambers-Letson, Tavia Nyong'O
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R653
R576
Discovery Miles 5 760
Save R77 (12%)
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Ships in 10 - 15 working days
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The Sense of Brown is Jose Esteban Munoz's treatise on brownness
and being as well as his most direct address to queer Latinx
studies. In this book, which he was completing at the time of his
death, Munoz examines the work of playwrights Ricardo Bracho and
Nilo Cruz, artists Nao Bustamante, Isaac Julien, and Tania
Bruguera, and singer Jose Feliciano, among others, arguing for a
sense of brownness that is not fixed within the racial and national
contours of Latinidad. This sense of brown is not about the
individualized brown subject; rather, it demonstrates that for
brown peoples, being exists within what Munoz calls the brown
commons-a lifeworld, queer ecology, and form of collectivity. In
analyzing minoritarian affect, ethnicity as a structure of feeling,
and brown feelings as they emerge in, through, and beside art and
performance, Munoz illustrates how the sense of brown serves as the
basis for other ways of knowing and being in the world.
Winner, 2019 ATHE Outstanding Book Award, given by the Association
for Theatre in Higher Education Winner, 2018 Errol Hill Award in
African American theater, drama, and/or performance studies,
presented by the American Society for Theatre Research A new
manifesto for performance studies on the art of queer of color
worldmaking. After the Party tells the stories of minoritarian
artists who mobilize performance to produce freedom and sustain
life in the face of subordination, exploitation, and annihilation.
Through the exemplary work of Nina Simone, Jorge Ignacio Cortinas,
Danh Vo, Felix Gonzalez-Torres, Eiko, and Tseng Kwong Chi, and with
additional appearances by Nao Bustamante, Audre Lorde, Martin Wong,
Assata Shakur, and Nona Faustine, After the Party considers
performance as it is produced within and against overlapping
histories of US colonialism, white supremacy, and heteropatriarchy.
Building upon the thought of Jose Esteban Munoz alongside prominent
scholarship in queer of color critique, black studies, and Marxist
aesthetic criticism, Joshua Chambers-Letson maps a portrait of
performance's capacity to produce what he calls a communism of
incommensurability, a practice of being together in difference.
Describing performance as a rehearsal for new ways of living
together, After the Party moves between slavery, the Civil Rights
Movement, the first wave of the AIDS crisis, the Vietnam War, and
the catastrophe-riddled horizon of the early twenty-first century
to consider this worldmaking practice as it is born of the tension
between freedom and its negation. With urgency and pathos,
Chambers-Letson argues that it is through minoritarian performance
that we keep our dead alive and with us as we struggle to survive
an increasingly precarious present.
Winner of the 2014 Outstanding Book Award presented by the
Association for Theatre in Higher Education Taking a performance
studies approach to understanding Asian American racial
subjectivity, Joshua Takano Chambers-Letson argues that the law
influences racial formation by compelling Asian Americans to embody
and perform recognizable identities in both popular aesthetic forms
(such as theater, opera, or rock music) and in the rituals of
everyday life. Tracing the production of Asian American selfhood
from the era of Asian Exclusion through the Global War on Terror, A
Race So Different explores the legal paradox whereby U.S. law
apprehends the Asian American body as simultaneously excluded from
and included within the national body politic. Bringing together
broadly defined forms of performance, from artistic works such as
Madame Butterfly to the Supreme Court's oral arguments in the
Cambodian American deportation cases of the twenty-first century,
this book invites conversation about how Asian American performance
uses the stage to document, interrogate, and complicate the
processes of racialization in U.S. law. Through his impressive use
of a rich legal and cultural archive, Chambers-Letson articulates a
robust understanding of the construction of social and racial
realities in the contemporary United States.
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The Sense of Brown (Hardcover)
Jose Esteban Munoz; Edited by Joshua Chambers-Letson, Tavia Nyong'O
|
R2,324
R2,154
Discovery Miles 21 540
Save R170 (7%)
|
Ships in 12 - 17 working days
|
The Sense of Brown is Jose Esteban Munoz's treatise on brownness
and being as well as his most direct address to queer Latinx
studies. In this book, which he was completing at the time of his
death, Munoz examines the work of playwrights Ricardo Bracho and
Nilo Cruz, artists Nao Bustamante, Isaac Julien, and Tania
Bruguera, and singer Jose Feliciano, among others, arguing for a
sense of brownness that is not fixed within the racial and national
contours of Latinidad. This sense of brown is not about the
individualized brown subject; rather, it demonstrates that for
brown peoples, being exists within what Munoz calls the brown
commons-a lifeworld, queer ecology, and form of collectivity. In
analyzing minoritarian affect, ethnicity as a structure of feeling,
and brown feelings as they emerge in, through, and beside art and
performance, Munoz illustrates how the sense of brown serves as the
basis for other ways of knowing and being in the world.
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Ceremony: Burial of an Undead World
Anselm Franke, Elisa Giuliano, Denise Ryner, Claire Tancons, Zairong Xiang; Text written by …
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R816
Discovery Miles 8 160
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Ships in 12 - 17 working days
|
A 10th anniversary edition of this field defining work—an
intellectual inspiration for a generation of LGBTQ scholars
Cruising Utopia arrived in 2009 to insist that queerness must be
reimagined as a futurity-bound phenomenon, an insistence on the
potentiality of another world that would crack open the pragmatic
present. Part manifesto, part love-letter to the past and the
future, José Esteban Muñoz argued that the here and now were not
enough and issued an urgent call for the revivification of the
queer political imagination. On the anniversary of its original
publication, this edition includes two essays that extend and
expand the project of Cruising Utopia, as well as a new foreword by
the current editors of Sexual Cultures, the book series he
co-founded with Ann Pellegrini 20 years ago. This 10th anniversary
edition celebrates the lasting impact that Cruising Utopia has had
on the decade of queer of color critique that followed and
introduces a new generation of readers to a future not yet here.
Winner, 2019 ATHE Outstanding Book Award, given by the Association
for Theatre in Higher Education Winner, 2018 Errol Hill Award in
African American theater, drama, and/or performance studies,
presented by the American Society for Theatre Research A new
manifesto for performance studies on the art of queer of color
worldmaking. After the Party tells the stories of minoritarian
artists who mobilize performance to produce freedom and sustain
life in the face of subordination, exploitation, and annihilation.
Through the exemplary work of Nina Simone, Jorge Ignacio Cortiñas,
Danh Vō, Felix Gonzalez-Torres, Eiko, and Tseng Kwong Chi, and
with additional appearances by Nao Bustamante, Audre Lorde, Martin
Wong, Assata Shakur, and Nona Faustine, After the Party considers
performance as it is produced within and against overlapping
histories of US colonialism, white supremacy, and heteropatriarchy.
Building upon the thought of José Esteban Muñoz alongside
prominent scholarship in queer of color critique, black studies,
and Marxist aesthetic criticism, Joshua Chambers-Letson maps a
portrait of performance’s capacity to produce what he calls a
communism of incommensurability, a practice of being together in
difference. Describing performance as a rehearsal for new ways of
living together, After the Party moves between slavery, the Civil
Rights Movement, the first wave of the AIDS crisis, the Vietnam
War, and the catastrophe-riddled horizon of the early twenty-first
century to consider this worldmaking practice as it is born of the
tension between freedom and its negation. With urgency and pathos,
Chambers-Letson argues that it is through minoritarian performance
that we keep our dead alive and with us as we struggle to survive
an increasingly precarious present.
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