Adorno and Performance offers the first comprehensive examination of the vital role of performance within the philosophy of Theodor W. Adorno. Capacious in its ramifications for contemporary life, the term 'performance' here unlocks Adorno's dialectical thought process, which aimed at overcoming the stultifying uniformity of instrumental reason.

Historically, the mass media have marginalized women's sports by devoting more coverage to men's sports and trying to appeal to a male audience. This volume analyzes the mass media's portrayal of women's sports. The Olympic Games are highlighted because they provide one of the few sports arenas where women's participation is heavily covered, promoted, and celebrated. The author suggests the media are recognizing the significance of female spectatorship and are attempting to respond to this growing audience by adopting some of the rhetorical and textual characteristics of soap opera and melodrama.

Through a series of reflections from internationally renowned performance-makers and contextualising essays from leading theatre and performance scholars, this is the first book to map the influence of Roland Barthes on performance. The contributions are framed through Barthes's notion of 'neutral dramaturgies' - a welcome antidote to the political deadlock of our present moment - and cover the breadth of Barthes's work from his essay 'The Death of the Author' (1967) to Mythologies (1972), Camera Lucida (1981), A Lover's Discourse (1990) to the more recently available lecture courses at the College de France. Together, they capture a range of Barthes's preoccupations, from his early writing on myths and meaning to personal reflections on love, loss and desire, and interrogate the intersections between Barthes's work and contemporary theatre and performance. Having read this book, readers can approach Barthes's writing from a breadth of creative perspectives, be more aware of the importance of his late thought for thinking through a range of dramaturgical forms, and become more familiar with the work of internationally significant performance practitioners and the possible critical perspectives to analyse his work.

This book theorizes the baroque as neither a time period nor an artistic style but as a collection of bodily practices developed from clashes between governmental discipline and artistic excess, moving between the dramaturgy of Jesuit spiritual exercises, the political theatre-making of Angelo Beolco (aka Ruzzante), and the civic governance of the Venetian Republic at a time of great tumult. The manuscript assembles plays seldom read or viewed by English-speaking audiences, archival materials from three Venetian archives, and several secondary sources on baroque, Renaissance, and early modern epistemology in order to forward and argument for understanding the baroque as a gathering of social practices. Such a rethinking of the baroque aims to complement the already lively studies of neo-baroque aesthetics and ethics emerging in contemporary scholarship on (for example) Latin American political art.

This book theorizes the baroque as neither a time period nor an artistic style but as a collection of bodily practices developed from clashes between governmental discipline and artistic excess, moving between the dramaturgy of Jesuit spiritual exercises, the political theatre-making of Angelo Beolco (aka Ruzzante), and the civic governance of the Venetian Republic at a time of great tumult. The manuscript assembles plays seldom read or viewed by English-speaking audiences, archival materials from three Venetian archives, and several secondary sources on baroque, Renaissance, and early modern epistemology in order to forward and argument for understanding the baroque as a gathering of social practices. Such a rethinking of the baroque aims to complement the already lively studies of neo-baroque aesthetics and ethics emerging in contemporary scholarship on (for example) Latin American political art.

Adorno and Performance offers the first comprehensive examination of the vital role of performance within the philosophy of Theodor W. Adorno. Capacious in its ramifications for contemporary life, the term 'performance' here unlocks Adorno's dialectical thought process, which aimed at overcoming the stultifying uniformity of instrumental reason.

"Manifesto Now " maps the current rebirth of the manifesto as it appears at the crossroads of philosophy, performance, and politics. While the manifesto has been central to histories of modernity and Modernism, the editors contend that its contemporary resurgence demands a renewed interrogation of its form, its content, and the uses. Featuring contributions from trailblazing artists, scholars, and activists currently working in the United States, the United Kingdom, Finland, and Norway, this volume will be indispensible to scholars across the disciplines. Filled with examples of manifestos and critical thinking about manifestos, it contains a wide variety of critical methodologies that students can analyze, deconstruct, and emulate.