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Cruising the Performative
Interventions into the Representation of Ethnicity, Nationality, and Sexuality
Edited by Sue-Ellen Case, Philip Brett and Susan Leigh Foster
Published by: Indiana University Press
5 b&w photos
- eBook
- 9780253116437
- Published: September 1995
$9.99
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". . . provocative . . ." —Theatre Journal
". . . these essays . . . offer the reader a lucid and well-wrought collection of thoughts on contemporary art and entertainment." —Theatre Studies
". . . these thirteen essays comprise an eclectic, promiscuous 'cruise' of the 'performative' in culture. . . . This is provocative stuff . . ." —Notes
Innovative examinations of performance and identity, including cultural anxieties over race and sex embodied in Michael Jackson; the exportation of tango to the "Third World"; "house music" of gay bars; Sea World's Shamu; elephants, musical performance, and the French Revolution.
Introduction
Instrumental Accompaniments
1. Who's Been in My Closet? Mimetic Identification and the Psychosis of Class Transvestism in Single White Female—Ellen Brinks
2. Michael Jackson's Penis—Cynthia J. Fuchs
3. The Telephone and Its Queerness—Ellis Hanson
4. John Rechy and the Grammar of Ostentation—Ricardo L. Ortiz
5. Ecce Homo: The Prayer Closet of Metaphysical Religious Poetry and Homodevotional Pornography—Richard Rambuss
Inter-Nationalist Interventions
6. Deviance and Dissidence: Sexual Subjects of the Cold War—Katrin Sieg
7. As the Master Saw Her—Parama Roy
8. Tango and the Postmodern Uses of Passion—Marta Savigliano
9. Hyphen-Nations—Jennifer DeVere Brody
Community Cruises
10. "We Are Family": House Music and Queer Performativity—Brian Currid
11. Compulsory Homosociality: Charles Olson, Jack Spicer, and the Gender of Poetics—Michael Davidson
12. Performing "Nature": Shamu at Sea World—Jane C. Desmond
13. "If We Could Talk with the Animals": Elephants and Musical Performance during the French Revolution—Michael McClellan
Notes on Contributors
Index
PHILIP BRETT Professor Music and Chair of the Music Department at the University of California, Riverside, is general editor of The Byrd Edition, co-editor of Queering the Pitch, and compiler of the Cambridge Opera Handbook on Benjamin Britten's Peter Grimes. SUE-ELLEN CASE, Professor of English at the University of California, Riverside, is the author of Feminism and Theatre and editor of The Divided Home-Land: Contemporary German Women's Plays and Performing Feminisms: Feminist Critical Theory and Theatre. She is the co-editor of The Performance of Power: Theatrical Discourse and Politics. SUSAN LEIGH FOSTER, a choreographer, dancer, and writer, is Professor and Chair of the Department of Dance at the University of California, Riverside. Her book, Reading Dancing: Bodies and Subjects in Contemporary American Dance, received the De La Torre Bueno prize for scholarship on dance.