Ebook Mourning Sex: Performing Public Memories, by Peggy Phelan
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Mourning Sex: Performing Public Memories, by Peggy Phelan
Ebook Mourning Sex: Performing Public Memories, by Peggy Phelan
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This is a book about the exhilaration and the catastrophe of embodiment. Analyzing different instances of injured bodies, Peggy Phelan considers what sustained attention to the affective force of trauma might yield for critical theory. Advocating what she calls "performative writing", she creates an extraordinary fusion of critical and creative thinking which erodes the distinction between art and theory, fact and fiction.
The bodies she examines here include Christ's, as represented in Caravaggio's painting The Incredulity of St Thomas, Anita Hill's and Clarence Thomas's bodies as they were performed during the Senate hearings, the disinterred body of the Rose Theatre, exemplary bodies reconstructed through psychoanalytic talking cures, and the filmic bodies created by Tom Joslin, Mark Massi, and Peter Friedman in Silverlake Life: The View From Here.
This new work by the highly-acclaimed author of Unmarked makes a stunning advance in performance theory in dialogue with psychoanalysis, queer theory, and cultural studies.
- Sales Rank: #1842289 in eBooks
- Published on: 2013-07-23
- Released on: 2013-07-23
- Format: Kindle eBook
Review
'As with Phelan's Unmarked, this book has much to recommend it to postgraduate students in any of the arts or social sciences.' - New Theatre Quarterly
About the Author
Peggy Phelan is Chair of the Department of Performance Studies at Tisch School of the Arts, New York University.
Most helpful customer reviews
12 of 14 people found the following review helpful.
Blurring the line between performance and criticism
By Ryan McGee
A heartfelt and harrowing examination of various cultural elements, as disparate as the Rose Theatre in london to the Anita Hill/Clarence Thomas hearings, in which Phelan has found the common thread of the public performance of mourning. "Mourning" for Phelan means not merely the connotative sense of sadness and crying, but rather a sense of longing, a sense of inaction, an inability to properly react, to remember.
The book stands along the intersection of two primary elements. First, it stands as an insightful series of performance criticism; she is especially illuminating in her dissection of the cultural and sexual implications in the uncovering of the Rose Theatre, in which Christopher Marlowe often had his plays performed. At times, however, the book itself becomes a forum for performance itself, most vividly and movingly in "Shattered Skulls", where, as many times in the book, the narrative turns into a first person perspective, although this first person is not quite Phelan herself. With the juxtaposition of thses two elements, Phelan effectively traces and exposes the inherent performance tropes which both infuse and infect out everyday relations.
This meager review cannot adequately describe the shimmering beauty of Phelan's prose and her laser-sharp insight. I cannot recommed it highly enough.
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