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This book investigates transnational processes through the analytic lens of cultural performance. It will be of great interest to scholars and students of American Studies, Performance Studies, and Transnational Studies.
This book investigates transnational processes through the analytic lens of cultural performance. It will be of great interest to scholars and students of American Studies, Performance Studies, and Transnational Studies.
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Autorenporträt
Katrin Horn is an assistant professor of American studies and Anglophone literatures and cultures at the University of Bayreuth. Leopold Lippert is an assistant professor at the English Department at the University of Münster. Ilka Saal is a professor of American literature at the University of Erfurt. Pia Wiegmink is an assistant professor in the Obama Institute for Transnational American Studies at the Johannes Gutenberg-University Mainz.
Inhaltsangabe
Content Acknowledgments List of Illustrations 1. INTRODUCTION Birgit Bauridl, Katrin Horn, Leopold Lippert, Ilka Saal, Pia Wiegmink COMMONS 2. The San Francisco Opera House as a Music Theater Commons: Performing Heart of a Soldier Ten Years After 9/11 Nassim Winnie Balestrini 3. Performing Il/legibility: Staging Miscegenation in in Oroonoko and Inkle and Yarico on the late Eighteenth-Century Stage Theresa Saxon 4. Absence and Cracks in Erica Mott's Technopera 3 Singers Andrea Zittlau 5. Transatlantic Musical Performances for American Indian Sovereignty in Late Cold War Central Europe György Tóth INTERVENTION I 6. Border Movement: Transnational Performance in Practice Marina Barsy Janer, Caro Ley, Denise Uyehara, Pia Wiegmink, Andrea Zittlau SKILLS 7. Performance Labor and Transnational Capitalism in Annie Proulx' Barkskins Leopold Lippert 8. Fugitive Voices: Artfulness, Performance, and 'The Other' in Advertisements for African and African American Fugitives in the Early National United States Shaun Wallace INTERVENTION II 9. Radical Time Travel: An Interview with Denise Uyehara Pia Wiegmink and Andrea Zittlau TRACES 10. #god im so glad i got to go: The Monster Ball's Transnational Performances and Digital Traces Katrin Horn 11. Theater of War: Reconstructing (Trans)national Affiliation and Performance Residue in a Divided City Juliane Braun 12. Tracing, Erasing, and Recovering Spring Path: An Eighteenth-Century 'Site of Memory' in Olaudah Equiano's Jamaica Linda Sturtz
Content Acknowledgments List of Illustrations 1. INTRODUCTION Birgit Bauridl, Katrin Horn, Leopold Lippert, Ilka Saal, Pia Wiegmink COMMONS 2. The San Francisco Opera House as a Music Theater Commons: Performing Heart of a Soldier Ten Years After 9/11 Nassim Winnie Balestrini 3. Performing Il/legibility: Staging Miscegenation in in Oroonoko and Inkle and Yarico on the late Eighteenth-Century Stage Theresa Saxon 4. Absence and Cracks in Erica Mott's Technopera 3 Singers Andrea Zittlau 5. Transatlantic Musical Performances for American Indian Sovereignty in Late Cold War Central Europe György Tóth INTERVENTION I 6. Border Movement: Transnational Performance in Practice Marina Barsy Janer, Caro Ley, Denise Uyehara, Pia Wiegmink, Andrea Zittlau SKILLS 7. Performance Labor and Transnational Capitalism in Annie Proulx' Barkskins Leopold Lippert 8. Fugitive Voices: Artfulness, Performance, and 'The Other' in Advertisements for African and African American Fugitives in the Early National United States Shaun Wallace INTERVENTION II 9. Radical Time Travel: An Interview with Denise Uyehara Pia Wiegmink and Andrea Zittlau TRACES 10. #god im so glad i got to go: The Monster Ball's Transnational Performances and Digital Traces Katrin Horn 11. Theater of War: Reconstructing (Trans)national Affiliation and Performance Residue in a Divided City Juliane Braun 12. Tracing, Erasing, and Recovering Spring Path: An Eighteenth-Century 'Site of Memory' in Olaudah Equiano's Jamaica Linda Sturtz
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