Brief Notices
- Brief Notices
________
This volume begins with a list of illustrations (ix), acknowledgments (x), a note on archival material (xi), and an introduction (1–10). The primary text includes the following chapters: “‘Thank Goodness That’s Over’ — Irish Theatre in the 1950s” (11–38); “Secularization and the ‘Post-Catholic’ in Irish Theatre” (39–74); “Internationalizing Irish Theatre” (75–110); “Repeat and Revise—Recycling Irish Images, Narratives and Tropes” (111–46); “Encountering Difference” (147–80); “After the Fall: Irish Drama Since 2000” (181–204); “Critical Perspectives” (205–40). The volume concludes with notes (241–42), references and further reading (243–52); notes on contributors (253–54); and an index (255–63).
This volume begins with an introduction by the editors (1–13) and includes essays in five parts. Part I, “Affect, Performance, and the Neoliberal State,” includes: Sue-Ellen Case, “The Affective Performance of State Love” (15–24); Denise Varney, “‘Not Now, Not Ever’: Julia Gillard and the Performative Power of Affect” (25–38); Sandra D’Urso, “Performing Sovereignty Against Jurisprudential Death in an Australian State of Exception” (39–50); Nobuko Anan, “Imagining Love in a Neoliberal Japan: Yanagi Miwa’s Elevator Girl” (51–64); Christina Svens, “Nisti Stêrk’s Affective Spaces in For Sweden—With the Times (För Sverige I tiden!)” (65–74). Part II, “Violence and Performance Activism,” includes: Diana Taylor, “Raging On: The Politics of Violence in the Work of Jesusa Rodríguez and Liliana Felipe” (77–90); Candice Amich, “The Limits of Witness: Regina José Galindo and Neoliberalism’s Gendered Economies of Violence” (91–104); Bishnupriya Dutt, “Protesting Violence: Feminist Performance Activism in Contemporary India” (105–16); Tiina Rosenberg, “My Cunt, My Rules! Feminist Sextremist Activism in Neoliberal Europe” (117–30). Part III, “Global Spectacles,” includes: Marla Carlson, “Mapping Abramović, from Affect to Emotion” (133–46); Aofie Monks, “Virtuosity: Dance, Entrepreneurialism, and Nostalgia in Stage Irish Performance” (147–60); Sarah French, “Neoliberal Postfeminism, Neo-burlesque, and the Politics of Affect in the Performances of Moira Finucane” (161–74); Urmimala Sarkar Munsi, “Buy One, Get One Free: The Dance Body for the Indian Film and Television Industry” (175–88); Antje Budde, “Affecting the Apparatus: Queer Feminist Re/Decodings in the Digital Dramaturgy Lab, Toronto” (189– 202). Part IV, “Resistance and Theatre Politics,” includes: Charlotte M. Canning, “When Will They Hear Our Voice? Historicizing Gender, Performance, and Neoliberalism in the 1930s” (203–14); Jung-Soon Shim, “Voices of the 880,000 Won Generation: Precarity and Contemporary Korean Theatre” (215–28); Vibha Sharma, “Female Actors in Swaang: Negotiating the Neoliberal Performance Scenario in Post-1991 India” (229–38); María José Contreras Lorenzini, “A Woman Artist in the Neoliberal Chilean Jungle” (239–54). Part V, “Affect and Site-Specific Performance,” includes: Elin Diamond, “Feminism, Assemblage, and Performance: Kara Walker in Neoliberal Times” (255–68); Shonagh Hill, “Feeling Out of Place: The ‘Affective Dissonance’ of the Feminist Spectator in The Boys of Foley Street” (269–82); Ana Bernstein, “The Flesh and the Remains: Looking at the Work of Berna Reale” (283–96); Rebecca Jennison, “Precarity, Performance, and Activism in Recent Works by Ito Tari and Yamashiro Chikako” (297–308). The text concludes with an index (309–15).
This volume begins with a list of illustrations (viii), acknowledgments (ix), and an introduction by the editors (1–18). The primary text includes essays in two parts. Part I, “Early Modern Women Travelers: Global and Local Trajectories,” includes: Richmond Barbour, “Desdemona and Mrs. Keeling” (19–40); Karen Robertson, “A Stranger Bride: Mariam Khan and the East India Company” (41–63); Amrita Sen, “Sailing to India: Women, Travel, and Crisis in the Seventeenth Century” (64–80); Carmen Nocentelli, “Teresa Sampsonia Sherley: Amazon Traveler, and Consort” (81–101); Bernadette Andrea, “The Global Travels of Teresa Sampsonia Sherley’s Carmelite Relic” (102–20); Patricia Akhimie, “Gender and Travel...
