Performance-Artistes
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The Complete Stories
The Complete Stories by Franz Kafka a.b.e-book v3.0 / Notes at the end Back Cover : "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. Page 1 The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York. -
ON PAIN in PERFORMANCE ART by Jareh Das
BEARING WITNESS: ON PAIN IN PERFORMANCE ART by Jareh Das Thesis submitted in fulfilment of the requirements for the degree of PhD Department of Geography Royal Holloway, University of London, 2016 1 Declaration of Authorship I, Jareh Das hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19th December 2016 2 Acknowledgments This thesis is the result of the generosity of the artists, Ron Athey, Martin O’Brien and Ulay. They, who all continue to create genre-bending and deeply moving works that allow for multiple readings of the body as it continues to evolve alongside all sort of cultural, technological, social, and political shifts. I have numerous friends, family (Das and Krys), colleagues and acQuaintances to thank all at different stages but here, I will mention a few who have been instrumental to this process – Deniz Unal, Joanna Reynolds, Adia Sowho, Emmanuel Balogun, Cleo Joseph, Amanprit Sandhu, Irina Stark, Denise Kwan, Kirsty Buchanan, Samantha Astic, Samantha Sweeting, Ali McGlip, Nina Valjarevic, Sara Naim, Grace Morgan Pardo, Ana Francisca Amaral, Anna Maria Pinaka, Kim Cowans, Rebecca Bligh, Sebastian Kozak and Sabrina Grimwood. They helped me through the most difficult parts of this thesis, and some were instrumental in the editing of this text. (Jo, Emmanuel, Anna Maria, Grace, Deniz, Kirsty and Ali) and even encouraged my initial application (Sabrina and Rebecca). I must add that without the supervision and support of Professor Harriet Hawkins, this thesis would not have been completed. -
Schizoproduction: Artistic Research and Performance in the Context of Immanent Capitalism
Schizoproduction: Artistic research and performance in the context of immanent capitalism TERO NAUHA 45 ACTA SCENICA Schizoproduction: Artistic research and performance in the context of immanent capitalism TERO NAUHA TERO NAUHA Schizoproduction: artistic research and performance in the context of immanent capitalism DOCTORAL RESEARCH Acta Scenica 45 2016 ISBN (print): 978-952-6670-69-0 ISBN (pdf): 978-952-6670-70-6 ISSN (print): 1238-5913 ISSN (pdf): 2242-6485 PUBLISHER: University of the Arts Helsinki, Theatre Academy, Performing Arts Research Centre © 2016 University of the Arts Helsinki, Theatre Academy, Performing Arts Research Centre and Tero Nauha GRAPHIC DESIGN BOND Creative Agency www.bond.fi COVER PHOTO Tero Nauha LAYOUT Annika Marjamäki, Edita Prima Ltd PRINTED BY Edita Prima Ltd, Helsinki 2016 PAPER Scandia 2000 Natural 240 g / m2 & Scandia 2000 Natural 115 g / m2 FONTS Benton Modern Two & Monosten Schizoproduction: Artistic research and performance in the context of immanent capitalism TERO NAUHA 45 ACTA SCENICA Contents Tiivistelmä 9 Abstrakt 11 Abstract 13 Acknowledgements 15 Vestibule 21 Cross-section 23 THE FIRST FLOOR PRACTICE 35 Infection with performance art 37 CHAPTER 1: From Practice to Practice as Research 43 CHAPTER 2: Performance and the production of subjectivity 55 CHAPTER 3: Loop Variations, 2008 65 CHAPTER 4: Tell me about your machines, 2012 81 CHAPTER 5: Life in Bytom, 2012 87 CHAPTER 6: The Astronomer: Experiment, 2013 115 CHAPTER 7: Man-a-machine: schizoproduction, 2014 125 THE SECOND FLOOR: THEORY 142 -
MARINA ABRAMOVIĆ Bibliography
MARINA ABRAMOVIĆ Bibliography Selected Publications 2018 Goldberg, RoseLee. Performance Now: Live Art for the 21st Century. New York: Thames & Hudson, 2018. 2017 Abramovic, Marina. The Cleaner. Hatje Cantz Verlag, 2017. 2015 Clemens, Justin. Private Archaeology. Tasmania: Museum of Old and New Art, 2015. Džuverović, Lina. Monuments Should Not Be Trusted, Nottingham: Nottingham Contemporary, 2016. Marina ABramovic: In Residence Education Kit, Sydney: Kaldor Public Art Projects, 2015. The Sense of Movement: When Artists Travel. Hatje Cantz: Ostfildern, 2015. Sardo, Delfim. Afinidades Electivas | Julião Sarmento Coleccionador, Fundacão Carmona e Costa. Lisbon: Portugal, 2015. Westcott, James. Quando Marina ABramovic Morrer: uma Biografia, São Paulo: SESC Editions, 2015. 2014 Belisle, Josee. Beaute du Geste, Montreal: Musee d’Art Contemporain de Montreal, 2014. Biesenbach, Klaus and Hans Ulrich Obrist. 14 Rooms, Ostfildern, Germany: Hatje Cantz, 2014. Bojan, Maria Rus and Alessandro Cassin. Whispers, Ulay on Ulay, Amsterdam: Valiz Foundation, 2014. Day, Charlotte. Art As a Verb, Victoria, Australia: Monash University Museum of Art, 2014. Hoffman, Jens. Show Time: The 50 Most Influential ExhiBitions of Contemporary Art, New York: DAP, 2014. Marina ABramovic: Entering the Other Side, Jevnaker, Norway: Kistefos Museet, 2014. Marina ABramovic: 512 Hours, London: Serpentine Galleries, Koenig Books, 2014. 2013 Moving Pictures / Moving Sculpture: The Films of James Franco, California: Oh Wow, 2013. Munch By Others. Norway: Arnivus + Orfeus Publishing and Haugar Vestfold Museum, 2013. Walk on, From Richard Long to Janet Cardiff: 40 Years of Art Walking, Manchester: Cornerhouse Publications, 2013. Westcott, James. When Marina ABramovic Dies, China: Gold Wall Press, 2013. 2012 Anelli, Marco. Portraits in the Presence of Marina Abramovic. -
The Drowned Girl Karen Brown Gonzalez University of South Florida
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 3-27-2008 The Drowned Girl Karen Brown Gonzalez University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Gonzalez, Karen Brown, "The Drowned Girl" (2008). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/265 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Drowned Girl by Karen Brown Gonzalez A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Co-Major Professor: Rita Ciresi, M.F.A. Co-Major Professor: Hunt Hawkins, Ph.D. A. Manette Ansay, M.F.A. William T. Ross, Ph.D. Date of Approval: March 27, 2008 Keywords: stories, women, Connecticut, suburbia, adultery © Copyright 2008, Karen Brown Gonzalez The girl is leagues and leagues away from the first kiss of prologue, but she, throat caked with mud, white skin scaled verdigris, must be the message within the bottle. —Eve Alexandra, “The Drowned Girl” Acknowledgments Grateful acknowledgment is made to the following publications for publishing portions of this work in slightly altered form: “Send Me” in American Fiction: The Best Unpublished Short Stories by Emerging Writers, Number 4, 1992, “Affairs of a Career Girl” and “Tropical Passions” as Things I Did While You Were Gone, in Epoch, Vol. -
Authority, Autonomy, and Choice: the Role of Consent in the Moral and Political Visions of Franz Kafka and Richard Posner
Georgetown University Law Center Scholarship @ GEORGETOWN LAW 1985 Authority, Autonomy, and Choice: The Role of Consent in the Moral and Political Visions of Franz Kafka and Richard Posner Robin West Georgetown University Law Center, [email protected] Georgetown Public Law and Legal Theory Research Paper No. 11-04 This paper can be downloaded free of charge from: https://scholarship.law.georgetown.edu/facpub/489 http://ssrn.com/abstract=1737920 99 Harv. L. Rev. 384 (1985-1986) This open-access article is brought to you by the Georgetown Law Library. Posted with permission of the author. Follow this and additional works at: https://scholarship.law.georgetown.edu/facpub Part of the Law and Economics Commons, Law and Society Commons, Legal History Commons, and the Public Law and Legal Theory Commons AUTHORITY, AUTONOMY, AND CHOICE: THE ROLE OF CONSENT IN THE MORAL AND POLITICAL VISIONS OF FRANZ KAFKA AND RICHARD POSNER Robin West* Law-and-economics theorist Richard Posner has argued that principles of consent support wealth maximization as a rule of judicial decisionmaking. According to Posner, wealth-maximizing consensual transactions are morally desirable because they promote both well-being and autonomy. In this Ar- ticle, Professor West draws on Franz Kakfa's depictions of human motivation to dispute the empirical basis of both justificatory prongs of Posner's thesis. Kafka's characters, she argues, suggest that when individuals consent to transactions,they often do so because of a desire to submit to authority, and not to maximize well-being or autonomy. Thus, Professor West concludes, Posner's identification of consent as the moral justification of wealth max- imization rests on an inadequate view of human motivation. -
“Eat the Pain”. Food in the Work of Marina Abramović Nikolina Skenderija-Bohnet
“Eat the pain”. Food in the work of Marina Abramović Nikolina Skenderija-Bohnet Abstract Marina Abramovic is Yugoslavian-born and New York based pioneer of performance art. By radically using her body as an artistic medium, she has been pushing it to the limit. While her early work in- cluded self-harming practices, Abramovic later moved on to long durational art form that is focused on meditative lingering where the emphasis lies on a spiritual or esoteric moment. In Abramovic’s entire oeuvre food plays an important role. She doesn’t use food as an object of art itself, but she creates her art around the symbolism and history of food, using it as a useful tool in her actual performance art. This general question of the role of food in Abramovic’s oeuvre will be the focus point of my article, while taking the closer look on certain performances such as: Thomas Lips (1975), Nightsea Crossing (1982), Balkan Baroque (1997), The Onion (1995), Spirit Cooking (1997), The Kitchen (2009). 1. Everything started with a peanut1. Before she got engaged in performance art, Yugoslavian-born artist Marina Abramović studied and worked in her hometown Belgrade as a painter. She often paint- ed clouds. One day she was invited to contribute to the small exhibition in a friend’s studio. Abramović took the chance and she brought one peanut in its shell, fixed it to wall of the studio with a pin, and she entitled her work The Cloud and its Shadow. This was the first action that took the artist away from two-dimensional and a starting point of her career as an action and later performance artist. -
Research.Pdf (1.578Mb)
THE UNDOING OF THE SELF: AN ARTISTIC EXPLORATION ______________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of MissouriColumbia ______________________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts ______________________________________________________________ by VALERIE A. WEDEL James H. Calvin, Thesis Supervisor DECEMBER 2007 © Copyright by Valerie A. Wedel 2007 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled THE UNDOING OF THE SELF: AN ARTISTIC EXPLORATION presented by Valerie A. Wedel, a candidate for the degree of master of fine art, and hereby certify that, in their opinion, it is worthy of acceptance Associate Professor James H. Calvin Professor Josephine Stealey Associate Professor M. Heather Carver ACKNOWLEDGEMENTS I would like to express deep gratitude to my thesis advisor, James Calvin, who took me on and believed in me when I chose to start over. He provided innumerable hours of advice and brainstorming sessions, knowing when to challenge and when to say just the thing to quell my worrying. All questions, no matter how silly, received thorough responses. A warm thanks goes to Professor Josephine Stealey, who provided much sage wisdom, support and reminded me to “push.” Many thanks to Dr. Heather Carver for her incredible enthusiasm for this project and introducing me to so many wonderful like spirited people. A big thanks goes to David East in encouraging me to be fearless. None of this work would have been possible without the suggestions and support of my fellow grad students I have so enjoyed this community. -
Fat Medicine
Size Matters: Imagery of the Fat Female Body in the Art of Lucian Freud, Jenny Saville, Joel-Peter Witkin, Laurie Toby Edison, Leonard Nimoy, and Laura Aguilar By Brittany Lockard Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson David Cateforis, Ph.D. ________________________________ Marni Kessler, Ph.D. ________________________________ Charles Eldredge, Ph.D. ________________________________ Marta Vicente, Ph.D. ________________________________ Judith McCrea, M.F.A. Date Defended: April 10, 2012 Brittany Jean Lockard The Dissertation Committee for Brittany Lockard certifies that this is the approved version of the following dissertation: Size Matters: Imagery of the Fat Female Body in the Art of Lucian Freud, Jenny Saville, Joel-Peter Witkin, Laurie Toby Edison, Leonard Nimoy, and Laura Aguilar ________________________________ Chairperson Dr. David Cateforis ii Abstract Since the early 1990s, a number of prominent artists have begun to produce images of the nude fat body. This dissertation looks at the works of several of those artists—Lucian Freud, Jenny Saville, Joel-Peter Witkin, Laurie Toby Edison, Leonard Nimoy, and Laura Aguilar—seeking to discover what meanings each individual artist layers onto the fat body. Asking why these artists might be interested in the fat body may seem an unnecessary question, as anxiety about fatness pervades Western culture. It is impossible to watch television, listen to the radio, or even read a magazine without being inundated by this unease; whether in the form of advertisements for various weight-loss programs and products, stories about the “obesity epidemic” facing the West, or human interest stories about life as an obese American. -
107386 Delville 07 31.Indd
Food, Poetry, and the Aesthetics of Consumption 1107386_Delville_0707386_Delville_07 331.indd1.indd i 77/31/2007/31/2007 22:21:58:21:58 PPMM Series Title SERIES EDITOR, Editor’s School 1107386_Delville_0707386_Delville_07 331.indd1.indd iiii 77/31/2007/31/2007 22:22:01:22:01 PPMM Food, Poetry, and the Aesthetics of Consumption Eating the Avant-Garde Michel Delville New York London 1107386_Delville_0707386_Delville_07 331.indd1.indd iiiiii 77/31/2007/31/2007 22:22:01:22:01 PPMM First published 2008 by Routledge 270 Madison Ave, New York, NY 10016 Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2008 Taylor and Francis Group Typeset in Sabon by IBT Global Printed and bound in the United States of America on acid-free paper by IBT Global All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Library of Congress Cataloging in Publication Data A catalog record has been requested for this book (or add CIP data if already in) British Library Cataloguing in Publication Data A catalogue record -
Eyebread by Marta Maria Figlerowicz a Dissertation Submitted in Partial
Eyebread By Marta Maria Figlerowicz A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Dorothy Hale, Chair Professor Charles Altieri Professor John Searle Professor David Bates Spring 2013 Abstract Eyebread By Marta Maria Figlerowicz Doctor of Philosophy in English University of California, Berkeley Professor Dorothy Hale, Chair I study works of fiction and poetry that explore the process by which feelings come to seem relevant or productive to those who experience them and to others. My research seeks to contribute both to literary studies and to recent debates about the political and philosophical usefulness of lived or represented feelings. Contemporary scholars often treat works of literature as sites that help us discover why it is politically or ethically urgent, or epistemically revealing, to pay attention to other persons’ and our own emotional experiences. The writers I examine do not stress forceful imperatives to attend to how someone feels. Rather, they call attention to the difficulty of knowing how intensely, when, and why we should do so. Each chapter of my dissertation focuses on one quality of feelings that, one might think, should make these feelings reliable sources of knowledge or potential change. These qualities include feelings’ whimsicality (which I examine through Wallace Stevens and Sylvia Plath), their urgency (which I examine by reading Ralph Ellison), their portability (which I examine by reading Virginia Woolf and F. Scott Fitzgerald), their persistence (which I examine by reading John Ashbery), and the quality I will focus on today, their immersiveness (which I examine by reading Marcel Proust and James Baldwin). -
Melville, Kafka, Hamsun, and Wright DANIEL REES DANIEL
DANIEL REES Hunger and Modern Writing Melville, Kafka, Hamsun, and Wright DANIEL REES DANIEL Hunger and Modern Writing Melville, Kafka, Hamsun, and Wright Inauguraldissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig-Maximilians-Universität München vorgelegt von Daniel Rees aus Guelph, Ontario, Kanada 2015 Erstgutachter: Prof. Dr. Klaus Benesch Zweitgutachter: PD Dr. Sascha Pöhlmann Datum der mündlichen Prüfung: 23.01.2015 Contents Acknowledgements VII Summary IX I. Introduction 1 I.i Methodology and structure 6 II. Theoretical Overview of Hunger and Modern Writing 15 II.i Hunger and the body 15 II.ii The writer under conditions of modernity 22 Part 1: Herman Melville and Franz Kafka 27 1. “‘I would prefer not to’”: Absence and Appetite in Herman Melville’s “Bartleby, the Scrivener” 29 1.1 “Dollars damn me…” 30 1.2 The Wall Street lawyer 33 1.3 The mechanical scrivener 39 1.4 Visionary, artist, or madman? 42 2. Alienation and the Unknown Nourishment in Franz Kafka’s Die Verwandlung and “Ein Hungerkünstler” 49 2.1 Kafka’s modernism 53 2.2 Kafka’s Die Verwandlung 56 2.3 Kafka’s “Ein Hungerkünstler” 69 Part 2: Knut Hamsun and Richard Wright 83 3. Starvation and Self-Destructiveness in Knut Hamsun’s Hunger (Sult) 85 3.1 Hunger 86 3.2 Hunger and subjectivity 95 3.3 “Cheap happiness” 102 3.4 “Noble suffering” 108 4. Hunger and Self-Fashioning in Richard Wright’s Black Boy (American Hunger) 111 4.1 Wright’s naturalism 114 4.2 The grim, hostile stranger 122 VI Contents 4.3 Hunger, reading, and the self-made man 126 4.4 Wright’s American Hunger 133 Conclusion 139 Abbreviations and Works Cited 143 Acknowledgements I would like to express my sincere gratitude to my supervisor, Prof.