DOCSLIB.ORG

A House Performs Lisa Flanagan Louisiana State University and Agricultural and Mechanical College, [email protected]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A House Performs Lisa Flanagan Louisiana State University and Agricultural and Mechanical College, Lswartz@Lsu.Edu Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2008 A house performs Lisa Flanagan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Communication Commons Recommended Citation Flanagan, Lisa, "A house performs" (2008). LSU Doctoral Dissertations. 2744. https://digitalcommons.lsu.edu/gradschool_dissertations/2744 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A HOUSE PERFORMS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor in Philosophy in The Department of Communication Studies By Lisa Flanagan B.A., University of Texas, 1990 M.A., Louisiana State University, 2002 August 2008 ACKNOWLEDGMENTS Thank you to my advisor, Ruth Bowman, for being both a mentor and a friend over the years. Your dedication, patience, and experience have benefitted me greatly in all areas of performance studies. Thanks to the other members of my committee as well: Michel Bowman and Patricia Suchy, repeat players and valued mentors and friends; Miles Richardson, whose Poetics of Place class and awesome teaching style provided so much of the inspiration for what I wrote and how I want to be; and Marchita Mauck, who did me a favor as a late addition dean’s representative, and contributed her knowledge of art and design to the discussion of my research. Big thanks to all my Communication Studies/Performance Studies mentors and colleagues, as well as my friends both in and out of school. Y’all have made my time at LSU enjoyable and enlightening: Andy, Antony, Ben, Brianne, Bruce, Charlotte, Chris K, Cora, Dan, Danielle, Danny, David, Dee, Demetrius, Derek, Dre, Dr HopKins, Dr King, Dr P, DT, Elton, Gary, Ginger, Gretchen, Hillary, Holley, Jason, Jessica, Jen A, Jenny, Joel, Joey, John, Josh, JT, Linda, Lisa L, Lewis, Louis, Mark, Melanie, Mindy, Nick, Nirmala, Pramila, Pye, Rachel, Randee, Rebecca, Ross, Rowdy, Sarah, Tracy, Treat, to name a few. Thanks to family who have supported, encouraged, nudged, and harassed me as needed throughout this process – all my love and gratitude. To my parents, Robert and Judith, you enabled me to get here through your initial investment and continued belief in my studies. To my siblings, Laura and Chris, for continuing to be an inspiration for me as we take our various paths in life and add to our extended family. To Gloria, you are an important support and addition to my family. To my husband, James, thanks for being there and taking care of me while waiting patiently for me to finish up. (Your turn!) To Devon and Liam, you boys are one reason I have worked so hard; I thank you for understanding my occasional absences and distractions, for being supportive of what I had to do, and for growing into such wonderful people. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ……………………………………….……….……………………. ii ABSTRACT ……………………………………………………………………………………. iv CHAPTER ONE PERFORMING HOUSE WORK ………………………………………………...1 TWO POP UP HOUSE ………………………………………………………………...20 THREE HOUSE OF WAX ..........................................................................................…...45 FOUR DOLL HOUSE …………………………………………………………………..75 FIVE HOUSE OF CARDS …………………………………………………………….99 SIX A FULL HOUSE……………………………………………………………….127 WORKS CITED …………………………………………………………….……..…………..142 VITA ………………………………………………………………………….………………..148 iii ABSTRACT This study analyses and performs a series of histories about a semi-abandoned Victorian house located in downtown Baton Rouge, Louisiana. I engage Gregory Ulmer’s inter-discursive and inter-subjective process of historiography, the mystory, as a way of viewing and doing research. Mystory allows for research through diverse perspectives of professional, popular and personal discourses, which activates the pleasures and problems of knowledge production by urging invention and creative expression. Significance is discovered in less determined, more localized, ways of knowing that avoid fixing the house in terms of predetermined “historic” values. Material culture and archives like the Sanborn Fire Insurance Maps discussed in Chapter Three are viewed as active or performance processes that affect and are affected by the shifting circumstances of history and culture. The partialities of all language forms function as miniatures of what they represent. Texts and performances are constructed through bricolage of the materials gathered. These metonymic expressions call attention to certain details, while eliding or ignoring others, and are essential to the knowledge and structures produced from them. In constructing 310 Convention on the page and stage, I understand performance in Richard Schechner’s terms as “restored behavior,” an action or expression that draws on and refers to its past. I call on Martin Heidegger’s notions of dwelling and building as fundamental states of human experience through which we learn about the world around us, make meaning from it, and understand our place(s) in it. Gaston Bachelard furthers the Heideggerian impulse with topophilia, or the desire to protect and preserve loved spaces if only in imagination. Jacques Derrida provides ways to structure arguments though chora, the spacing of text upon the page, and also contributes to the archive as a site that overflows with excess through its collection, composition, and coding. Through these and other discourses, I discover and produce ways to iv view this “insignificant” house differently by acknowledging its many histories. I also recognize how performance on the page and stage, already embedded in loss through what cannot be restored, reflects the possibilities and limitations of its metonymic expression. v CHAPTER ONE PERFORMING HOUSE WORK The grand opulence of high ceilings, ornately carved crown mouldings, Georgian sash windows, and operable cypress shutters offer a rare kind satisfaction. And when the plaster of those high ceilings has a few cracks, the crown mouldings develop a crazed finish, the sash rattles wildly in the wind, and the shutters lose some of their louvers, we feel the inevitable effects of age and are enraptured by the gravity of human experience that all those telltale signs evoke. One develops a rapport with and discrimination about old things: whereas the termite infestation may need to be dealt with at any expense, perhaps the peeling paint can be integrated into the motif – Richard Sexton and Randolph Delehanty New Orleans: Elegance and Decadence (3) Figure 1. House at 310 Convention Street April 7, 2003 (photo by the author) I saw the house over fifteen years ago now, sitting in a state of splendid decay, a strange anomaly between a high rise and a parking lot in downtown Baton Rouge. The building seemed to be abandoned until the owner made cosmetic changes to the exterior a few years ago, leaving it otherwise untouched. The texture of the ashen wood and chipped paint façade, the lacy scalloped shell of cornice molding, the floral top curls of Corinthian columns, and the rhythmic undulation of the building as it shifts from regular right angles to trapezoidal juts of bay windows 1 create patterns of attraction that draw me to it. I am compelled by its beauty. I am also compelled by the stories the house tells of its heyday in the early twentieth century when it was one of many homes thriving amidst the bustle of a mixed use city center. My attraction is of a familial nature too. In my lifetime, I have lived in many older houses, but never ones with roots beyond my immediate family. Nevertheless, I frequently speculate as to the stories they carry within their walls and search for traces of the previous inhabitants in the nooks and crannies of each dwelling. Having no homestead for my family‟s genealogy, I often wonder why those connected with this particular place would seem both to shut it away and abandon it to the whims of time. As I watch (over) the house, I am “hooked” by its story and survival, by the way the house makes me think, feel, and imagine, and by the archival documents, literary texts and popular materials, anecdotes and photographs I have drawn on to help me understand the house and my relationship to it. The house and the materials I have collected and composed over the years lure me into a space for dwelling on the significance of a place that in conventional terms is relatively insignificant. The house bears no connections to a famous person and, rundown as it is and impure in architectural style, it is not a house of historic importance. Save for legal documents, conveyance records and the like, nothing has been written about it. Further, I have never been in the house and, since its cosmetic update in 2003 when a chain link fence was installed around it, I find it difficult to get close to it. I tend to the house from afar. I dwell on it, in the sense of “sparing and preserving . its nature” and in the sense of my “stay” as a mortal “on this earth” (Heidegger 147). Prompted by the house, my choice to dwell is enacted in this document, which is as much about the process of dwelling as it is about the actual dwelling itself. Profound as that may sound, I also understand my dwelling as akin in process and 2 temperament to a big fish story (or a big fish out of water story) in so far as the subject comes into being by how the tale – a research tale in this case – is told. THE PROJECT My project centers around a semi-abandoned Victorian house located at 310 Convention Street in downtown Baton Rouge, Louisiana. I have no direct connection to the place, but my feeling of attachment is strong just the same.
Load more

Recommended publications
  • Copyright by Enrique David Degollado 2019
    Copyright by Enrique David Degollado 2019 The Dissertation Committee for Enrique David Degollado Certifies that this is the approved version of the following Dissertation: The Storied Lives of Fronteriza Bilingual Maestras: Constructing Language and Literacy Ideologies in Nepantla Committee: Luis Urrieta, Jr., Supervisor Claudia Cervantes-Soon, Co-Supervisor Ramón Antonio Martínez Cynthia Suzel Salinas Angela Valenzuela The Storied Lives of Fronteriza Bilingual Maestras: Constructing Language and Literacy Ideologies in Nepantla by Enrique David Degollado Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2019 Dedication For Mom, Dad, Danny and Evan, you all inspire more than you will ever know. Acknowledgements To whom much is given, much is expected. Luke 12:48 Throughout my life I have been given much. My family, friends, and colleagues have bestowed upon me their love, friendship, and mentorship. And for that, I am eternally grateful. Without all you all this dissertation would not be possible. Indeed, it takes a village—many villages composed of talented and influential people whose inspirations, consejos, and prayers are intricately woven in the words of these pages. Although, I can never fully repay the debts incurred by what has been given to me, may the words in this dissertation serve as a start. To my dissertation my committee, Drs. Cervantes-Soon, Urrieta, Salinas, Martínez and Valenzuela, all your advice and attention to detail in the many drafts of this dissertation made it possible to memorialize the lives of the fronteriza maestras whose knowledge about the borderlands can now be shared.
    [Show full text]
  • Cowlonialism Colonialism, Cattle and Landscapes in 16Th Century New Spain
    Franklin de Jesús Martínez Martínez Cowlonialism Colonialism, cattle and landscapes in 16th century New Spain Master’s thesis in Global Environmental History Abstract Martínez Martínez, F. d. J. 2020. Cowlonialism: Colonialism, cattle and landscapes in 16th century New Spain. Uppsala, Department of Archaeology and Ancient History. Cattle are not endemic to the American continent. Nevertheless, they are present and thrive in many landscapes, all the way from Canada to Argentina. The narratives about the process of colonisation of the American continent include human actors, but there is very little literature in comparison that deals on the influence of cattle in landscapes in the continent. In this thesis, I will contribute to the discussion about more-than-human processes of landscape modification, by analysing archival sources from the New Spain. This region included a big part of the West of the United States, Mexico and Central America. The period I analyse, between 1550 and 1602, represents the first decades of encounter between the Spanish settlers and indigenous communities, in the region of New Spain, where the Spanish established administrative institutions to manage their empire. The documents that I analysed showcase the transformations that cattle caused in the landscape, from how indigenous people lived, to what plants and crops could be cultivated. Inspired by Multi-species studies, ethography, and the concepts of “animal” and “landscape”, I use Actor-Network Theory to create a thoroughly described network of relations. In my analysis, I find that cattle influenced the activities that were performed in the landscape, as well as the ways that other actors interacted with each other.
    [Show full text]
  • Vol. 2, No. 1 (Spring 2021)
    CREATIVE WRITING SERVING PASTORS Volume 2, Number 1 (Spring 2021) SPECIAL ISSUE: THE ST MARY’S CHAPEL St Mary’s Seminary & University School of Theology 5400 Roland Avenue Baltimore, Maryland USA Fr. Phillip Brown, P.S.S., President-Rector EMAIL: [email protected] [email protected] URL: www.stmarys.edu/seminary/indwelling SPECIAL ISSUE EDITORS: Javier Fuentes, Archdiocese of Baltimore Michael Schultz, Archdiocese of Louisville SPECIAL ISSUE ADVISOR: Benjamin Daghir, Diocese of Erie MANAGING EDITOR: Dr. Bill Scalia FACULTY READER: FR. LAWRENCE TERRIEN, P.S.S. Printed at Pavsner Press, Baltimore, Maryland Cover: Pentecost window, St Mary’s Main Chapel (Chapel of the Presentation of the Blessed Virgin Mary) Indwelling is published yearly by the students of St Mary’s Seminary & University. For additional copies please contact Bill Scalia, Managing Editor, at [email protected], or by phone at (410) 864-3603. The Journal is available online at www.stmarys.edu/seminary/indwelling Contribution to Indwelling is reserved for St Mary’s School of Theology students. For submission requirements, please contact [email protected]. Submissions are accepted year round from any student in formation at St Mary’s. ©2021 by St Mary’s Seminary & University Indwelling: Creative Writing Serving Pastors Volume 2, Number 1: Spring 2021 SPECIAL ISSUE: THE ST MARY’S CHAPEL 1 Editors’ Letter 2 Mission Statement 4 For the Glory of the Father video series Invocation 5 FORGIVE A GIFT Thiago Ibiapina Introduction 6 FORMED TO GO! Ben Daghir The Chapel 9 NOT THE END, THE BEGINNING Kyle Gorenski 11 SEDES Brooks Jensen 12 VENI VENI SAPIENTIA Brooks Jensen 13 THIS HOUSE OF PRAISE Joseph Tokasz 15 O MIGHTY CHAPEL Joseph Tokasz 16 A PRAYER FOR MAKING Javier Fuentes 18 ON THE ROAD C.J.
    [Show full text]
  • 1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania It Is 1968, Rural Western Austra
    1 Picturing a Golden Age: September and Australian Rules Pauline Marsh, University of Tasmania Abstract: In two Australian coming-of-age feature films, Australian Rules and September, the central young characters hold idyllic notions about friendship and equality that prove to be the keys to transformative on- screen behaviours. Intimate intersubjectivity, deployed in the close relationships between the indigenous and nonindigenous protagonists, generates multiple questions about the value of normalised adult interculturalism. I suggest that the most pointed significance of these films lies in the compromises that the young adults make. As they reach the inevitable moral crisis that awaits them on the cusp of adulthood, despite pressures to abandon their childhood friendships they instead sustain their utopian (golden) visions of the future. It is 1968, rural Western Australia. As we glide along an undulating bitumen road up ahead we see, from a low camera angle, a school bus moving smoothly along the same route. Periodically a smattering of roadside trees filters the sunlight, but for the most part open fields of wheat flank the roadsides and stretch out to the horizon, presenting a grand and golden vista. As we reach the bus, music that has hitherto been a quiet accompaniment swells and in the next moment we are inside the vehicle with a fair-haired teenager. The handsome lad, dressed in a yellow school uniform, is drawing a picture of a boxer in a sketchpad. Another cut takes us back outside again, to an equally magnificent view from the front of the bus. This mesmerising piece of cinema—the opening of September (Peter Carstairs, 2007)— affords a viewer an experience of tranquillity and promise, and is homage to the notion of a golden age of youth.
    [Show full text]
  • Annual Report 2014/15 Report | Annual
    Screen Australia | Annual Report 2014/15 Screen Australia Annual Report 2014/15 www.screenaustralia.gov.au Published by Screen Australia October 2015 ISSN 1837-2740 © Screen Australia 2015 The text in this Annual Report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s Annual Report 2014/15. You must not alter, transform or build upon the text in this Annual Report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see http://creativecommons.org/licenses/ by-nc-nd/3.0/au/. You are not licensed to reproduce, transmit or distribute any still photographs contained in this Annual Report without the prior written permission of Screen Australia. TV ratings data Metropolitan and National market data is copyright to OzTAM. The data may not be reproduced, published or communicated (electronically or in hard copy) in whole or part without the prior consent of OzTAM. All Annual Report enquiries should be addressed to: Regional market data is copyright to RegionalTAM. The data may not be reproduced, published or communicated Communications Unit (electronically or in hard copy) in whole Screen Australia or part without the prior consent of Level 7, 45 Jones Street RegionalTAM. Ultimo NSW 2007 This Annual Report is available to download Toll free: 1800 213 099 as a PDF from www.screenaustralia.gov.au Phone: 02 8113 5800 Front cover image from Mad Max: Fury Road.
    [Show full text]
  • Oedipus Schmoedipus
    2014 I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being. Oscar Wilde From the Artistic Director 5 Upstairs Oedipus Schmoedipus 8 2014 Once in Royal David’s City 10 The Philadelphia Story 12 Brother’s Wreck 14 Hedda Gabler 16 Season Nora 18 The Glass Menagerie 20 A Christmas Carol 22 20 Questions 24 Downstairs Cain and Abel 28 Oedipus Rex 30 Is This Thing On? 32 Cinderella 34 The Business End This Is Our Company 38 Why You Should Subscribe 39 Loyalty Program & 30-Down Club 43 How to Book 44 Sunday Forum 46 General Information (Box Office hours, performance times) 47 Thank You 52 2014 Season Calendars 54 Subscription Booking Form Hello friends, So, here it is: our 2014 season And that’s not even mentioning book. It’s a ripper of a season the actors, the designers... so I think. many great people. What I’m excited about is how different they Browse away. But before you do, all are. That’s one of the great joys some introductions: you should of being an artistic director and meet our two new Resident curating a season. Juxtaposing Directors, Adena Jacobs and tragedy with comedy, the intimate Anne-Louise Sarks. We’ve stolen with the epic, the gentle with the them both from Melbourne (so rough and tumble. many good people come from Melbourne). We scoured the That is, in fact, the point.
    [Show full text]
  • Ukrainian Literature in English: Articles in Journals and Collections, 1840-1965
    Research Report No. 51 UKRAINIAN LITERATURE IN ENGLISH: ARTICLES IN JOURNALS AND COLLECTIONS, 1840-1965 An annotated bibliography MARTA TARNAWSKY Canadian Institute of Ukrainian Studies Press University of Alberta Edmonton 1992 Canadian Institute of Ukrainian Studies Press Occasional Research Reports The Institute publishes research reports periodically. Copies may be ordered from the Canadian Institute of Ukrainian Studies Press, 352 Athabasca Hall, University of Alberta, Edmonton, Alberta, Canada T6G2E8. The name of the publication series and the substantive material in each issue (unless otherwise noted) are copyrighted by the Canadian Institute of Ukrainian Studies Press. This publication was funded by a grant from the Stephania Bukachevska-Pastushenko Archival Endowment Fund. PRINTED IN CANADA 1 Occasional Research Reports UKRAINIAN LITERATURE IN ENGLISH: ARTICLES IN JOURNALS AND COLLECTIONS, 1840-1965 An annotated bibliography MARTA TARNAWSKY Research Report No. 5 Canadian Institute of Ukrainian Studies Press University of Alberta Edmonton 1992 TABLE OF CONTENTS Introduction v Journals and Collections Included in this Bibliography ix Bibliography 1 General Index 144 Chronological Index 175 INTRODUCTION The general plan Ukrainian Literature in English: Articles in Journals and Collections. 1840-1965 is part of a larger bibliographical project which attempts, for the first time, a comprehensive coverage of translations from and materials about Ukrainian literature published in the English language from the earliest known publications to the present. After it is completed this bibliographical project will include: 1/books and pamphlets, both translations and literary studies; 2/articles and notes published in monthly and quarterly journals, yearbooks, encyclopedias, symposia and other collections; 3/translations of poetry, prose and drama published in monthly and quarterly journals, yearbooks, anthologies etc.; and 4/ book reviews published in journals and collections.
    [Show full text]
  • ABC TV 2015 Program Guide
    2014 has been another fantastic year for ABC sci-fi drama WASTELANDER PANDA, and iview herself in a women’s refuge to shine a light TV on screen and we will continue to build on events such as the JONAH FROM TONGA on the otherwise hidden world of domestic this success in 2015. 48-hour binge, we’re planning a range of new violence in NO EXCUSES! digital-first commissions, iview exclusives and We want to cement the ABC as the home of iview events for 2015. We’ll welcome in 2015 with a four-hour Australian stories and national conversations. entertainment extravaganza to celebrate NEW That’s what sets us apart. And in an exciting next step for ABC iview YEAR’S EVE when we again join with the in 2015, for the first time users will have the City of Sydney to bring the world-renowned In 2015 our line-up of innovative and bold ability to buy and download current and past fireworks to audiences around the country. content showcasing the depth, diversity and series, as well programs from the vast ABC TV quality of programming will continue to deliver archive, without leaving the iview application. And throughout January, as the official what audiences have come to expect from us. free-to-air broadcaster for the AFC ASIAN We want to make the ABC the home of major CUP AUSTRALIA 2015 – Asia’s biggest The digital media revolution steps up a gear in TV events and national conversations. This year football competition, and the biggest football from the 2015 but ABC TV’s commitment to entertain, ABC’s MENTAL AS..
    [Show full text]
  • A Bold Vision Forward: a Framework for the Strategic Imperative for Racial Justice and Decolonization Okay, Teacher
    ©2018 ACPA–College Student Educators International LAND ACKNOWLEDGEMENT We wrote this document in Detroit, Michigan, USA. We acknowledge that the land we met on has long served as a site of meeting and exchange amongst Indigenous peoples. Prior to the Indian Land Cession 66, the land now known as Detroit, Michigan was traditional territory to the Anishinaabek (Odawa, Potawatomi and Ojibwe), the Miami, the Peoria and Haudenosauneega Confederacy. We honor and respect the diverse Indigenous peoples connected to this territory on which we gathered. ACKNOWLEDGEMENTS We acknowledge the ACPA Commission Chairs for proposing the idea for this guiding document on the Strategic Imperative for Racial Justice and Decolonization in June 2018 at the ACPA Summer Leadership Meeting. The 2018 ACPA Convention team was also instru- mental in facilitating caucusing for attendees for the first time at convention. We recognize their labor in developing a syllabus, which provided convention attendees with resourc- es to help them understand racial justice and decolonization. Finally, we thank the ACPA Foundation for their generous financial support of the retreat where we were able to engage in dialogue and write this document. ACPA–College Student Educators International // 3 BEGINNING… You have experiences and you become aware, The work is not about resolving the challenges; the then you reflect, and you think about who am I and work is living in the midst of the what I am doing, and how am I hurting people and challenge. -D-L what do I do differently? It doesn’t stop. All those questions are gonna come up. -Flo Slash.
    [Show full text]
  • Collected Writings
    THE DOCUMENTS O F TWENTIETH CENTURY ART General Editor, Jack Flam Founding Editor, Robert Motherwell Other titl es in the series available from University of California Press: Flight Out of Tillie: A Dada Diary by Hugo Ball John Elderfield Art as Art: The Selected Writings of Ad Reinhardt Barbara Rose Memo irs of a Dada Dnnnmer by Richard Huelsenbeck Hans J. Kl ein sc hmidt German Expressionism: Dowments jro111 the End of th e Wilhelmine Empire to th e Rise of National Socialis111 Rose-Carol Washton Long Matisse on Art, Revised Edition Jack Flam Pop Art: A Critical History Steven Henry Madoff Co llected Writings of Robert Mothen/le/1 Stephanie Terenzio Conversations with Cezanne Michael Doran ROBERT SMITHSON: THE COLLECTED WRITINGS EDITED BY JACK FLAM UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles Londo n University of Cali fornia Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 1996 by the Estate of Robert Smithson Introduction © 1996 by Jack Flam Library of Congress Cataloging-in-Publication Data Smithson, Robert. Robert Smithson, the collected writings I edited, with an Introduction by Jack Flam. p. em.- (The documents of twentieth century art) Originally published: The writings of Robert Smithson. New York: New York University Press, 1979. Includes bibliographical references and index. ISBN 0-520-20385-2 (pbk.: alk. paper) r. Art. I. Title. II. Series. N7445.2.S62A3 5 1996 700-dc20 95-34773 C IP Printed in the United States of Am erica o8 07 o6 9 8 7 6 T he paper used in this publication meets the minimum requirements of ANSII NISO Z39·48-1992 (R 1997) (Per111anmce of Paper) .
    [Show full text]
  • Stuart-Hall-Cultural-Identity.Pdf
    Questions of Cultural Identity Edited by STUART HALL and PAUL DU GAY SAGE Publications London • Thousand Oaks • New Delhi Editorial selection and matter © Stuart Hall and Paul du Gay, 1996 Chapter 1 ©Stuart Hall, 1996 Chapter 2 © Zygmunt Bauman, 1996 Chapter 3 © Marilyn Strathern, 1996 Chapter 4 © Homi K. Bhabha, 1996 Chapter 5 © Kevin Robins, 1996 Chapter 6 © Lawrence Grossberg, 1996 Chapter 7 © Simon Frith, 19% Chapter 8 © Nikolas Rose, 1996 Chapter 9 © Paul du Gay, 1996 Chapter 10 ©James Donald, 19% First published 1996. Reprinted 1996,1997, 1998,2000,2002, (twice), 2003. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transmitted or utilized in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission in writing from the Publishers. SAGE Publications Ltd 6 Bonhill Street <D London EC2A 4PU SAGE Publications Inc 2455 Teller Road Thousand Oaks, California 91320 SAGE Publications India Pvt Ltd 32, M-Block Market Greater Kailash -1 New Delhi 110 048 British Library Cataloguing in Publication data A catalogue record for this book is available from the British Library ISBN 08039 7882-0 ISBN 0 8039 7883-9 (pbk) Library of Congress catalog record available Typeset by Type Study, Scarborough, North Yorkshire Printed in Great Britain by The Cromwell Press Ltd, Trowbridge, Wiltshire Contents Notes on Contributors vii Preface ix 1 Introduction 1 Who Needs 'Identity'? Stuart Hall 2 From Pilgrim to Tourist - or a Short History of Identity 18 Zygmunt Bauman 3 Enabling Identity? 37 Biology, Choice and the New Reproductive Technologies Marilyn Strathern 4 Culture's In-Between 53 HomiK.
    [Show full text]
  • President Barack Obama's First Inauguration Was a Blisteringly Cold
    "Among the Sierra Nevada, California" by Albert Bierstadt, 1868 PHOTOS BY DARROW MONTGOMERY President Barack Obama’s first inauguration was a blisteringly cold day for the District of Columbia. Millions of Americans braved below-freezing temperatures to greet the nation’s first black president, with little more than a tangible feeling of optimism to warm the crowds on the National Mall. Street vendors hawked little one-use hand warmers to frigid attendees by the purseful. Tiny packets, little help. One man found his own way to keep out the cold. He gathered tinder and crawled into a sculpture outside the National Museum of the American Indian. Inside he lit a fire and burned a brochure with Obama’s face on it. It wasn’t a protest. When a museum security guard confronted him, the man, who was apparently homeless, said, “I’m just trying to get warm.” The fire didn’t harm the tipi-like structure, called “Taa,” one of several outdoor pieces by the Santa Clara Pueblo sculptor Nora Naranjo-Morse. This work was never meant to last. Since 2007, her clay sculptures—altogether a series called “Always Becoming”— have slowly given way to elements both natural and manmade. Animals and insects have burrowed into the adobe, bamboo, and rawhide. The “Always Becoming” sculptures are bound to surrender to the ground that supports them. For my money, “Always Becoming” offers the best view of the Capitol in the city. Look up at the dome from behind these mounds: Naranjo-Morse’s earthworks serve as a filter on power, a reminder that everything will return to the earth one day.
    [Show full text]