Uri McMillan, Embodied Avatars: Genealogies of Black Feminist Art and Performance. New York: New York University Press, 2015. Pp. 283. $89.00 (cloth); $29.00 (paper).

2018 ◽  
Vol 103 (1-2) ◽  
pp. 258-260
Author(s):  
Aria S. Halliday
Keyword(s):  
New York ◽  
Feminist Art ◽  
New York University ◽  
Black Feminist ◽  
And Performance

In the Presence of Power

2017 ◽  
Author(s):  
Evelyn Vitz
Keyword(s):  
New York ◽  
Sixteenth Century ◽  
Middle East ◽  
Cultural Production ◽  
Abu Dhabi ◽  
New York University ◽  
Literary Works ◽  
New Directions ◽  
And Performance

Rulers’ courts of the pre-modern Middle East have long been a staple of Western fantasies about the East. Yet in spite of the importance of the court as a symbol of the absolutist power of the “Orient,” relatively few scholars have explored the cultural production of the courts of the pre-modern Middle East. In the Presence of Power: Court and Performance in the Pre-Modern Middle East, edited by Maurice A. Pomerantz (New York University Abu Dhabi) and Evelyn Birge Vitz (New York University), offers twelve chapters that present a complex and nuanced image of rulers’ courts as vital spaces of performance. Building on previous studies that have examined the court as an important sociopolitical space but moving in new directions, this volume explores literary works produced about and for performance in courts from the eighth to the sixteenth century. Contributions address topics such as delight, persuasion, and entertainment in Byzantine and Abbasid rulers’ courts.

4. Theatre and performance

2014 ◽  
Author(s):  
Marvin Carlson
Keyword(s):  
Social Sciences ◽  
New York ◽  
Performance Studies ◽  
Art World ◽  
New York University ◽  
University Courses ◽  
The Social ◽  
Major Shift ◽  
And Performance ◽  
And Linguistics

Modern interest in performance can be traced to several different developments from the 1950s to 1970s in the art world, in academic theatre, and in the social sciences, particularly sociology, anthropology, and linguistics. ‘Theatre and performance’ outlines the influence of this major shift in methodological orientation, which has become known as the ‘performative turn’, on Richard Schechner, in particular, who was editor of The Drama Review. His work with Victor Turner led to the first course on ‘performance theory’ at New York University. Courses on performance studies are now taught around the world. How has theatre changed as a result of the challenge of and gradual accommodation to performance and performance studies?

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