Performing Global NetworksKaren Fricker, Ronit Lenṭin Networks are everywhere: from migrant organisations to information technology, from business to social movements, from international governance to global non-governmental organisations, from theatrical collectives to fan clubs, from memory sites to narrative circles. The portmanteau terms networks, and more specifically, global networks, seem to have become the mots du jour in contemporary cultural and social studies. But what cultural, social and political work do global networks accomplish: what is the work of these networks? This path-breaking collection follows Graeme Thompsonâ (TM)s rallying cry for a clearer analytical approach to the ways in which networks are â ~enacted, assembled, conducted, and performed.â (TM) In its thirteen chapters, scholars from a variety of fields â " sociology, theatre and performance studies, peace studies, history, and musicology â " as well as social and cultural activists, explore the multiple meanings of global networks and performance. |
From inside the book
Results 1-3 of 14
Page 35
... never be sustained . To present the suffering of the transnational subject at the point of origin of the suffering requires the performer to embody an aesthetic surface , and become what Mnouchkine calls ' un acteur - poète ' ( Théâtre ...
... never be sustained . To present the suffering of the transnational subject at the point of origin of the suffering requires the performer to embody an aesthetic surface , and become what Mnouchkine calls ' un acteur - poète ' ( Théâtre ...
Page 44
... never the monoculture ' that it represented itself to be ( Lentin and McVeigh 2002 , 21 ) . Thus , she proposes ' that a political theory of Irish multiculturalism must begin with an interrogation of the [ idea of the ] nation ' ( 2002b ...
... never the monoculture ' that it represented itself to be ( Lentin and McVeigh 2002 , 21 ) . Thus , she proposes ' that a political theory of Irish multiculturalism must begin with an interrogation of the [ idea of the ] nation ' ( 2002b ...
Page 58
... never considered themselves ' performers ' . In the end 12 people , irrespective of their performing backgrounds , from different parts of Africa including Kenya , Liberia , Mozambique , Nigeria , Somalia , South Africa , and Senegal ...
... never considered themselves ' performers ' . In the end 12 people , irrespective of their performing backgrounds , from different parts of Africa including Kenya , Liberia , Mozambique , Nigeria , Somalia , South Africa , and Senegal ...
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Abbey Theatre actors African AkiDwA analysis Anglo-Irish Agreement anti-trafficking Arambe argues artistic asylum seekers audience Bat Shalom become Britain British Cambridge campaign Centre chapter colonies concept conflict contemporary Contest cosmopolitan Culture Ireland debate diasporic economic emergence emphasis empire ethnic Europe event example fan network feminist Fuchs Garret FitzGerald gender global networks globalisation Holton human rights identity immigrant individual intercultural interview Irish culture Irish fan Irish theatre Israel Israeli issue Italian Lentin and McVeigh live London Machsom Watch memory microhistory migrant women migration movement Nakba narrative national theatre networking activities Northern Ireland obscenity OGAE organisations Oxford Pappe participate performance play Plough political Priestman-Bright circle production prostitution racism regulation relation role Routledge social networks society songs stage Studies theory trafficking transnational transnationalism Trinity College Dublin University Press women migrants women's networks women's rights world music Zochrot