標(biāo)題: Titlebook: Contemporary Arts as Political Practice in Singapore; Wernmei Yong Ade,Lim Lee Ching Book 2016 The Editor(s) (if applicable) and The Autho [打印本頁] 作者: 短暫 時間: 2025-3-21 18:15
書目名稱Contemporary Arts as Political Practice in Singapore影響因子(影響力)
書目名稱Contemporary Arts as Political Practice in Singapore影響因子(影響力)學(xué)科排名
書目名稱Contemporary Arts as Political Practice in Singapore網(wǎng)絡(luò)公開度
書目名稱Contemporary Arts as Political Practice in Singapore網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Contemporary Arts as Political Practice in Singapore被引頻次
書目名稱Contemporary Arts as Political Practice in Singapore被引頻次學(xué)科排名
書目名稱Contemporary Arts as Political Practice in Singapore年度引用
書目名稱Contemporary Arts as Political Practice in Singapore年度引用學(xué)科排名
書目名稱Contemporary Arts as Political Practice in Singapore讀者反饋
書目名稱Contemporary Arts as Political Practice in Singapore讀者反饋學(xué)科排名
作者: Resection 時間: 2025-3-21 22:42
Herwart Opitz,Helmut Rohde,Wilfried K?nigtematic regime of physical training. It is only when the performing body is deemed capable of manifesting the neutral metaphor that a character can be built upon it.As persons with disabilities begin to play prominent roles in public performances across the world, a timely interrogation into the way作者: Ccu106 時間: 2025-3-22 03:06
https://doi.org/10.1007/978-3-663-05008-7rent voices (playwrights, directors, performers) and sources (histories, narrative, stories), juxtaposing different languages, world views and cultural frames within a single production. Reflecting on the process and politics of performance-making as part of the play, the productions also pushed aud作者: extract 時間: 2025-3-22 06:57 作者: interrupt 時間: 2025-3-22 12:35 作者: Mumble 時間: 2025-3-22 15:34 作者: Mumble 時間: 2025-3-22 20:04 作者: 有其法作用 時間: 2025-3-23 00:14 作者: Forehead-Lift 時間: 2025-3-23 03:18
Embodying Multiplicity on the Singapore Stage: Plays of Difference,rent voices (playwrights, directors, performers) and sources (histories, narrative, stories), juxtaposing different languages, world views and cultural frames within a single production. Reflecting on the process and politics of performance-making as part of the play, the productions also pushed aud作者: cacophony 時間: 2025-3-23 06:00 作者: 逗它小傻瓜 時間: 2025-3-23 10:26 作者: 天真 時間: 2025-3-23 16:25
The Substation at 25: On Institutional Memory and Forgetting,s many self-reflections on its own place in history have not been preserved, and these energies have dissipated over time. Beginning with a study of The Substation’s archive, and touching on other contemporary art archive projects such as the Independent Art and Resource Centre and Singapore Art Arc作者: 不能妥協(xié) 時間: 2025-3-23 20:08
Contemporary Arts as Political Practice in Singapore作者: 挫敗 時間: 2025-3-23 23:10
Contemporary Arts as Political Practice in Singapore978-1-137-57344-5作者: FLUSH 時間: 2025-3-24 05:39
n their exclusivity, and redefines the concept of the political to demonstrate that political involvement is not a simple matter of partisan politics, but has an inherently aesthetic dimension, and aesthetics a978-1-349-72051-4978-1-137-57344-5作者: 致命 時間: 2025-3-24 08:55 作者: libertine 時間: 2025-3-24 13:01 作者: patriot 時間: 2025-3-24 16:41
Loo Zihan and the Body Confessional,emonially soiled—the non-compliant body articulates a resistance to the impositions of state and society. Loo enacts a denial of performative reiterations of power, repudiating the required corporeal manifestations of the citizen-subject.作者: neurologist 時間: 2025-3-24 21:10 作者: HARD 時間: 2025-3-25 02:52 作者: carotenoids 時間: 2025-3-25 04:40 作者: GLIB 時間: 2025-3-25 09:20
Waxing on Wagers,ue. As the collection’s opening essay, this piece introduces the possibility of reading the performative logic of Singapore’s political economy as discursively embedded in the wager and played out on the bodies of its people.作者: deficiency 時間: 2025-3-25 12:38 作者: meditation 時間: 2025-3-25 17:12 作者: ordain 時間: 2025-3-25 20:01
https://doi.org/10.1007/978-3-663-05005-6 conceived by philosopher Jacques Ranciere. For Ranciere, politics takes place along an axis of a distribution of the sensible: what can or cannot be seen, what can or cannot be heard, what can or cannot be said. When the terms of the system become fixed, a police order is established, whereupon pol作者: cardiovascular 時間: 2025-3-26 02:31
https://doi.org/10.1007/978-3-663-05006-3isk-taking, risk-making—a wager. Fernando’s creative critical piece scrutinises the relationality of the phenomenon of waxing—paying attention to its normalising function, particularly its extension as performance on parts of the body usually considered private. He takes the equation further by cons作者: 陶器 時間: 2025-3-26 06:45
https://doi.org/10.1007/978-3-663-05006-3of the confessional body, a body “l(fā)aid bare in all its obscured dimensions, operat[ing] as a nexus of intersecting strands: of material and social taboos, trauma and amnesia, abjection and repressed histories” (Ho). Loo’s recent work is read within its specific socio-historical moment: if it indeed 作者: 噱頭 時間: 2025-3-26 08:30 作者: LUDE 時間: 2025-3-26 14:04
Herwart Opitz,Helmut Rohde,Wilfried K?nign syndrome into a public theater performance in Singapore. Drawing upon the critical ideas espoused by Carrie Sandahl, Petra Kuppers and Rosemarie Garland-Thomson on disability theory and performance, as well as his own experience with directing the first public performance of . in 2011, this chapte作者: Arthr- 時間: 2025-3-26 20:32
https://doi.org/10.1007/978-3-663-05008-7staged multiplicity as intersecting and overlapping presences, as well as constantly revising the boundaries of singularity to assert porosity and liquidity as useful and ordinary ways of being and becoming. Rajendren argues that the overt synthesis of what is ‘real’ and ‘fictional’, self and other,作者: 摸索 時間: 2025-3-27 00:07 作者: 進(jìn)入 時間: 2025-3-27 02:32
Untersuchungen in der Leinengarnbleicheormation of a cohesive local identity impacted a series of portraits they made in Tiong Bahru, a rapidly gentrifying neighborhood of historical significance to postcolonial Singapore. Part of a larger body of images, the Tiong Bahru Series photographs capture the people who dwell within this shiftin作者: 健壯 時間: 2025-3-27 05:44
Untersuchungen industrieller Gasbrennerced a constant struggle to survive under the pressures of time, space and money. In 2015, part of The Substation’s archive was transferred to the National Library Board for safekeeping. In the process of interviews and reviewing the materials, it became clear that the physical archive is an incomple作者: acquisition 時間: 2025-3-27 13:25 作者: Brain-Waves 時間: 2025-3-27 16:30
http://image.papertrans.cn/c/image/236360.jpg作者: 肉體 時間: 2025-3-27 21:43 作者: hermitage 時間: 2025-3-28 00:58 作者: Mendicant 時間: 2025-3-28 04:19
Introduction, conceived by philosopher Jacques Ranciere. For Ranciere, politics takes place along an axis of a distribution of the sensible: what can or cannot be seen, what can or cannot be heard, what can or cannot be said. When the terms of the system become fixed, a police order is established, whereupon pol作者: Fortuitous 時間: 2025-3-28 10:17
Waxing on Wagers,isk-taking, risk-making—a wager. Fernando’s creative critical piece scrutinises the relationality of the phenomenon of waxing—paying attention to its normalising function, particularly its extension as performance on parts of the body usually considered private. He takes the equation further by cons作者: watertight, 時間: 2025-3-28 13:48
Loo Zihan and the Body Confessional,of the confessional body, a body “l(fā)aid bare in all its obscured dimensions, operat[ing] as a nexus of intersecting strands: of material and social taboos, trauma and amnesia, abjection and repressed histories” (Ho). Loo’s recent work is read within its specific socio-historical moment: if it indeed 作者: ungainly 時間: 2025-3-28 15:13 作者: 殺菌劑 時間: 2025-3-28 19:26
The Mosaic Body: Interpreting Disability in Performance,n syndrome into a public theater performance in Singapore. Drawing upon the critical ideas espoused by Carrie Sandahl, Petra Kuppers and Rosemarie Garland-Thomson on disability theory and performance, as well as his own experience with directing the first public performance of . in 2011, this chapte
