Titlebook: Maternal Performance; Feminist Relations Lena ?imi?,Emily Underwood-Lee Book 2021 The Editor(s) (if applicable) and The Author(s), under ex

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書(shū)目名稱Maternal Performance影響因子(影響力)




書(shū)目名稱Maternal Performance影響因子(影響力)學(xué)科排名




書(shū)目名稱Maternal Performance網(wǎng)絡(luò)公開(kāi)度




書(shū)目名稱Maternal Performance網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




書(shū)目名稱Maternal Performance被引頻次




書(shū)目名稱Maternal Performance被引頻次學(xué)科排名




書(shū)目名稱Maternal Performance年度引用




書(shū)目名稱Maternal Performance年度引用學(xué)科排名




書(shū)目名稱Maternal Performance讀者反饋




書(shū)目名稱Maternal Performance讀者反饋學(xué)科排名

affect

,New Beginnings (9?months),ures beyond ourselves. We conclude that performance and the maternal are allied as durational, embodied, relational practices and that the overarching drive of maternal performance is to be . and to take us beyond endings to a cycle of constant beginning anew.

corporate

鐵砧

,Loss (2?Months), independence, and those that we are close to will one day die. And yet, within the traumatic experience of grief, we may find resolution through maternal performance, which allows us to understand our interdependence. Artworks examined in this chapter include Fern Smith and Patrick Fitzgerald’s . (2003) and Elina Brotherus’ . (2009–2013).

沉思的魚(yú)

Aftermath (5 Months),3) and . (2018) by Megan Wynne through the lens of jouissance as first proposed by Jacques Lacan (2001 [1977]) and developed by feminist scholars including Julia Kristeva (1981b) and Luce Irigaray (1981). We propose that maternal performance can allow us to come to know something of maternal jouissance.

vitrectomy

幸福愉悅感

circuit

Dungeon

Beginnings (1 Month),d domestic into the public and political spheres and render maternal action worthy of consideration. Key concepts from performance studies, feminism, and maternal studies are introduced and maternal methodologies are explored.

鞭子

Generations (7 Months),stage in the work of Peggy Shaw with her grandson titled . (2003) and Hannah Buckley and her grandmother in . (2015). A model of intergenerational reciprocity is offered by Courtney Kessel’s series of performances . (2012) and . (2017) with her daughter.