Performing theory/embodied writing
Performing theory/embodied writing
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表演理论/具体写作
DOI：
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发表时间：
1999
期刊：
影响因子：
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通讯作者：
D. Madison
中科院分区：
文献类型：
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作者：
D. Madison
这篇文章表演性地表达了对阶级、语言和种族的具体理论反思。这种写作是一种表演，而它是或不一定是为了“舞台”。表演寻求理论，写作和表演之间的感觉会议。表演者声称对表演的不安占有是主观性和自由的手段。理论成为更好地了解绩效的另一种方式;而绩效则成为理论的理想阐释者。从滑稽到崇高，表演者唤起了四个不同的遭遇，她的理论之父：卡尔马克思，费迪南德德索绪尔，雅克德里达和弗朗茨法农。为了有用的目的，需要有用的理论-从学术的“高”地到古代复述/讲述的“低”地，表演者必须首先记住理论的开始。
This essay performatively expresses specific theoretical ruminations on class, language, and race. This writing is a performance, while it is or is not necessarily for the “stage.” The performance seeks a felt‐sensing meeting between theory, writing, and performing. The performer claims an uneasy possession of performance as a means of both subjectivity and freedom. Theory becomes another way to know performance better; and performance becomes the desired illuminator of theory. From the burlesque to the sublime, the performer conjures four different encounters with her theoretical fathers: Karl Marx, Ferdinand de Saussure, Jacques Derrida, and Frantz Fanon. Needing useful theory‐from the ‘high’ ground of scholarship to the ‘low’ ground of ancient re/tellings‐for useful purposes, the performer must first remember where theories begin.