Chambers Performance Studies and Negative Epistemology

Performance Apophatics
1. Auflage 2017
ISBN: 978-1-137-52044-9
Verlag: Palgrave Macmillan UK
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 301 Seiten

Reihe: Performance Philosophy

This book explores the intersection between apophaticism - negative theology - and performance. While apophaticism in literature and critical theory may have had its heyday in the heady debates about negative theology and deconstruction in the 1990s, negative ways of knowing and speaking have continued to structure conversations in theatre and performance studies around issues of embodiment, the non- and post-human, objects, archives, the ethics of otherness in intercultural research, and the unreadable and inaccessible in the work of minority artists. A great part of the history of apophaticism lies in mystic literature. With the rise of the New Age movement, which claimed historical mysticism as part of its genealogy, apophaticism has often been sidelined as spirituality rather than serious study.
This book argues that the apophatic continues to exert a strong influence on the discourse and culture of Western literature and especially performance, and that by reassessing this ancient form of negative epistemology, artists, scholars, students, and teachers alike can more deeply engage forms of unknowing through what cannot be said and cannot be represented in language, on the stage, and in every aspect of social life.

Zielgruppe

Research

Autoren/Hrsg.

Chambers, Claire Maria

Inhaltsverzeichnis

1. Introduction.- 2. Performance Studies and Negative Epistemology.- 3. Intercultural Performance and the Apophatics of Appropriation.- 4. An Apophatics of the Archive: In Memoriam Reverend Doctor Florence Li Tim Oi.- 5. The Playwright as Negative Theologian: James Baldwin’s Blues for Mr. Charley.- 6. The Apophatics of the Object: Icon and Community.- 7. Conclusion.- 

Über Autor(innen)

Claire Maria Chambers teaches modern American and British drama at Sogang University in Seoul, South Korea. Her articles have appeared in Theatre Journal, Performance Research, and Text and Performance Quarterly, among others.