Suchergebnisse

Far from teleological historiography, the pan-European perspective on Early Modern drama offered in this volume provides answers to why, how, where and when the given phenomena of theatre appear in history. Using theories of circulation and other concepts of exchange, transfer and movement, the authors analyze the development and differentiation of European secular and religious drama, within the disciplinary framework of comparative literature and the history of literature and concepts. Within this frame, aspects of major interest are the relationship between tradition and innovation, the status of genre, the proportion of autonomous and heteronomous creational dispositions within the artefacts or genres they belong to, as well as strategies of functionalization in the context of a given part of the cultural net. Contributions cover a broad range of topics, including poetics of Early Modern Drama; political, institutional and social practices; history of themes and motifs (Stoffgeschichte); history of genres/cross-fertilization between genres; textual traditions and distribution of texts; questions of originality and authorship; theories of circulation and net structures in Drama Studies.

The entering of poetics into the field of anthropology, intimated by Nietzsche (through his critique of anthropocentrism), introduced by Bachelard and Bataille and continued in the framework of poststructuralism has influenced the scope and the models of knowledge traditionally related to anthropology, by reexamining and changing them. This influence is researched through the analysis of several authors, discussing the political aspects of their writings at the same time. Their notions of polarity, discontinuity, suspension, transgression and dissemination make visible possible directions of transformation of anthropology.

This essay examines Américo Paredes's first collection of poetry, Cantos de adolescencia (1937), alongside his second poetry anthology, Between Two Worlds (1991), in light of materials from the recently opened Américo Paredes archives. Whereas current scholarship celebrates Paredes's hybrid poetics, anti-imperialist diatribes, and transnational allusions, Paredes's poetic corpus, when seen in its entirety, reveals itself to be undergirded by contradictory trajectories that revolve around his semi-autobiographical poetic persona, the pocho. I show how Paredes's attempts to symbolically empower the dispossessed pocho through antithetical representations—ultranationalist, transnationalist, and highly masculinist—ultimately render this figure ideologically inchoate. His discourses on Mexican American identity thus demand a reassessment of the pocho as an icon for Chicana/o literary and cultural studies.

Despite the seemingly general agreement that we are still living in a post- orpost-post-modern world andmany contemporary performancesarebased on theprinciplesofpostdramatic theatre, researchers have noticed certain changes in the poetics of theatricallanguage, which havenot, so far, been described and analysed. Thisarticleseeksto search for apoeticsof playing?that isto say, implicit principlesof producingand perceivingcontemporaryperformances (non-mimetic forms of playing are beyond the scope of this investigation).These principles in themselves are not necessarily new or contemporary, although theircombinations often create such an impression. The article consists of three parts. The firstexplores the term 'poetics' and the second the poetics of playing. The final part provides anempirical analysis of an example of the new poetics of playing. The political theatre projectUnified Estonia Assembly developed the structures and strategies of politics and performingarts to their extremes, at the same time creating a powerful representation of political games.By being a kind of exceptional theatrical event, it helped to exemplify how performers caninfluence participants or society and how ambivalence as a strategy can be emphasized incomprehension and social interaction. Thepoeticsof playing in Unified EstoniaAssembly wasbased on fluid conceptions of players, roles and participants, playing and reality, and thisfluidity also created astrongsenseof ambivalenceboth duringtheplayingand afterwards.

Abstract
In their poem "I, Monster Mine" ("Yo monstruo mío") Argentine activist and self-proclaimed trans* sudaca artist Susy Shock demands the right to be "whatever my pinche desire fucking feels like." By centering desire, Shock's poem echoes contemporary feminist theorizing in Argentina and calls into question the construction of normative human subjects via the semantic claim to the word monster, yet evades recourse to global North theories of trans* subjectivity.