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Whilst the focus of much criticism has addressed goth as a subculture, considerably less attention has been given to the gendered status of marketing and advertising in subcultural magazines, whilst ‘glossy’ goth magazines have enjoyed little concerted analysis at all. Subcultures are frequently represented by participants and critics as ‘idyllic’ spaces in which the free play of gender functions as distinct from the ‘mainstream’ culture. However, as Brill (2008), Hodkinson (2002) and Spooner (2004) have identified, this is unfortunately an idealistic critical position. Whilst goth men may embrace an ‘androgynous’ appearance, goth women frequently espouse a look which has much in common with traditional feminine values. Slippages between subcultural marketing and mainstream advertising are frequent and often neotraditional in their message regarding masculinity and femininity. In using critiques of postfeminism alongside subcultural theory, I seek to reevaluate how gender functions in these publications. By close inspection of scene representations of ‘goth’ in the twenty-first-century through magazines such as Gothic Beauty (US), Unscene and Devolution (UK), as well as interviews with participants, I argue women’s goth fashion, sexuality and body image often (but not exclusively) represent a hyperfemininity which draws from conventional ideas of womanhood.
submitted an application that included a synopsis of my idea for a TV series –the main character being a strong woman of colour working as a personal trainer at a gym –and it was accepted. This is how I ended up as one of the participants of the Fusion Programme of 2016. In this chapter, I examine the affective politics of the Fusion Programme, focusing on tensions between participant motivations and a film policy which, I argue, balanced conflicting frameworks: an outspoken effort to attain goals for gender equality, the desire to implement a perspective on diversity, a
6 From spect-actor to corporate player: reconfigurations of twenty-first-century audiences In Theatre and Audience, Helen Freshwater notes the ‘extraordinary increase’ in the use of participation in new British (and I would add European) performance practices in recent years (2009: 4). In this chapter, I will examine the different ways in which certain recurring models are seeking to enable the spectator to co-author the event, and become an active participant in the performance text, in order to offer an experiential real in place of the representations
’s programme 1 – and the professional concert production of Stabat Mater . While the focus of this chapter is a study of Godder’s work, the productive dialogue between care and choreography emerging from Stabat Mater arguably has implications for dance practice more broadly, particularly for dance initiatives developed with participants who have chronic health conditions. Furthermore, I argue that by placing care centrally within dance practice, dance artists are challenged to reimagine their artistic relationship with non-trained participants and ultimately redefine
east for the coast of Turkey or maybe it means to swing around Samos and then south for the Lebanon. Seamus O’Grady, that patient man who guided the workshops for their duration, kindly sent me the list of participants from 1979 to refresh my memory. So long ago, thirty-two years. Their faces flash before me, their voices suddenly a clamorous chorus in this quiet room. In ancient Greek one of the words for truth is the same as the word for not forgetting. I can only trust that what has lodged in memory after all these years is at least a simulacrum of truth. One
performance which are the subject of this chapter rather seek to engage the participant (now neither performer nor spectator in any conventional sense) in a more direct and experiential relationship with their own subjectively constructed reality. The notion of any kind of return to the real might seem to constitute an outright rejection of Baudrillard’s theories, but I will now argue that Baudrillard’s later writings, contrary to popular opinion, do offer us a distinction between two different orders of the real; the real as mediated representation as distinct from the
could make in ways that could affect not only interpretation, but also literary reputation. Far from viewing readers as passive recipients of instructional work, the writers of these texts figure their audiences as involved participants in the construction of meaning and authority. Consequently, how these texts address and use nonlinearity discloses much about their shaping of readers’ agency and the writers’ own authority in late-medieval England. The study of nonlinear reading practices thus provides an essential contribution to our understanding of medieval reading
-collaborator had creative agency to interpret these modes of practice and adapted the structure and content to suit their research contexts. Connecting these global/local investigations, Gallagher’s Toronto research team visited and spent time with each of the different collaborators and their research participants in their specific locales. Andrew Kushnir, the embedded playwright for the Radical Hope project, and creative director of Toronto-based, socially engaged theatre company, Project: Humanity, 2 has produced a verbatim play, Towards Youth , created out of the data
part in the value of the first Ysonde. The unexpected gift he receives is being stricken with desire when reading/seeing the romance of Tristrem, in which he is now a participant. If Ganhardin's response is a model for the audience of Tristrem to follow, then the effects of this story-as-gift are striking and disturbing. Fourteenth-century audiences of romances such as Tristrem or Amis and Amiloun were familiar with the ways in which personal gifts told stories, or had stories inscribed on them: not only from imagining their power in a
among the other Trojan women but is the locus of affect more generally for other participants, mortal and divine, and for readers and audiences; Plutarch’s tyrant’s response is entirely in keeping with this tradition. Shakespeare seems to have read Chaucer’s poem long before he wrote Troilus and Cressida and one of the strands I want briefly to trace here is the relationship between Chaucer