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Gill Rye
Michael Worton

out close readings of the aesthetics, the form and the workings of the text. A remarkable feature is that these very close readings lead the various critics to draw on a range of different theoretical and interpretative frameworks from within literary criticism and, importantly, beyond – from psychoanalysis to linguistics, through trauma and post-colonial studies and performance art. The critical discourse generated by these interdisciplinary forays produces fruitful and thought-provoking analyses of contemporary writing and confirms its relevance to contemporary

in Women’s writing in contemporary France
Margery Kempe meets Marina Abramović
Sarah Salih

my argument diverges from Hopenwasser's identification of Margery as a ‘naïve’ ‘comic figure’ written with ‘irony’ by the ‘more sophisticated’ writer Kempe, I continue her deliberately anachronistic comparison of Margery to contemporary performance artists, and her interest in audience response. 11 Such contemporary artists often distinguish their work from that of the theatre, yet the dividing line between theatre and performance art is contestable in the contemporary world and was probably never operative in

in Encountering The Book of Margery Kempe
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Elza Adamowicz
Simona Storchi

, Padua and Verona, 2004; A. Castronuovo, Avanguardia Balneare. Figure e vicende del Futurismo a Rimini, 2009; V. Cappelli, ed., Calabria futurista. 1909–1943, 2009; M. Gazzotti and A. Villari, eds, Futurismo dada. Da Marinetti a Tzara. Mantova e l’Europa nel segno dell’avanguardia, 2010; C. Giuliani, ed., Futurismi a Ravenna, 2010). Finally, studies linking historical Futurism with contemporary developments in art and design include: Futurism and sport (M. Mancin, ed., Futurism & Sport Design, 2006); Futurism, cinema and performance art (G. Davico Bonino, ed., Teatro

in Back to the Futurists
Paul Auster’s fiction and film

so, Fanny’s actions were not vengeful, but a ‘pure and luminous gesture of self-sacrifice’. ‘Is such a thing possible?’, Aaron wonders, ‘Can a person actually go that far for the sake of someone else?’ (89). What are the limits of our generosity towards each other, and how will we know a gift when we receive it? Maria’s performance art also poses these questions. There is a clear parallel between Aaron’s narrative task in Leviathan – in which he tries to ‘pick up the pieces’ of Sachs’s life – and one of Maria’s performances, in which she attempts to create a

in The politics of male friendship in contemporary American fiction
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The original Futurist cookbook?
Selena Daly

Aeronautico G. Caproni), pp. 95–9. Baldissone, G. (2009). Filippo Tommaso Marinetti (Milan: Mursia). Baron Cohen, S. and J. E. Harrison (eds) (1997). Synaesthesia: Classic and Contemporary Readings (Oxford: Blackwell). Adamowicz and Storchi, Back to the Furutists.indd 206 01/11/2013 10:58:52 Le Roi Bombance 207 Berghaus, G. (1995). The Genesis of Futurism: Marinetti’s Early Career and Writings 1899–1909 (Leeds: Society for Italian Studies, no. 168). Berghaus, G. (2001). ‘The Futurist Banquet: Nouvelle Cuisine or Performance Art?’ New Theatre Quarterly, 17, 3

in Back to the Futurists
Neil Cornwell

sinister limbo’ or ‘the interior of the human mind’, inhabited by ‘abstract entities’ or ‘the stock types of the commedia dell’ arte’ and leading to more modern forms of ‘myth-play’ (Frye, 282; 290–1). The commedia dell’arte was a form of professional, or travelling, improvised comic performance art, popular in particular from the sixteenth to the eighteenth centuries in Italy, but also in France and elsewhere in Europe, involving standardised situations and plot intrigues, acted out by a series of stock characters, including Harlequin (‘Arlecchino’, or ‘Hellequin

in The absurd in literature
Towards the absurd
Neil Cornwell

Filonov and Malevich.52 The literary side, at this stage concerned with poetry, perhaps surprisingly disassociates the movement from zaum´, although an ‘appearance of nonsense’ is acknowledged (Gibian, 249). In poetry, film and theatre, ‘collisions of verbal meanings’ are of the essence, while ‘dramatic plot’ in the latter is played down, in preference to ‘scenic plot’, arising from disparate constituents of the spectacle – ‘seemingly extraneous and clearly ridiculous elements’ (ibid., 253). The OBERIU practice of semiscandalous performance art was, for its time and

in The absurd in literature
Peter Barry

about the project which resulted from the Cadair Idris experience, I thought it involved finding erratics and restoring them to their motherbeds, that is reversing their glacial migrations, and taking them home. That would have had an emotional logic, and seemed fitting, but perhaps a bit too nice and too logical. The actual project involves helping erratics to ‘fare well’, that is, taking them even further away from their motherbeds. They travel in a suitcase with Hallett on planes and trains, in what is essentially a combined form of land art and performance art

in Extending ecocriticism
Günter Berghaus

1914 performances, but for unknown reason the publication was delayed until 1916. References Antonucci, G. (ed.) (1975). Cronache del teatro futurista (Rome: Abete). Apollonio, U. (1973). Futurist Manifestos (New York: Viking Press). Berghaus, G. (1985). ‘Dada Theatre or: The Genesis of Anti-bourgeois Performance Art’, Festschrift W. E. Yuill, German Life and Letters, 38:4, 293–312. Berghaus, G. (1986). ‘A Theatre of Image, Sound and Motion: On Synaesthesia and the Idea of a Total Work of Art’, Maske und Kothurn, 32, 7–28. Boccioni, U. (1971). Gli scritti editi e

in Back to the Futurists
Griselda Pollock

conceptual artists. Lippard made 28 Writing from the heart the show all-women to challenge the prevailing idea that no women were making conceptual art, in which formal or material considerations give way to ideas and a critique of representational conventions. Lippard also wished to bring out the potential for a specifically feminist critique of cultural norms facilitated by the expanding possibilities of non-formalist performance art, photographic work, inter­ views, re-­enactments and so forth. Having made her own selection of works to mention, Rosie then turned on the

in Writing otherwise