This article looks at Frances Burneys contribution to life writing through her
composition, preservation and curatorship of her own personal archive and
management of family papers. It charts Burneys chronic anxieties about the
possible interpretation of the record that she had created, and the tension
between self-expression and self-exposure which underlay her very revealing
difficulties with editing, archivism and publication.
or universities themselves. For some academics, working with artists offers an
opportunity to engage with more embodied, intuitive and sensory practices. For some
artists, collaborations with researchers can offer an opportunity to engage with a
topic more deeply in a theoretically engaged way. For research participants,
participation in an arts-based project can provide a unique space for
self-expression, belonging and relationship building ( Nunn, 2020 ).
This book represents the first attempt to write a comprehensive account of performance art in Eastern Europe - the former communist, socialist and Soviet countries of Central, Eastern and Southeastern Europe - since the 1960s. It demonstrates performance art, which encompasses a range of genres, among them body art, happenings, actions and performance. In exploring the manifestations and meanings of performance art, the book highlights the diversity of artistic practice, moments and ways in which performance emerged, and its relationship to each country's sociopolitical climate. The book discusses 21 countries and over 250 artists, exploring the manner in which performance art developed concurrently with the genre in the West. It examines how artists used their bodies in performance to navigate the degrees of state control over artistic production and cultivate personalised forms of individual integration and self-expression of body, gender, politics, identity, and institutional critique. A comparative analysis of examples of performance art addressing gender-related issues from across the socialist and post-socialist East is then presented. The themes addressed provide local cultural and historical references in works concerning beauty, women's sexuality and traditional notions of gender. Artists' efforts to cope with the communist environment, the period of transition and the complexities of life in the post-communist era are highlighted. Artists during the communist period adopted performance art as a free-form, open-ended means of expression to give voice to concepts, relationships and actions that otherwise would not have been possible in the official realm of art.
This book is a study of the communist life and the communist experience of membership. The study places itself on the interface between the membership and the Communist Party of Great Britain (CPGB) by considering the efforts of the latter to give shape to that experience. For those who opted to commit fully to the communist way of life it would offer a complete identity and reach into virtually all aspects of life and personal development. In regard to the latter, through participation in the communist life 'joiners' gained a positive role in life, self-esteem, intellectual development, skills in self-expression, and opportunities to acquire status and empowerment through activities like office-holding or public speaking. The British Communist Party had a strong and quite marked generational focus, in that it sought to address the experience of Party life and membership at the principal phases of the life cycle. The Party developed rites of passage to guide its 'charges' through the different stages of the life cycle. Thus its reach extended to take in children, youth, and the adult experience, including marriage and aspects of the marital and family relationship. The Party did not disengage even at the beginning and termination of the life cycle. Its spokespersons advised communist mothers on birth and mothercraft, 'red' parents on childrearing, and addressed the experience of death and mourning within the communist domain.
early modern period (Greenblatt), that this period was one of ‘inwardness’ and
‘interiority’ (Ferry; Maus; Schoenfeldt). It was the soul that provided the link
between self and literary (self-)expression, and it did so most conspicuously by
becoming a stage or a character in its own right that appears on an inner stage.
The genre of the soliloquy became a communicative mode that allowed writers to
form this self-expression and to give insight into a
of auteurist self-expression and painstaking apprenticeship. The alternative is seen as reprehensibly inauthentic.
What is most noticeable here, and throughout the period examined in
this chapter, is the absence of the kind of interpretations of popular music
associated with anglophone Cultural Studies and popular-music studies.
French narratives (even perhaps Bourdieu’s, despite himself) are still ultimately Adornian in that they distinguish between an essentialist notion
of high artistic creativity and the processes of manufacture and
gentlemen who have been lounging about in
undress have retired.’30 This was a key tension within journey etiquette:
while it provided women with information that enabled them to journey
successfully, it could also restrict their freedom to behave however they
j 77 J
women, travel and identity
personally wished, in this case seeking to restrict their freedom of movement on ships.
Indeed, many writers suggested that the ultimate goal for women
was to be virtually invisible. Any desire for self-expression that broke
social convention was to be suppressed; any action that
attempt to pursue scientific internationalism was clearly fraught by
frictions that stemmed from national and imperial differences.
self-expression, and modernity
A question at the core of much
colonial historiography concerns how different groups of Africans
– considered as a collective and as individuals – responded
to the multiple conditions of
analysis. In her words, the ‘social, political and cultural context is crucial to this analysis of what body art … can tell us about our current experiences of subjectivity’. 10 In this chapter, I examine the manner in which artists from the East used their bodies in performance to navigate the varying degrees of state control over artistic production and cultivate their own forms of individual integration and self-expression. In the process, I expose the unique resonance of the body both in the East and across the region.
The present body
Jones cites a
Dance has always been a method of self- expression for human beings. This book examines the political power of dance and especially its transgressive potential. Focusing on readings of dance pioneers Isadora Duncan and Martha Graham, Gumboots dancers in the gold mines of South Africa, the One Billion Rising movement using dance to protest against gendered violence, dabkeh in Palestine and dance as protest against human rights abuse in Israel, the Sun Dance within the Native American Crow tribe, the book focuses on the political power of dance and moments in which dance transgresses politics articulated in words. Thus the book seeks ways in which reading political dance as interruption unsettles conceptions of politics and dance.