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48148
Author: Kimberly Jannarone
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While critics have long focused on Antonin Artaud as the epitome of the suffering and martyred artist and on the liberating aspects of his work, argues Kimberly Jannarone, the time has come to situate him within a fuller historical, political, and cultural context. Her important and highly readable book asserts that, far from being a symbol of liberation and revolt, Artauds work has important affinities with repressive and irrational strands of fascist thought.---Naomi Greene, University of California, Santa BarbaraAn extremely provocative, original, and compelling redirection for scholarship on Artaud and for the histories of the avant-garde with which his work is frequently associated.---James Harding, University of Mary WashingtonArtaud and His Doubles shows the extraordinary discoveries that can come from meticulous archival research, sound historiography, and rigorously theoretical criticism. In these pages, Kimberly Jannarone restores to the historical record Artauds actual practice as a director and actor and roots his thinking about the theater firmly in its cultural and political contexts. Doing so, she overturns long-lived and widespread misperceptions of that legendary avant-gardist. The Artaud that we find in these pages is not the one were familiar with, not the desperate romantic weve come to know in the writings of Susan Sontag, the radical performances of the Living Theatre, and the poststructuralist meditations of Jacques Derrida and Gilles Deleuze. Indeed, the mythical Artaud of the 1960s counterculture and the theory generation must now give way to the facts of the matter. This is theater history at its very best---this is why theater history matters.---Mike Sell, Indiana University of PennsylvaniaArtaud and His Doubles is a radical re-thinking of one of the most well-known and influential theater artists and theorists of the twentieth century. Placing Artauds works and rhetoric within the specific context of European political, theatrical, and intellectual history of the early twentieth century, the book reveals Artauds affinities with a disturbing array of anti-intellectual and reactionary writers and artists whose ranks swelled catastrophically between the wars in Western Europe.Kimberly Jannarone shows that Artauds work (particularly his famous 1938 manifesto, The Theater and Its Double) itself reveals two sets of doubles one, a body of peculiarly persistent received interpretations from the American experimental theater and French post-structuralist readings of the 1960s and, two, a darker set of doubles brought to light through close historical examination---those of Artauds contemporaries who, in the tumultuous, alienated, and pessimistic atmosphere enveloping much of Europe after World War I, denounced the degradation of civilization, yearned for cosmic purification, and called for an ecstatic loss of the self.Artaud and His Doubles will generate provocative new discussions about Artaud and fundamentally challenge the way we look at his work and ideas. This book will appeal to scholars of theater, drama, French arts and literature, cultural studies, and intellectual history, as well as to those interested in the history of art and culture of the interwar era.Kimberly Jannarone is Associate Professor in the Department of Theater Arts at the University of California, Santa Cruz.Cover photo 2010 Man Ray Trust Artists Rights Society (ARS), NY ADAGP, Paris. Digital Image The Museum of Modern ArtLicensed by SCALA Art Resource, NY.
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89471
Author: David Graeber
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Betafo, a rural community in central Madagascar, is divided between the descendants of nobles and descendants of slaves. Anthropologist David Graeber arrived for fieldwork at the height of tensions attributed to a disastrous communal ordeal two years earlier. As Graeber uncovers the layers of historical, social, and cultural knowledge required to understand this event, he elaborates a new view of power, inequality, and the political role of narrative. Combining theoretical subtlety, a compelling narrative line, and vividly drawn characters, Lost People is a singular contribution to the anthropology of politics and the literature on ethnographic writing. **Review [O]ffers fascinating comparative material with other places where the wound of past injustices continues to fester and destroy.... [A] brilliant weaving together of history and the anthropology of participant observation.... The style is limpid, funny, and a delight. Maurice Bloch (Maurice Bloch) The political intrigue makes for a compelling narrative. Committed to showing the power of stories, Graeber is very capable of telling a story of his own.... a brilliant study in the classic anthropological tradition.... Michael Lambek (Michael Lambek) This compelling ethnography matches Bakhtinian dialogism with Dostoevskian detail. The book is full of characters both in the sense of eccentrics and oddballs, and... of protagonists of stories... about the edges between politics and history, where assumptions are negotiated and new things can emerge. Madagascars blend of African and Pacific cultures and histories is highly unusual, and innovative tactics are needed to capture and convey its singularities. Dark Dostoevskian portrayals prove apposite to understanding people who do not see anything particularly shameful about fear in both religious and political realms. Highly articulated social stratification meant that aristocrats and slaves cohabited precolonial places and periods. With French conquest and subsequent abolition, these categories shifted rather than disappeared as elites managed their newfound sharecroppers. Graeber (Goldsmiths, Univ. of London) is a masterful narrator, allowing contradictions in peoples accounts to be what they aredifferent takes on given circumstancesas he brokers more speculative hypotheses and historical understandings about the nature of society. A humanistic sense of flow results, as Graeber talks with and about people while shedding light on the paradoxically perverse, extreme scientism of postmodernist quests for real knowledge. Summing Up Recommended. Upper-division undergraduates and above.A. F. Roberts, University of California, Los Angeles, Choice, September 2008 (A. F. Roberts, University of California, Los Angeles Choice) This compelling ethnography matches Bakhtinian dialogism with Dostoevskian detail.... Graeber... is a masterful narrator, allowing contradictions in peoples accounts to be what they aredifferent takes on given circumstancesas he brokers more speculative hypotheses and historical understandings about the nature of society. A humanistic sense of flow results, as Graeber talks with and about people while shedding light on the paradoxically perverse, extreme scientism of postmodernist quests for real knowledge.... Recommended. A. F. Roberts, University of California, Los Angeles, Choice, September 2008 (A. F. Roberts, University of California, Los Angeles Choice 2008-01-00) This rich book... provides us with an innovative account of the political nature of the apparently unpolitical. Eva Keller, University of Zurich, AFRICAN STUDIES REVIEW, Volume 52, Number 1, April 2009 (Eva Keller, University of Zurich AFRICAN STUDIES REVIEW 2009-01-00) What makes Lost People an extraordinary book is its freedom of thought. It is important not because of its position in the next round of anthropological debates but because of the graceful eclecticism of the authors perceptual and creative range. One hopes that ethnography built on such foundations will be treasured by anthropology today and tomorrow. Yancey Orr, University of Arizona, CURRENT ANTHROPOLOGY, Vol. 50.6 Dec. 2009 (Yancey Orr, University of Arizona CURRENT ANTHROPOLOGY 2009-01-00) Graeber leads us in an engaging manner through a succession of rich narratives obtained through taped interviews, superbly analysed ethnographic encounters, and sharp arguments based on a thorough knowledge of the ethnographical record and historical archives, including state records.... In trying to present an ethnography that is both honest and not written and structured exclusively for the market, Graeber does well to treat the ordinary (and extraordinary) people of Befato as historical characters and as historians in their own right. African Studies Quarterly, Fall 2009 (African Studies Quarterly 2009-01-00) From the Publisher [O]ffers fascinating comparative material with other places where the wound of past injustices continues to fester and destroy. . . . [A] brilliant weaving together of history and the anthropology of participant observation. . . . The style is limpid, funny, and a delight. --Maurice Bloch The political intrigue makes for a compelling narrative. Committed to showing the power of stories, Graeber is very capable of telling a story of his own. . . . a brilliant study in the classic anthropological tradition. . . . --Michael Lambek html
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1 year ago
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English