東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁 到查詢結果 [ subject:"Theater." ]

切換: 標籤 | MARC模式 | ISBD

WOMEN IN PERFORMANCE ART: FEMINISM ...

University of Washington.

FindBook

Google Book

Amazon

博客來

WOMEN IN PERFORMANCE ART: FEMINISM AND POSTMODERNISM.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	WOMEN IN PERFORMANCE ART: FEMINISM AND POSTMODERNISM./
作者:	FORTE, JEANIE KAY.
面頁冊數:	259 p.
附註:	Source: Dissertation Abstracts International, Volume: 47-12, Section: A, page: 4237.
Contained By:	Dissertation Abstracts International47-12A.
標題:	Theater. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8706554

WOMEN IN PERFORMANCE ART: FEMINISM AND POSTMODERNISM.
FORTE, JEANIE KAY.

WOMEN IN PERFORMANCE ART: FEMINISM AND POSTMODERNISM. - 259 p.

Source: Dissertation Abstracts International, Volume: 47-12, Section: A, page: 4237.

Thesis (Ph.D.)--University of Washington, 1986.

Over the last two decades, women have used performance art to create powerful disruptions of patriarchal culture and its oppression of women. This disruptive capacity derives from an immanent critique of modernism and its patriarchal structures embedded in discourses of knowledge and authority. These structures support an ideology which depends on the Otherness of Woman codified within the dominant system of representation. The postmodernist nature of performance art thus affords women the opportunity to subvert the stability of this system because of Woman's special status in the system. Women performance artists challenge the hegemony of patriarchal culture through the assertion of alternatives, articulating female sexuality and subjectivity. Examples of specific strategies are explored in the work of performance artists Rachel Rosenthal, Meredith Monk and Laurie Anderson, whose work each presents particular problems for feminist theory and yet also provides models for feminist intervention. As both subversions of patriarchal oppression and articulations of alternatives, women's performance aids in the construction of a feminist frame of reference through which new definitions of difference can emerge. The resistance of women's performance art thus enacts its subversion on a most basic level of dominant culture, announcing the freedom of all subjects to name themselves, to thwart dominant representations and to assert alternative modes of perception.Subjects--Topical Terms:

522973
Theater.

WOMEN IN PERFORMANCE ART: FEMINISM AND POSTMODERNISM.
LDR:02200nam 2200229 a 45 001 858393
005 20100712
008 100712s1986 ||||||||||||||||| ||||| d
035 $a (UMI)AAI8706554
035 $a AAI8706554
040 $a UMI $c UMI
100 1 $a FORTE, JEANIE KAY. $3 1025446
245 1 0 $a WOMEN IN PERFORMANCE ART: FEMINISM AND POSTMODERNISM.
300 $a 259 p.
500 $a Source: Dissertation Abstracts International, Volume: 47-12, Section: A, page: 4237.
502 $a Thesis (Ph.D.)--University of Washington, 1986.
520 $a Over the last two decades, women have used performance art to create powerful disruptions of patriarchal culture and its oppression of women. This disruptive capacity derives from an immanent critique of modernism and its patriarchal structures embedded in discourses of knowledge and authority. These structures support an ideology which depends on the Otherness of Woman codified within the dominant system of representation. The postmodernist nature of performance art thus affords women the opportunity to subvert the stability of this system because of Woman's special status in the system. Women performance artists challenge the hegemony of patriarchal culture through the assertion of alternatives, articulating female sexuality and subjectivity. Examples of specific strategies are explored in the work of performance artists Rachel Rosenthal, Meredith Monk and Laurie Anderson, whose work each presents particular problems for feminist theory and yet also provides models for feminist intervention. As both subversions of patriarchal oppression and articulations of alternatives, women's performance aids in the construction of a feminist frame of reference through which new definitions of difference can emerge. The resistance of women's performance art thus enacts its subversion on a most basic level of dominant culture, announcing the freedom of all subjects to name themselves, to thwart dominant representations and to assert alternative modes of perception.
590 $a School code: 0250.
650 4 $a Theater. $3 522973
690 $a 0465
710 2 $a University of Washington. $3 545923
773 0 $t Dissertation Abstracts International $g 47-12A.
790 $a 0250
791 $a Ph.D.
792 $a 1986
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8706554