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Postmodernism and its effect on society
Postmodernism and its effect on society
Postmodern art
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A Summary and Application of Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance
Here it is a book seen from the outside. A book is only a book when seen from the outside. Seen from the inside, a book is not a book, but a train ride at night - Michael Goulish
In his book Presence and Resistance, Philip Auslander responds to the claims of many prominent cultural theorists that recent performance has been unable to engage in political critique. He argues contemporary performance can - and has - mounted a critique of postmodern politics. He holds up performance of the 1980’s as an example of politically critical (what he terms ‘’resistant’’) performance, claiming it carved a space for political critique by questioning, or reconstructing, the authority of the performer’s presence. He breaks his argument into two parts. First, he positions resistant performance of the 1980’s within postmodern mass media culture and identifies it as a response to the failure of the 1960’s avant-garde. Second, he examines the resistant strategies performers of the 1980’s employed to deconstruct presence and mount political critique. He focuses mainly on performers Laurie Anderson, Spalding Gray, and The Wooster Group, and secondarily on comedians Andy Kauffman and Sandra Bernhard to illustrate his points. Part I will summarize Auslander’s argument, and Part II will use his insights to discuss Michael Goulish’s book, 39 Microlectures in Proximity of Performance, which gains relevance as a resistant text in light of Auslander’s analysis.
Part I
Auslander takes time to situate the performances of the 1980’s within the context of postmodern culture before launching his main argument on the strategies resistant performance employed. The ‘’mediatized,’’ information-saturated, environment of mass media culture, he argues, is paralyzing. Paralysis extends to the political sphere, where even the most vehement political critique is neutralized by the fact that one “must participate in the very activity that is being denounced... to denounce it’’ (Jameson qtd. Auslander 23). Auslander acknowledges mechanized culture’s impact on political critique but refuses to accept the conclusions of other major cultural/media theorists that a politically resistant performance aesthetic has not yet been developed, or that performers can only find a voice by rejecting mainstream culture altogether. Instead, he argues that performers of the 1980’s succeeded in critiquing postmodern cultural politics and did so, necessarily, from within mediatized postmodern culture.
Auslander explains the significance of internal critique, arguing that resistant performance of the 1980’s grew from a rejection of the fringe approach of the 1960’s avant garde.
In Highbrow, Lowbrow, Levine argues that a distinction between high and low culture that did not exist in the first half of the 19th century emerged by the turn of the century and solidified during the 20th century, and that despite a move in the last few decades toward a more ecumenical interpretation of “culture,” the distinction between high art and popular entertainment and the revering of a canon of sacred, inalterable cultural works persists. In the prologue Levine states that one of his central arguments is that concepts of cultural boundaries have changed over the period he treats. Throughout Highbrow, Lowbrow, Levine defines culture as a process rather than a fixed entity, and as a product of interactions between the past and the present.
In Dialogue: Theatre of America, Harold Clurman said, “we make theatre out of life” (27), and it was precisely this view that motivated him to help create a uniquely American theatre. Clurman, considered one of the most influential directors of the modern American theatre, had a unique vision of what the American theatre could become. One of the founders of the quintessentially American troupe, the Group Theatre, Clurman was a contemporary of Elia Kazan and Lee Strasberg, and even married to Stella Adler for twenty years. At a ceremony honoring Clurman, Elia Kazan stated that Clurman’s “greatest achievement [was] himself” (Harold Clurman: A Life of Theatre). An important figure in our theatrical past, Clurman’s theories on theatre and directing require close attention. In this paper, I will first provide a brief biography of Clurman, second, examine his theories of theatre and directing, and lastly, I will explore his criticisms of the then-contemporary theatre, and draw conclusions to the current state of the Broadway theatre.
For this reason, any discussion of the avant-gardes risk appearing belated, gesturing back to the problematic contradiction outlined by Burger above. However, this assumes that the end of autonomy brought about by Capitalism takes the same form as that which the Avant-garde sought to achieve. While Burger does not explicitly equate the two, he nevertheless fails to distinguish them, and this ambiguity itself merits a reconsideration of the avant-garde’s relationship with contemporary art practice. For if Burger’s genealogy of the avant-garde is in fa...
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
Since it was impossible to tell if he knew his rights, Ernesto Miranda solidified the 5th amendment when his court conviction was over-turned in 1966 (McBride)”, which has effected every aspect of arrest ever since, by establishing rights of the accused and responsibilities of law enforcement officers (McBride). Miranda was arrested early march 3rd 1963. (McBride)” He was found guilty of rape and kidnapping (McBride). The women he had allegedly raped, said she was a virgin, which was disproved in trial (1966). The main piece of evidence was Miranda’s verbal and written confessions (McBride). The confessions were obtained during a 3-hour interrogation in which Miranda had no communication with an attorney (McBride). During this interrogation he was also falsely told he had been positively identified (1966). His conviction was over-turned in 1966 (McBride). The conviction was overturned when the Supreme Court ruled that his confession was obtained unconstitutionally (McBride). Something needed to change.
Young, K. (2007). From Violence in Sport to Sports-Related Violence: Widening the Focus. Sport in Society: A Student Introduction, Second Edition. London. Sage Publications.
Coakley, J. J., & Donnelly, P. (2007). Violence in Sports . Sports in society: issues & controversies (9th ed., pp. 198-199). Boston: McGraw-Hill Higher Education.
Paul Cassell, a University of Utah law professor will try to argue the case before the Supreme Court. Mr. Cassell thinks that the Miranda Requirements needs to be loosen. Dickerson v. United States, 530 U.S. 428 (2000) was a case where the courts had to litigate over whether his statements were voluntary and if he waived his Miranda Rights. Mr. Cassell argues h...
Thom, P (1992), For an Audience: A Philosophy of the Performing Arts (Arts and Their Philosophies), Temple University Press
In a recent performance of the two-man murder mystery at the Geffen playhouse entitled, Murder For Two, the show actively breaks the illusion of the fourth wall by addressing the audience throughout the performance. For example, one of the two actors, who plays multiple characters, breaks character and the fourth wall in order to address the audience when sound effects for a ringing phone are played. In the plays world, its simply the phone of the second actor’s character who is trying to receive a phone call to advance the plot, but in the audience’s world for a split second it seems like the noise is embarrassingly coming from a member of the house. This created some of the funniest moments of the show because of how separate the moment was from the play’s reality. It had such an effective response from the audience simply put, because it was more poignant about the world’s infatuation with cell phone usage than the content of the play, which was purposefully implausible and unbelievable. A choice like this could not be made without directly addressing the audience’s world politically; otherwise it simply would not get a laugh. Whether or not the audience continues to use their phone in public places, the audience, in that moment, took a critical look at their societal state and laughed at it. True Brechtian Theater encapsulates all genres and emotions with the political and
Miranda also protects suspects from overzealous police officers. Although most law-enforcement agents in the United States are decent men and women, some abuse their power. They may try to coerce suspects into giving false confessions. Time and time again, we read of cases where suspects were forced to make confessions because an overzealous or prejudiced police officers want to close a case. The story of Rubin Hurricane Carter, made popular by the motion picture of the same name, demonstrated how lives could be destroyed when vindictive and manipulating detectives abuse their power. The Miranda Warning helps keep abuses in check. If the law is used correctly, the guilty would receive their due punishment. When police officers inform suspects of their rights before interrogation, it is very unlikely that the judge presiding over any case would throw out statements made during questioning.
Oswald, Laura. Jean Genet and the Semiotics of Performance. United States of America: Indiana University Press, 1989. Print.
As the dark stadium filled with fire, with the sounds of guns and bombs exploding everywhere, the crazed fans yelled at the top of their lungs. The enormous stage was rumbling with the sound of a single guitar as the band slowly started their next encore performance. Soon after I realized that I was actually at the Sanitarium concert listening to Metallica play "One", I thought to my self, "Is this real, am I actually here right now?" I had a weird feeling the entire time because I had worked all summer to simply listen to music with a bunch of strangers.
However, placing the period break at this date is discordant with the timeline of so-called postmodern theory – marked by antifoundationalism and a suspicion of metanarratives, which were surely present in theoretical debates long before the 1960s. Noël Carroll asserts that “Often, in order to make the story stick that postmodern theory is distinguished by its antifoundationalism, commentators assimilate the modernist period to the enlightenment. Postmodernism is a reaction to modernism which, in turn, is equivalent to Enlightenment foundationalism.” If we hold the enlightenment as the foil to postmodernism, one must note that the rebellion against the Enlightenment began long before the emergence of the postmodern movement. Carroll notes: “Postmodern dance gets going around 1963, Nietzsche died in 1900. Is this a felicitous periodization?” Furthermore, numerous thematic discrepancies are present within the category. Postmodern architecture represents a revolt against modern architecture in terms of a (resurgence) of expressive elements, while postmodern dance was a reaction against modern dance, which was heavily aligned with expression. How is it possible that a single movement can push for both expressivity and antiexpressivity, depending on the art being
Sport and aggressive behavior, Do sports create aggressive behavior, or simply attract people who are already aggressive? Aggression and sport have gone together as long as sports have been around, be it the players themselves, to the parents, coaches, or spectators, they just seem to be an inseparable part of each other. The term violence is defined as physical assault based on total disregard for the well being of self and others, or the intent to injure another person (2. Coakley). Intimidation usually does not cause physical harm, but often is designed to produce psychological consequences, enabling one person to physically over power or dominate another. These statements as defined by the author, Jay J. Coakley, is what people today have made a must part on sport. Pleasure and participation sports absolutely cannot be grouped with power and performance sports when in relation to aggression. Pleasure sports are simply played for pleasure. Score is usually not kept. The athletes participating are usually on occasion doing it for fun and exercise. A majority of athletes who have been playing sports since they were little, have probably been pounded into their heads that to be successful in sport, you need to be aggressive, and at some times, unnecessary. Also that to get what you want, you have to go at it with all force. Not that this is wrong but, this attitude in today's society has been a major problem factor to the athletes when they get older, to get into trouble with the law. Those long-term effects of so-called discipline, patterns develop these destructive behaviors. (9. Montague) Although some people are still in belief that aggressive behaviors in all forms are grounded into instincts, but they also relate these actions to sports. Their parents played, who were known for their aggressive behavior, so the child feels that they have to live up to that expectation.( 6. Storr) Athletes do have to be aggressive to a point, so that the team can form a strategy to win. There is also a limit to aggression when it turns into violence. People might say that it's not aggression or violence, its just adrenaline pumping. Adrenaline isn't even similar to violence. Aggression, maybe, but nothing that would be harmful to anyone else. This might be a factor to why contact sports are so popular. For example, football, hockey, rugb...