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The term liminal refers to a marginalized space of fertile chaos and creative potential where nothing is fixed or certain. Liminal performance is an emerging genre which has surfaced only in recent times and describes a range of interdisciplinary, highly experimental, performative works in theatre and performance, film and music-performances which can be seen to prioritize the body, the technological and the primordial. Broadhurst argues that traditional and contemporary critical and aesthetic theories are ultimately deficient in interpreting liminal performance. This revolutionary work first surveys traditional aesthetics in the writings of Kant, Nietzsche and Heidegger and juxtaposes them with contemporary aesthetics in the writings of Foucault, Derrida, Baudrillard and Lyotard. A series of case studies follows and, Broadhurst concludes with a summary description of liminal performances as an emerging genre. Works discussed in detail include: Pina Bausch's Tanztheater, the innovative Theatre of Images of Robert Wilson and Philip Glass, the controversial social sculptures of the Viennese Actionists, Peter Greenaway's painterly aesthetics, Derek Jarman's queer politics, digitized sampled music, and neo-gothic sound.
Caricatured for extravagance, vanity, glamorous celebrity and, all too often, embroiled in scandal and gossip, 18th-century London's fashionable society had a well-deserved reputation for frivolity. But to be fashionable in 1700s London meant more than simply being well dressed. Fashion denoted membership of a new type of society - the beau monde, a world where status was no longer determined by coronets and countryseats alone but by the more nebulous qualification of metropolitan 'fashion'. Conspicuous consumption and display were crucial; the right address, the right dinner guests, the right possessions, the right jewels, the right seat at the opera. The Beau Monde leads us on a tour of this exciting new world, from court and parliament to London's parks, pleasure grounds, and private homes. From brash displays of diamond jewellery to the subtle complexities of political intrigue, we see how membership of the new elite was won, maintained - and sometimes lost. On the way, we meet a rich and colourful cast of characters, from the newly ennobled peer learning the ropes and the imposter trying to gain entry by means of clever fakery, to the exile banned for sexual indiscretion. Above all, as the story unfolds, we learn that being a Fashionable was about far more than simply being 'modish'. By the end of the century, it had become nothing less than the key to power and exclusivity in a changed world.
The Steward: Or, Fashion and Feeling. A Comedy, in Five Acts. Altered and Adapted from Thos. Holcroft's “Deserted Daughter,” by Samuel Beazley, Etc by Thomas Holcroft Pdf
Revisiting The Polite and Commercial People by Elaine Chalus,Perry Gauci Pdf
For some time before his death in July 2015, former colleagues and students of Paul Langford had discussed the possibility of organising a festschrift to celebrate his remarkable contribution to eighteenth-century history. It was planned for 2019 to commemorate the thirtieth anniversary of the appearance of his seminal A Polite and Commercial People, the opening volume in the New Oxford History of England series, Paul's best-known and most influential publication. He was delighted to hear of these plans and the tragic news of his death only made the contributors more determined to see the project through to completion. The importance of A Polite and Commercial People within its own time is unquestionable. Not only did it provide a powerful new vision of eighteenth-century Britain, but it also played a vital part in reviving interest in, and expanding ways of thinking about, Georgian history. As the thirteen contributors to this volume amply testify, any review of the field from the 1980s onwards cannot ignore the profound effect Paul's research had on the social and political publications in his field. This collection of essays combines reflection on the impact of Paul's work with further engagement with the central questions he posed. In particular, it serves to re-connect various recent avenues of Georgian studies, bringing together diverse themes present in Paul's scholarship, but which are often studied independently of each other. As such, it aims to provide a fitting tribute to Paul's work and impact, and a wider reassessment of the current direction of eighteenth-century studies.