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The feminist spectator as critic [electronic resource] / Jill Dolan.

By: Contributor(s): Material type: TextTextPublication details: Ann Arbor, Mich. : University of Michigan Press, 2012 2013) 2015)Edition: 2nd edDescription: 1 online resource (1 electronic text (xliv, 168 p.) :) col. ill., col. maps, digital fileISBN:
  • 9780472028993
Subject(s): Genre/Form: Additional physical formats: Print version:: No titleDDC classification:
  • 792.015 20
LOC classification:
  • PN2270.F456 D64 2012
Online resources:
Contents:
Preface -- Acknowledgments -- Introduction to the second edition -- 1. The Discourse of feminisms: the spectator and the representation -- 2. Feminism and the Canon: the question of universality -- 3. Ideology in performance: looking through the male gaze -- 4. The dynamics of desire: sexuality and gender in pornography and performance -- 5. Cultural feminism and the feminine aesthetic -- 6. Materialist feminism : apparatus-based theory and practice -- Afterword -- Notes -- Revised and updated bibliography -- Index to the first edition.
Summary: This book is not meant to be a definitive study of feminist performance criticism. Rather, in some ways, it is a historical accounting of the different methodological and ideological pathways this criticism has taken over the last twenty-odd years, illustrated here by criticial case studies.
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Issued as part of UPCC book collections on Project MUSE.

Includes bibliographical references (p. [145]-164) and index.

Preface -- Acknowledgments -- Introduction to the second edition -- 1. The Discourse of feminisms: the spectator and the representation -- 2. Feminism and the Canon: the question of universality -- 3. Ideology in performance: looking through the male gaze -- 4. The dynamics of desire: sexuality and gender in pornography and performance -- 5. Cultural feminism and the feminine aesthetic -- 6. Materialist feminism : apparatus-based theory and practice -- Afterword -- Notes -- Revised and updated bibliography -- Index to the first edition.

This book is not meant to be a definitive study of feminist performance criticism. Rather, in some ways, it is a historical accounting of the different methodological and ideological pathways this criticism has taken over the last twenty-odd years, illustrated here by criticial case studies.

Description based on print version record.

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