Danielle Bainbridge
Datos Biográficos
| ID | 5638534 |
|---|---|
| NOMBRE | Danielle Bainbridge |
| NOMBRES | Danielle |
| APELLIDO | Bainbridge |
| FIRMA | BAINBRIDGE D |
| AFILIACIONES | American Bar Foundation |
| VERIFICADO | No |
| TOTAL DE OBRAS | 4 |
| TOTAL DE CITAS | 3 |
| TOTAL COMO AUTOR | 4 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2020 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2023 |
| ÍNDICE H | 1 |
African American Literature in Transition, 1980–1990
African American Literature in Transition, 1980–1990 tracks Black expressive culture in the 1980s as novelists, poets, dramatists, filmmakers, and performers grappled with the contradictory legacies of the civil rights era, and the start of culture wars and policy machinations that would come to characterize the 1990s. The volume is necessarily interdisciplinary and critically promiscuous in its methodologies and objects of study as it reconsider…
Sylvia Wynter, Maskarade , and Performing the State
First produced as a teleplay for the Jamaica Broadcasting Corporation in 1973, Sylvia Wynter’s Maskarade stands at the juncture of art-making and statecraft. The play centers on the Jamaican performance tradition of Jonkonnu, an African-descended carnival practice. Wynter’s state-commissioned plays funded by the now defunct JBC were part of a larger trend in the Caribbean in the mid-twentieth century, a time when governments in the region sponsor…
Staging Aural Fugitivity through Nineteenth-Century Freak Show Archives
This essay analyzes aural fugitivity in archives of nineteenth-century freak show performers Millie Christine McKoy and traces the difficulties in staging these archives for twenty-first-century audiences. Aural fugitivity couples theories of Black fugitivity with sound studies analysis of enslavement and nineteenth-century performance in order to explore the legacies of freak show and sideshow performers who were also enslaved. This essay, takin…
The Future Perfect, Autopsy, and Enfreakment on the 19th-Century Stage
The public autopsies of 19th-century enfreaked performers remains a central issue in studies of 19th-century enslavement. While previously black performance studies focused on the instability of the historical past tense, the study of freak shows and enslavement dictates a reckoning with the future perfect tense, which sheds light on the history of the future by asking “what will have been” rather than “what was” or “what could have been.”
The Future Perfect, Autopsy, and Enfreakment on the 19th-Century Stage
The public autopsies of 19th-century enfreaked performers remains a central issue in studies of 19th-century enslavement. While previously black performance studies focused on the instability of the historical past tense, the study of freak shows and enslavement dictates a reckoning with the future perfect tense, which sheds light on the history of the future by asking “what will have been” rather than “what was” or “what could have been.”
The Future Perfect, Autopsy, and Enfreakment on the 19th-Century Stage
The public autopsies of 19th-century enfreaked performers remains a central issue in studies of 19th-century enslavement. While previously black performance studies focused on the instability of the historical past tense, the study of freak shows and enslavement dictates a reckoning with the future perfect tense, which sheds light on the history of the future by asking “what will have been” rather than “what was” or “what could have been.”
Sylvia Wynter, Maskarade , and Performing the State
First produced as a teleplay for the Jamaica Broadcasting Corporation in 1973, Sylvia Wynter’s Maskarade stands at the juncture of art-making and statecraft. The play centers on the Jamaican performance tradition of Jonkonnu, an African-descended carnival practice. Wynter’s state-commissioned plays funded by the now defunct JBC were part of a larger trend in the Caribbean in the mid-twentieth century, a time when governments in the region sponsor…
Staging Aural Fugitivity through Nineteenth-Century Freak Show Archives
This essay analyzes aural fugitivity in archives of nineteenth-century freak show performers Millie Christine McKoy and traces the difficulties in staging these archives for twenty-first-century audiences. Aural fugitivity couples theories of Black fugitivity with sound studies analysis of enslavement and nineteenth-century performance in order to explore the legacies of freak show and sideshow performers who were also enslaved. This essay, takin…
African American Literature in Transition, 1980–1990
African American Literature in Transition, 1980–1990 tracks Black expressive culture in the 1980s as novelists, poets, dramatists, filmmakers, and performers grappled with the contradictory legacies of the civil rights era, and the start of culture wars and policy machinations that would come to characterize the 1990s. The volume is necessarily interdisciplinary and critically promiscuous in its methodologies and objects of study as it reconsider…
History (4 obras) · Art (3 obras) · Aesthetics (2 obras) · FREAK (2 obras) · Law (2 obras) · Political science (2 obras) · Race, History, and American Society (2 obras) · Sociology (2 obras) · Acoustics (1 obras) · African american (1 obras)