Holy Body
Erotic Ethics in Ron Athey and Juliana Snapper's Judas Cradle
Bibliographic Data
| ID | 14998109 |
|---|---|
| Authors | Amelia Jones (0000-0002-2273-7164, Professor and Pilkington Chair in Art History and Visual Studies at the University of Manchester., corresponding author) |
| Year | 2006 |
| Volume | 50 |
| Issue | 1 |
| Pages | 159-169 |
| Publication date | 2006-03-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | TDR/The Drama Review (JOURNAL) |
| Journal identifiers | ISSN: 1054-2043 • E-ISSN: 1531-4715 |
| Publisher | MIT Press - Journals (PUBLISHER) |
| DOI | 10.1162/dram.2006.50.1.159 |
| OpenAlex | W2092605353 |
| Language | EN |
| Citations received | 1 |
| References cited | 3 |
Expanding on Ron Athey's legacy of exposing the holiness of his body in body art performances, and on Julianna Snapper's training as an opera singer, Judas Cradle evokes relations of desire, connection, and repulsion. Holy Body takes off from the queer ethics proffered by Judas Cradle through a rapturous and sometimes pained interpretive hysteria directed toward affirming the erotic ethics implicit in the piece
Aesthetics · Archaeology · Art · Connection (principal bundle · Dead body · Literature · Opera · Psychoanalysis · Queer · Queer theory · Art, Politics, and Modernism · Diversity and Impact of Dance · History · Philosophy · Psychology · Theatre and Performance Studies
| Unique citing works | 1 |
|---|---|
| Citations per year | 0.07 |
| Citation span | 2011 - 2011 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |