Abstract: ForewordIntroduction PART 1: CLIMATE AND CULTURE1. Human Agency, Climate Change and Culture: An Archaeological Perspective, Fekri A. Hassan, University College London2. Climate and Weather Discourse in Anthropology: From Determinism to Uncertain Futures, Nicole Peterson, Columbia University, and Kenneth Broad, University of Miami3. Fielding Climate Change: The Role of Anthropology, Carla Roncoli, University of Georgia, Todd Crane, University of Georgia, Ben Orlove, UC-Davis4. Disasters and Diasporas: Global Climate Change and Population Displacement in the 21st Century, Anthony Oliver-Smith, University of FloridaPART 2: ANTHROPOLOGICAL ENCOUNTERS1. Climate Change and Melting Andean Glaciers: Indigenous and Anthropological Knowledge merge in Restoring Water Sources, Inge Bolin, Malaspina University College2. Salmon Nation: A Nez Perce Policy in Spite of Global Climate Change, Benedict J. Colombi, University of Arizona3. Gone the Bull of Winter?, Susan A. Crate, George Mason University4. Storm Warnings: The Role of Anthropology in Adapting to Sea-Level Rise in Southwestern Bangladesh, Timothy Finan, University of Arizona5. Opal Waters, Rising Seas: Climate Impacts on Indigenous Australians, Donna Green, University of New South Wales6. Sea Ice: The Socio-cultural Dimensions of a Melting Environment, Anne Henshaw, Bowdoin College7. From Local to Global: Perceptions of Environmental Change Among Kalahari San, Robert K. Hitchcock, Michigan State University8. Climate Change and El Ninos in the West Central Highlands of Papua New Guinea: Indigenous Perceptions and Responses to Environmental Change and Deforestation, Jerry Jacka, North Carolina State University9. Sea Change: Anthropology and Climate Change in Tuvalu, South Pacific, Heather Lazrus, University of Washington10. Talking and Not Talking about Climate Change in Northwestern Alaska, Elizabeth Marino and Peter Schweitzer, University of Alaska Fairbanks11. Moral Certitude and the Anthropologist's Outrage (pace Rosaldo), Sarah Strauss, University of WyomingPART 3: ANTHROPOLOGICAL ACTIONS1. Shifting the University: Faculty Engagement and Curriculum Change, Peggy F. Barlett and Benjamin Stewart, Emory University2. Global Climate Change: Car Culture & Emissions, Lenora Bohren, Colorado State University3. Terms of Engagement: an Arctic perspective on the narratives and politics of global climate change, Noel D. Broadbent, Smithsonian Institute and Patrik Lantto, Umea University4. The Efforts of One Gulf Coast Community to Deal with the Challenges of Climate Change, Gregory V. Button, University of Tennessee at Knoxville and Kristina Peterson, University of New Orleans5. Global Change Policymaking from Inside the Beltway: Engaging Anthropology, Shirley J. Fiske, Independent Consultant, Adjunct Professor, University of Maryland 6. Living In a World of Movement: Human Resilience to Environmental Instability in Greenland, Mark Nuttall, University of Alberta7. Global Responsibilities, Local Realities: Negotiating the Cultural Dimensions, P.J. Puntenney, University of Michigan8. Anthropology and Climate Change: The Exhibition Thin Ice-Inuit Traditions within a Changing Environment, A. Nicole Stuckenberger, Dartmouth College9. Consuming Ourselves to Death, Richard Wilk, Indiana University

Abstract: Set at the intersection of political theory and environmental politics, yet with broad engagement across the environmental social sciences and humanities, The Oxford Handbook of Environmental Political Theory, defines, illustrates, and challenges the field of environmental political theory (EPT). Featuring contributions from distinguished political scientists working in this field, this volume addresses canonical theorists and contemporary environmental problems with a diversity of theoretical approaches. The initial volume focuses on EPT as a field of inquiry, engaging both traditions of political thought and the academy. In the second section, the handbook explores conceptualizations of nature and the environment, as well as the nature of political subjects, communities, and boundaries within our environments. A third section addresses the values that motivate environmental theorists -- including justice, responsibility, rights, limits, and flourishing -- and the potential conflicts that can emerge within, between, and against these ideals. The final section examines the primary structures that constrain or enable the achievement of environmental ends, as well as theorizations of environmental movements, citizenship, and the potential for on-going environmental action and change. Contributors to this volume - John Barry, Queens University Belfast. Mark Beeson, University of Western Australia. Andrew Biro, Acadia University. Ingulfor Bluhdorn, University of Bath. Mark B. Brown, California State University, Sacramento. Simon Caney, Magdalen College, University of Oxford. Peter Cannavo, Hamilton College. Romand Coles, Australian Catholic University. Diana Coole, Birkbeck College, University of London. Giovanna Di Chiro, Swarthmore College. Lisa Disch, University of Michigan. Andrew Dobson, Keele University. John Dryzek, University of Canberra. Robyn Eckersley, University of Melbourne. Elisabeth Ellis, University of Otago. Samantha Frost, University of Illinois. Teena Gabrielson, University of Wyoming. Farah Godrej, University of California-Riverside. Cheryl Hall, University of South Florida. Breena Holland, LeHigh University. Emily Howard, Northern Arizona University. Paul Knights, University of Manchester. Jason Lambacher, UW-Bothell. Amy Linch, Pennsylvania State University. Timothy W. Luke, Virginia Polytechnic Institute and State University. Sherilyn Macgregor, Keele University. Joan Martinez-Alier, ICTA-Universitat Autonoma de Barcelona. John M. Meyer, Humboldt State University. John O'Neill, University of Manchester. Adrian Parr, University of Cincinnati. Sean Parson, Northern Arizona University. Matthew Paterson, Universite d'Ottawa. Catroina A. H. Sandilands, York University. David Schlosberg, University of Sydney. Kimberly K. Smith, Carleton College. Piers H.G. Stephens, University of Georgia. Seaton Tarrant, University of Florida. Leslie Paul Thiele, University of Florida. Steve Vanderheiden, University of Colorado. Steven Vogel, Denison University. Kyle Whyte, Michigan State University. Justin Williams, University of Michigan. Harlan Wilson, Oberlin College. Kerri Woods, University of Leeds. Rafi Youatt, New School for Social Research.

Abstract: There have been numerous accounts exploring the relationship between institutions and firm practices. However, much of this literature tends to be located into distinct theoretical-traditional 'silos', such as national business systems, social systems of production, regulation theory, or varieties of capitalism, with limited dialogue between different approaches to enhance understanding of institutional effects. Again, evaluations of the relationship between institutions and employment relations have tended to be of the broad-brushstroke nature, often founded on macro-data, and with only limited attention being accorded to internal diversity and details of actual practice. The Handbook aims to fill this gap by bringing together an assembly of comprehensive and high quality chapters to enable understanding of changes in employment relations since the early 1970s. Theoretically-based chapters attempt to link varieties of capitalism, business systems, and different modes of regulation to the specific practice of employment relations, and offer a truly comparative treatment of the subject, providing frameworks and empirical evidence for understanding trends in employment relations in different parts of the world. Most notably, the Handbook seeks to incorporate at a theoretical level regulationist accounts and recent work that link bounded internal systemic diversity with change, and, at an applied level, a greater emphasis on recent applied evidence, specifically dealing with the employment contract, its implementation, and related questions of work organization. It will be useful to academics and students of industrial relations, political economy, and management. Contributors to this volume - Jose Aleman, Assistant Professor of Political Science, Fordham University Matthew Allen, Senior Lecturer in Organisation Studies, The University of Manchester Sabina Avdagic, Research Fellow University of Sussex Lucio Baccaro, Professor, University of Geneva Franco Barchiesi, Associate Professor of African-American and African Studies, Ohio State University Michael Barry ,Associate Professor ,Griffith University Robert Boyer, Economist, Centre Pour La Recherche Economique et SES Applications (CEPREMAP) Chris Brewster, Professor of International Human Resource Management, University of Reading Harald Conrad, Sasakawa Lecturer in Japan's Economy and Management, The University of Sheffield Fang Lee Cooke, Professor of Human Resource Management and Chinese Studies, Monash University Colin Crouch, Emeritus Professor, The University of Warwick Niall Cullinane, Lecturer in Management, Queen's University Richard Deeg,Professor of Political Science ,Temple University Jimmy Donaghey, Associate Professor of Industrial Relations, The University of Warwick Peter Fairbrother, Professor of International Employment Relations, RMIT University Michele Ford, Associate Professor of Indonesian Studies, The University of Sydney Richard Deeg Professor of Political Science ,Temple University Marc Goergen, Professor of Finance, Cardiff University Heidi Gottfried at Wayne State University Paul J Gollan Professor of Management, Macquarie University Michel Goyer, Associate Professor of Industrial Relations and Organisational Behaviour, University of Warwick Samanthi J Gunawardana, Lecturer in International and Comparative Employment Relations, Griffith University Bob Hancke, Reader in European Political Economy, London School of Economics and Political Science Marco Hauptmeier, Lecturer in International Human Resource Management, Cardiff University Frank Horwitz, Professor of International Human Resource Management, Cranfield University Gregory Jackson, Professor of Management, Freie Universitat Berlin Senia Kalfa ,Research Fellow Macquarie University Harry Katz, Professor of Collective Bargaining, Cornell University Anja Kirsch, Researcher in International and Comparative Employment Relations, Freie Universitat Berlin Gilton Klerck, Professor of Sociology, Rhodes University Christel Lane, Professor of Economic Sociology, University of Cambridge Cathie Jo Martin, Professor of Political Science at Boston University Johann Maree, Emeritus Professor, University of Cape Town Guglielmo G Meardi ,Professor of Industrial Relations, University of Warwick Dr Lindah Mhando, Professor Penn State University Glenn Morgan, Professor of International Management, Cardiff University Martin Myant, Professor of Economics , University of the West of Scotland Kristine Nergaard, Research Coordinator, Fafo, Institute for Labour and Social Research Barbara Pocock, Professor of Work, Employment and Industrial Relations, University of South Australia Juliane Reinecke, Associate Professor Warwick Business School Nick Wailes, Associate Professor of Comparative Employment Relations and Strategic Management, The University of Sydney Adrian Wilkinson, Professor of Employment Relations, Griffith University Geoffrey Wood, Professor of International Business, Warwick Business School, University of Warwick.

Abstract: PART 1: THE CATHOLIC UNIVERSITY: C.1100-1534 PART II: THE ANGLICAN UNIVERSITY: 1534-1845 PART III: THE IMPERIAL UNIVERSITY: 1845-1945 PART IV: THE WORLD UNIVERSITY: 1945-2013

Abstract: Queer studies is experiencing a methodological renaissance. In both the humanities and the social sciences, scholars have begun to identify research protocols and practices that have been largely overshadowed by dramatic advances in queer theory. The 2010 volume Queer Methods and Methodologies: Intersecting Queer Theories and Social Science Research, edited by Kath Browne and Catherine J. Nash, indexed this shift toward methods by reframing the endlessly rehearsed question "what is queer theory?" as the nascent "how is queer theory done?" Three years later, the Gender, Sexuality, and Women's Studies Program at the University of Pennsylvania hosted a two-day Queer Method conference. Organizers asked "what it means to understand queer work as having a method, or to imagine method itself as queer" (QueerMethod 2016). A 2016 University of Massachusetts Amherst conference similarly refocused queer studies-as well as black and postcolonial studies-through the lens of methods, and next year, the University of California Press will release a new collection on queer methods in sociology. With this special issue, WSQaffirms and enriches these conversations by presenting pioneering feminist work on queer methods in sociology, performance studies, African American studies, lesbian cultural studies, critical psychology, African studies, statistics, transgender and queer studies, media and digital studies, history, and English, as well as poetry and fiction.An Alternate HistoryWhat if a high-profile academic conference in 1990 had ushered in an enterprise called "queer methods" rather than "queer theory"?1 Our ques- tion-speculative and provocative in its rewriting of a watershed moment in queer intellectual history-is also surprisingly plausible. The methods that scholars used to establish gay and lesbian studies in the decades prior to queer theory were often quite queer themselves, particularly when guided by social constructionist approaches to the study of homosexuality. This was certainly true in sociology, as Steven Seidman (1994), Arlene Stein and Ken Plummer (1994), and others have noted.2 Why then has queer theory not staked a more pervasive, methods-oriented claim? Insofar as queer theory has relied on a humanities-centered displacement of the disciplinary innovations that were unfolding in the social sciences as "LGBT/queer studies" (see Lovaas, Elia, and Yep 2006), a focus on methods would not only have exposed that displacement but also forced a confrontation with disciplinarity that might have threatened queer theory's constitutional claims to inter/antidisciplinarity. The current turn "back" to methods may be perceived as an attempt to leverage disciplinarity against those longstanding claims by queer theory. Working explicitly through the question of queer methods, the following contributions thoughtfully negotiate such disciplinary impasses.From another angle, the political context that inspired early queer theory might also have translated into an inaugural focus on queer methods. Like much of gay and lesbian studies scholarship, academic queer theory was largely inspired by activist social movements of the day. In Time Binds, Elizabeth Freeman suggests that ACT UP exemplified the pragmatic ability of queer activists of the 1980s and 1990s to join "deconstructive reading practices and grassroots activism together, laying the groundwork for . . . queer theory" (2010, xv).3 Freeman thus links queer theoretical work in the academy to the questions of how that queer activism so ingeniously answered. To take her example, ACT UP was grounded in goal-oriented tactics and techniques including direct actions (e.g., teach-ins, kiss-ins, and die-ins), building coalitions across race and gender (e.g., affinity groups), highly stylized graphic designs, medical interventions (e.g., needle exchange, inclusive clinical trials, lay expertise4), video/media innovation, acts of disclosing, self-nominating, public shaming, outing, and marching. …

Abstract: Contents Chapter 1. In Search of homo moralis: The Social Psychology of Morality. Joseph P. Forgas, University of New South Wales, Lee Jussim, Rutgers University, and Paul A. M. Van Lange, VU University of Amsterdam. Part I. The Nature of Moral Values and Decisions. Chapter 2. God Save Us: A Terror Management Perspective on Morality. Tom Pyszczynski, University of Colorado Colorado Springs Chapter 3. Moral Opportunities versus Moral Tests. Dale T. Miller and Benoit Monin, Stanford University. Chapter 4. Threat, Morality and Politics: A Differentiated Threat Account of Moral and Political Values. Simon M. Laham and Chelsea Corless, Melbourne School of Psychological Sciences, University of Melbourne. Chapter 5. Computational Modeling of Moral Decisions. Molly J. Crockett, Department of Experimental Psychology, University of Oxford Chapter 6. Understanding Responses to Moral Dilemmas: Deontological Inclinations, Utilitarian Inclinations, and General Action Tendencies. Bertram Gawronski, University of Texas at Austin, Paul Conway, University of Cologne, Germany, Joel B. Armstrong, University of Western Ontario, Canada, Rebecca Friesdorf, Wilfrid Laurier University, Canada, and Mandy Hutter, University of Tubingen, Germany. Part II: Moral Aspects of Interpersonal Behavior. Chapter 7. A Relational Perspective of Social Influence on Moral Issues. Jeffry A. Simpson, University of Minnesota, Allison K. Farrell, University of Minnesota and Emma Marshall, University of Canterbury, New Zealand. Chapter 8. When Perspective-Takers Turn Unethical. Adam D. Galinsky and Alice Lee, Columbia University. Chapter 9. Confessing to an Immoral Act: Consequences to Moral Beliefs and Inferences about Moral Dispositions. Joel Cooper, Princeton University. Chapter 10. Affective Influences on Moral Decisions: Mood Effects on Selfishness vs. Fairness. Joseph P. Forgas, University of New South Wales, Australia. Part III: Ironic and Paradoxical Effects of Morality Chapter 11. Can High Moral Purposes Undermine Scientific Integrity? Lee Jussim, Rutgers University, New Brunswick and The Center for Advanced Study in the Behavioral Sciences, Stanford, Jarret T. Crawford, The College of New Jersey, Sean T. Stevens, Rutgers University, New Brunswick, Stephanie M. Anglin, Rutgers University, New Brunswick, and Jose L. Duarte, Arizona State University. Chapter 12. Concept creep: Psychology's Expanding Notions of Harm and their Moral Basis. Nick Haslam, University of Melbourne. Chapter 13. Ethical Norms and Moral Values among Scientists: Applying Conceptions of Morality to Scientific Rules and Practices. Klaus Fiedler, University of Heidelberg. Part IV. Morality and Collective Behavior. Chapter 14. Moralization and Intolerance of Ideological Outgroups. Mark J. Brandt, Tilburg University, Geoffrey Wetherell, DePaul University, Jarret T. Crawford, The College of New Jersey. Chapter 15. Sin, Morality, and Opponent Motives for Prosocial Behavior. William G. Graziano, Purdue University and David A. Schroeder, University of Arkansas. Chapter 16. The Moral Psychology of Resource Use. Brock Bastian and Daniel Crimston, University of New South Wales Chapter 17. Of Baboons and Elephants: Inequality and the Evolution of Immoral Leadership. William von Hippel, University of Queensland, Richard Ronay, VU University Amsterdam and William W. Maddux,INSEAD, France. Chapter 18. Groups Create Moral Superheroes to Defend Sacred Values. Jeremy A. Frimer, university of Winnipeg, Canada.

Abstract: Countries emerging from civil war or protracted violence often face the daunting challenge of rebuilding their economy while simultaneously creating the political and social conditions for a stable peace. The implicit assumption in the international community that rapid political democratisation along with economic liberalisation holds the key to sustainable peace is belied by the experiences of countries such as Iraq and Afghanistan. Often, the challenges of post-conflict reconstruction revolve around the timing and sequencing of different reform that may have contradictory implications. Drawing on a range of thematic studies and empirical cases, this book examines how post-conflict reconstruction policies can be better sequenced in order to promote sustainable peace. The book provides evidence that many reforms that are often thought to be imperative in post-conflict societies may be better considered as long-term objectives, and that the immediate imperative for such societies should be 'people-centred' policies. Contributors to this volume - Tony Addison, UN University World Institute for Development Economics Research; Hanne Albers, University of Leuven; Geert Bourgeois, Government of Flanders; Graham K. Brown, University of Western Australia; Lynn Davies, University of Birmingham; Graciana del Castillo, Macroeconomics Advisory Group; David J. Francis, University of Bradford; Rachel Gisselquist, UN University World Institute for Development Economics Research; Francisco Gutierrez Sanin, National University of Colombia; Sara Hellmuller, Mediation Programme of Swisspeace; Anna Jarstad, Umea University; Mark Kersten, London School of Economics; Damien Kingsbury, Deakin University; Arnim Langer, University of Leuven; Mahendra Lawoti, Western Michigan University; Roger Mac Ginty, University of Manchester; Robert Muggah, Pontificia Universidade Catolica do Rio de Janeiro; Leonce Ndikumana, University of Massachusetts at Amherst; Miguel Nino-Zarazua, UN University World Institute for Development Economics Research; Janvier Nkurunziza, United Nations Conference on Trade and Development; Chris O'Donnell, United Nations Department for Peacekeeping Operations; Laurie Anne Pearlman, independent trauma consultant; Benjamin Reilly, Murdoch University; Jamie Rowen, University of Massachusetts, Amherst; Saurabh Singhal, UN University World Institute for Development Economics Research; Jennifer Todd, University College Dublin; Ukoha Ukiwo, British Council in Abuja; Maria Eugenia Ulfe, Pontificia Universidad Catolica del Peru; Oliver Walton, University of Bath

Abstract: The twenty-first century is redefining the political relationship between performance and participation, with profound and sometimes contradictory consequences for theatre-makers and audiences. This edited collection gathers together leading voices in theatre and performance studies to debate the politics of participation across a range of performative forms – including community theatre, live art, applied theatre, one-to-one performance and marathon running – and to find points of connection between them. Arranged in three sections, 'Recognising Participation', 'Labours of Participation', and 'Authoring Participation', the book raises productive questions about how and why audiences are encouraged to participate in creating the artistic work. This blurs the boundaries between maker and spectator, promising modes of engagement that are at once political, social and aesthetic.

Abstract: What does 'performance theory' really mean and why has it become so important across such a large number of disciplines, from art history to religious studies and architecture to geography? In this introduction Simon Shepherd explains the origins of performance theory, defines the terms and practices within the field and provides new insights into performance's wide range of definitions and uses. Offering an overview of the key figures, their theories and their impact, Shepherd provides a fresh approach to figures including Erving Goffman and Richard Schechner and ideas such as radical art practice, performance studies, radical scenarism and performativity. Essential reading for students, scholars and enthusiasts, this engaging account travels from universities into the streets and back again to examine performance in the context of political activists and teachers, countercultural experiments and feminist challenges, and ceremonies and demonstrations.

Abstract: Performance and Professional Wrestling is the first edited volume to consider professional wrestling explicitly from the vantage point of theatre and performance studies. Moving beyond simply noting its performative qualities or reading it via other performance genres, this collection of essays offers a complete critical reassessment of the popular sport. Topics such as the suspension of disbelief, simulation, silence and speech, physical culture, and the performance of pain within the squared circle are explored in relation to professional wrestling, with work by both scholars and practitioners grouped into seven short sections: Audience Circulation Lucha Gender Queerness Bodies Race A significant re-reading of wrestling as a performing art, Performance and Professional Wrestling makes essential reading for scholars and students intrigued by this uniquely theatrical sport.

Abstract: As the twenty-first century moves towards its third decade, applied theatre is being shaped by contemporary economic and environmental concerns and is contributing to new conceptual paradigms that influence the ways in which socially engaged art is produced and understood. This collection offers fresh perspectives on the aesthetics, politics and histories of applied theatre. With contributions from leading scholars in the field, the book illuminates theatre in a diverse range of global contexts and regions. Divided into three sections - histories and cultural memories; place, community and environment; and poetics and participation - the chapters interweave cutting-edge theoretical insights with examples of innovative creative practice that traverse different places, spaces and times. Essential reading for researchers and artists working within applied theatre, this collection will also be of interest to those in theatre and performance studies, education, cultural policy, social history and cultural geography.

Abstract: Milton Friedman is widely regarded as one of the most influential economists of the twentieth century. Although he made many important contributions to both economic theory and policy - most clearly demonstrated by his development of and support for monetarism - he was also active in various spheres of public policy, where he more often than not pursued his championing of the free market and liberty. This volume assesses the importance of the full range of Friedman's ideas, from his work on methodology in economics, his highly innovative consumption theory, and his extensive research on monetary economics, to his views on contentious social and political issues such as education, conscription, and drugs. It also presents personal recollections of Friedman by some of those who knew him, both as students and colleagues, and offers new evidence on Friedman's interactions with other noted economists, including George Stigler and Lionel Robbins. The volume provides readers with an up to date account of Friedman's work and continuing influence and will help to inform and stimulate further research across a variety of areas, including macroeconomics, the history of economic thought, as well as the development and different uses of public policy. With contributions from a stellar cast, this book will be invaluable to academics and students alike. Contributors to this volume - Robert D. Auerbach,The University of Texas at Austin Nicholas Barr, London School of Economics Vincent Barnett, Research Fellow William A. Barnett, University of Kansas and Center for Financial Stability Peter J. Boettke, George Mason University Lawrence A. Boland, Simon Fraser University Michael D. Bordo, Rutgers University Michael J. Boskin, Stanford University Marcel Boumans, University of Amsterdam and Erasmus University Rotterdam Russell S. Boyer, University of Western Ontario Rosolino Candela, George Mason University Gregory C. Chow, Princeton University Robert A. Cord, researcher in economics Selwyn Cornish, Australian National University Harris Dellas, University of Bern Gerald P. Dwyer, Clemson University Neil R. Ericsson, Federal Reserve System Craig Freedman, The Australian School of Business Roger W. Garrison, Auburn University J. Daniel Hammond, Wake Forest University Arnold C. Harberger, University of California, Los Angeles G.C. Harcourt, University of Cambridge and University of Adelaide David F. Hendry, Oxford University Robert L. Hetzel, Federal Reserve Bank of Richmond Stedman B. Hood, PlateJoy Inc. Susan Howson, University of Toronto Douglas A. Irwin, Dartmouth College Morris M. Kleiner, University of Minnesota Peter Kriesler, University of New South Wales Eugene Lerner, Hightower Investment Advisors James R. Lothian, Fordham University Robert E. Lucas, Jr., University of Chicago Bennett T. McCallum, Carnegie Mellon University Allan H. Meltzer, Carnegie Mellon University and Stanford University Patrick Minford, Cardiff University Edward Nelson, University of Sydney J.W. Nevile, University of California, Berkeley Thomas I. Palley, AFL-CIO Sylvie Rivot, University of Mulhouse John J. Seater, Boston College Richard Selden, University of Virginia John D. Singleton, Duke University Scott B. Sumner, Bentley University George S. Tavlas, Bank of Greece Mark Thornton, Ludwig von Mises Institute Paul Turpin, University of the Pacific K. Vela Velupillai, University of Trento

Abstract: In the wake of the so-called digital revolution, media and technology affect not only performance practices, but also how the history of those practices can be documented, analyzed, and shared. The last several years have seen significant increases in digital research and scholarship projects, as well as more official recognition throughout the field, including special issues and edited collections dedicated to the digital humanities in theatre and performance studies research. At the same time, digital technologies offer new approaches to history that may themselves resemble performance. These histories need not be only linear, narrative historiography, but can enable a conception of historiography that exists in multiple places at once, incorporates many voices (some contradictory), and is distributed, sometimes bodily, among multiple perspectives. This essay considers both the distinctions between digital performance and digital methodologies in performance history and historiography, and how these changing digital practices—both methodological and creative—are shaping both the history of performance and history as performance. It responds to larger trends in digital methods affecting not only academia, but also contemporary culture more broadly. The convergence of these inquiries into digital history and theatre culminates in a case study of the Decision Points Theater at the George W. Bush Presidential Museum and Library in Dallas, where the recent history of the Bush presidency can be played out in real time by visitors through digital, performative displays.

Abstract: A field survey of recent scholarship in comparative studies, modernist studies, and performance studies, this article maps a new field at their intersection. Calling for the alignment of core concerns and the correction of disciplinary blind spots, the authors propose a comparative model for the study of global modernisms that treats culture not as an object of analysis but rather as a performative process of making meaning. This article outlines a method that acknowledges the different experiences and conceptualizations of historical modernity, the processes of modernization, and modernist strategies of representation around the globe. It argues that, by putting those different experiences and conceptualizations into relation with each other, we can produce a synthetic—but necessarily provisional—heuristic for understanding the modern condition. Emphasizing the performative function of scholarship, the article concludes with six guiding principles to bring the field of Comparative Modernist Performance Studies into being.

Abstract: Archer, John University of Central Lancashire Ancona, Leonardo University of Rome Amsel, K.W.S. University of Texas at Austin Baker, Leo Beloff, John University of Edinburgh Bennett, N.J.M Bevans, H. Gordon University of Leeds (retd) Brennan, James F. University of Massachusetts at Amherst Bridgeman, B. University of California at Santa Cruz Carroll, Douglas University of Birmingham Child, Irvin L. Yale University Clifford, B.R. University of East London Colley, Ann University of Leicester Cooper, Colin The Queen's University of Belfast Cox, Cate The Queen's University of Belfast Crozier, W.R. University of Wales, Cardiff Dabbs, Alan University of Leeds Davies, Roy Dickins, David University of Liverpool Dry, Avis M. Trinity and All Saints University College of Leeds Faber, Diana University of Liverpool Foot, H.C. University of Strathclyde Fullerton, Clare University of East London Funk, Rainier Hanks, Helga University of Leeds Hargreaves, David J. Leicester University Hartnett, Oonagh University of Wales Harvey, Jonathan G. The Queen's University of Belfast Helson, R.M. University of California at Berkeley Henle, E.B.T. Hogan, John D. St John's University, New York Iaccino, William St John's University, New York Kline, Paul University of Exeter Kovach, Joseph K. The Menninger Clinic, Kansas Logvinenko, A. Lorion, Raymond P. University of Maryland Lovie, A.D. University of Liverpool Lovie, Patricia University of Keele Lundin, Robert W. University of the South at Sewanee, Tennessee Maguire, Moira University of Luton Marks, David F. Middlesex University Massaro, Dominic W. University of California at Santa Cruz Milner, A.D. University of St Andrews Moran, Aidan University College Dublin Morgan, Michelle Queen's University of Belfast Morss, John University of Otago Nucci, L.P. University of Illinois Oborne, David University College Swansea Peyser, Charles University of the South at Sewanee, Tennessee Pickersgill, Mary J. Royal Holloway, University of London Priestnall, R. University of Ulster Richards, Graham University of East London Rudmin, F.W. Queen's University, Kingston Schmeidler, Gertrude R. City College, City University of New York Sherrard, Carol University of Leeds Smith, John L. University of Sunderland Smith, Leslie Lancaster University Sokolskaya, T. Queen's University of Belfast Sonnentag, Sabine University of Amsterdam Staudt-Sexton, Virginia St John's University, New York Stedmon, Jackie Plymouth Hospital NHS Trust Still, Arthur University of Durham Stratton, P. Leeds Family Therapy and Research Centre, University of Leeds Swan, Des University College Dublin Terry, W. Scott University of North Carolina at Charlotte Thompson, D. Georgia State University Timberlake, William Indiana University Tizard, Barbara Thomas Coram Research Unit Trew, Karen The Queen's University of Belfast Valentine, Elizabeth R. Royal Holloway, University of London Verleger, Rolf Medical University Wallis, Donald University of Wales Wapner, Seymou Wesley, Frank vPortland State University Wetherick, N.E. (formerly) University of Aberdeen Wilkinson, Robert Open University, UK Wilson, Richard M.S. Loughborough University Wolfe, R.N. State University of New York at Geneseo Zusne, Leonard

Abstract: Focussing on the ‘long 1970s’ (1968-1980), this thesis offers a new account of the emergence of performance forms, including Happenings, participatory art, performance art, and performances for the camera, in visual art and related contexts at the ICA. The research is driven by two central aims: firstly, to create space for discourse about women artists and feminist concerns in art in the UK, and secondly, to build a feminist methodology and historiography that allows for a re-thinking of performance events and approaches to interpreting them. My research involves methods drawn from performance studies, history of art and visual studies, cultural history, and feminist theory. Chapters are organised around works by important UK-based artists including Carlyle Reedy, Rose Finn-Kelcey, Cosey Fanni Tutti, and David Medalla, as well as international visitors Carolee Schneemann and Charlotte Moorman. Initially focussing on historical ‘recovery’ of performances by women artists in order to challenge received or dominant histories of performance, I then shift over the course of the thesis towards reflecting on feminist implications and effects of my historiographical approach. Here the ICA functions as an organising principle rather than a central subject, and so while research begins with the ICA Collection held at Tate Archive, the scope of the study is also broadened to include other sites and archival repositories. As a methodological counterpoint to this, I also question and critique the limits of institutional and archival representation, and conduct interviews with artists and arts professionals. Considered through the lens of each case study, I argue that the 1970s, as a period which saw new performance forms emerge dialogically alongside feminist practice, is a rich area of research for thinking about pre-histories of live art in the UK, as well as questions of identity, identification, and diversity which resonate into the present.

Abstract: This issue addresses the practice of documentation in the art of the 1960s. Documentation is here understood as both the creation of documents and the techniques of their management, such as collection, archiving, arrangement, contextualization, or manipulation. The texts included here attend to the political, material, intermedial, and affective dimensions of documentation through close studies of specific artists and bodies of work. The authors consider a range of practices in experimental photography, conceptualism, and performance art, by artists situated in different local or transnational contexts—mostly Europe, North America, and East Asia. At stake are why and how the processes of making or organizing documents newly constituted an artistic practice in its own right during the 1960s. Building on established research on twentieth-century documentary strategies and key 1960s documents, as well as recent scholarship in media studies and performance studies, the issue fosters a richer understanding of...

Abstract: Introduction: Darlene E. Clover and Kathy Sanford Section One: Arts-based teaching and learning 1. Embodied learning through story and dramatic play: Shifting values in university settings - Kathy Sanford and Kristin Mimick, University of Victoria 2. Dream, believe, lead: Learning citizenship playfully at the University of Cape Town - Astrid von Kotze and Janet Small, University of the Western Cape 3. Crossing a cultural divide: Transgressing the margins into public spaces fosters adult learning - Tara Hyland-Russell, St. Mary's University College and Janet Groen, University of Calgary 4. University teacher education and the Pop-up Art School - Christine Jarvis and Sarah Williamson, University of Huddersfield 5. Fear of glue, fear of thread: Teaching arts-based practice in the adult education classroom - Shauna Butterwick, University of British Columbia and Darlene E. Clover, University of Victoria Section Two: Arts-based Research and Enquiry 6. Mentoring arts-based research in the academy: A tale of two professors - Randee Lipson Lawrence, National-Louis University and Patricia Cranton, Penn State University 7. Collage-making for interdisciplinary research skills training in Northern Ireland - Shelley Tracey and Joe Allen, Queens University 8. Theatre-based action research for health in Denmark - Mia Husted and Ditte Tofteng, Roskilde University Section Three: Community Cultural Engagement 9. Weaving tales of hope and challenge: Exploring diversity through Metissage - Catherine Etmanski, Will Weigler, Grace Wong-Sneddon, University of Victoria 10. A new 'Age of Enlightenment': Challenges and opportunities for lifelong learning, museums and cultural engagement at the University of Glasgow - Maureen Park, University of Glasgow, Scotland 11. Empowering literary educators and learners in Northern Ireland: University-community engagements for peace - Rob Mark, University of Strathclyde 12. Creative pathways: Developing lifelong learning for community dance practitioners - Victoria Hunter, University of Leeds Overlay: Messages, Tension and Threads - Darlene E. Clover and Kathy Sanford

Abstract: Examining the artistic, intellectual, and social life of performance, this book interrogates Theatre and Performance Studies through the lens of display and modern visual art. Moving beyond the exhibition of immaterial art and its documents, as well as re-enactment in gallery contexts, Guy's book articulates an emerging field of arts practice distinct from but related to increasing curatorial provision for ‘live’ performance. Drawing on a recent proliferation of object-centric events of display that interconnect with theatre, the book approaches artworks in terms of their curation together and re-theorizes the exhibition as a dynamic context in which established traditions of display and performance interact. By examining the current traffic of ideas and aesthetics moving between theatricality and curatorial practice, the study reveals how the reception of a specific form is often mediated via the ontological expectations of another. It asks how contemporary visual arts and exhibition practices display performance and what it means to generalize the ‘theatrical’ as the optic or directive of a curatorial concept. Proposing a symbiotic relation between theatricality and display, Guy presents cases from international arts institutions which are both displayed and performed, including the Tate Modern and the Guggenheim, and assesses their significance to the enduring relation between theatre and the visual arts. The book progresses from the conventional alignment of theatricality and ephemerality within performance research and teases out a new temporality for performance with which contemporary exhibitions implicitly experiment, thereby identifying supplementary modes of performance which other discourses exclude. This important study joins the fields of Theatre and Performance Studies with exciting new directions in curation, aesthetics, sociology of the arts, visual arts, the creative industries, the digital humanities, cultural heritage, and reception and audience theories.

Abstract: While ‘charisma’ can be found in dramatic and theatrical parlance, the term enjoys only minimal critical attention in theatre and performance studies, with scholarly work on presence and actor training methods taking the lead in defining charisma’s supposed ‘undefinable’ quality. Within this context, the article examines the appearance of the term ‘charismatic space’ in relation to Marina Abramovic’s retrospective The Artist is Present at New York’s Museum of Modern Art in 2010. Here Abramovic uses this term to describe the shared space in which performer and spectator connect bodily, psychically, and spiritually through a shared sense of presence and energy in the moment of performance. Yet this is a space arguably constituted through a number of dialectical tensions and contradictions which, in dialogue with existing theatre scholarship on charisma, can be further understood by drawing on insights into charismatic leaders and charismatic authority in leadership studies. By examining the performance and ...

Abstract: This article explores the concepts of performativity and performance in feminist theory. It begins by examining the idea of gender performativity in the work of Judith Butler, tracing its development from her earliest writings through to Gender Trouble and Bodies that Matter, and showing how Butler’s initial argument draws from phenomenology, and from performance studies (where acts are understood in theatrical terms). This is followed by a discussion of gender understood ethnomethodologically as a type of routine performance or form of “doing”. The second half of the article focuses on linguistic theories of performativity, derived from J. L. Austin and Jacques Derrida, and how they have been used by feminists such as Catharine MacKinnon, Rae Langton, and Judith Butler to illustrate pornography and hate-speech. After a discussion of the performativity of pornography, the focus turns to citationality, resignification, and “talking-back”.

Abstract: Navigating cognitive approaches to theatre and performance studies, this chapter claims that extended and enactive philosophies of mind bear strong rhetorical affinities with the well-worn humanistic idioms of theatricality and performativity, and that these family resemblances help to identify blind spots in both approaches. Most explicitly, versions of enaction and performativity converge in renouncing pre-given essences for acts of ‘bringing forth’ worlds and identities (Varela et al. The embodied mind: cognitive science and human experience. MIT, Cambridge, 1991; cf. Butler. Bodies that matter: on the discursive limits of ‘sex’. Routledge, London, 1993). However, there are differences in how the two idioms navigate ensuing paradoxes of novelty and normativity: while an enactive approach could provide the more textual/deterministic notions of performativity with a more positive account of embodied agency, it lacks as yet the tools for properly engaging the cultural and political (how the ‘natural’ may work to conceal its performative constitution)—the very prop room from where ideas of extended cognition take off. It is no accident that Andy Clark leans on resolutely theatrical language in arguing for the constitutive ‘role’ of ‘nonbiological props’ in the cognitive ‘drama’ or ‘ensemble’ (Clark. Natural-born cyborgs: minds, technologies, and the future of human intelligence. Oxford University Press, Oxford, 2003). Likewise, the ‘biochauvinistic prejudice’ of Clark’s opponents seems motivated along much the same lines as those traditionally pitted against theatricality (Barish. The antitheatrical prejudice. University of California Press, Berkeley, 1981), viewing the extended component of thinking as derived and artificial, secondary to and corruptive of some prior essence. As implied by their few applications to theatre and performance studies, there is a sense in which the enactive and the extended bet their stakes on the actor and the scenery, respectively. Where the former derives ‘mind’ from the specifics of biological embodiment, the multiple realisability of the latter comes close to that of theatricality: just as humans need not be depicted by humans on stage, so the functional networks of cognitive extension may well disregard the particulars in which they are realised. In the terms I will elaborate, if performative textures of thought are typically enacted over time and depend on further histories of sensorimotor experience, then more theatrical ones may recruit external scaffolding opportunistically assembled on the fly; where the performative tends to evade consciousness, theatrical manipulations may also be intuited as such and indeed heighten our sensitivity to their performative constitution.

Abstract: CAMPUSES IN AMERICA AND HOW THESE SCHOOLS ARE ADDRESSING THEIR PAST by ROBERT MATTHEW WEST (Under the direction of Scott Nesbit) ABSTRACT The institution of slavery has deep roots in American history. The connections are evident in multiple pillars of society, including that of higher education. Many colleges and universities that were founded before the abolishment of slavery, in 1865, still exist today. Several of these schools have historical connections to slavery in one form or another. In recent years, multiple colleges and universities have begun to examine their historical connections to the institution of slavery. This thesis examines the more prominent efforts currently underway by some of these schools and looks at the challenges that can arise when addressing the issue. This thesis also proposes ways that other schools can effectively do the same, while also addressing the preservation issues related to this topic and the validity of apologies coming from these schools.

Abstract: a decade ago, i wrote an article titled "Reconceptualizing Screen Performance" for a 2006 special edition of this journal. A number of writers have gratifyingly engaged with a range of the points I made there; however, it seems to me that the arguments I presented neither changed doxa nor have had an adequate refutation in the rethinking of screen performance. My central argument was that performance is fundamentally different from representation and that all media texts are essentially performative, constructing particular relationships between performer and audience. Further, I suggested that an emphasis on discerning intentionality "in" performance (and by an actor) is, for me, a less productive approach than analyzing how performances deploy a particular repertoire of techniques and skills to structure meaning and inference, regardless of whether the actor may intend this or not. In my earlier article, I also noted that there had been a relative lack of attention given to critical analysis of screen performance relative to the plethora of acting manuals and studies of individual stars and the considerable focus on acting in journalistic interviews (the latter usually conducted in press junkets, carefully stage-managed by the actor's publicist). A decade later, although there has been more sustained exploration of film performance, there is-and this was missing in my own article-an even greater lack of analysis of television performance. This absence is especially odd considering the significant attention given to what has become termed "quality TV" in the past decade or so, applied to TV shows in which, ironically, television performances are quite clearly central to the shows' achievements and audience engagement. 1 The distinctiveness of such quality television as The Sopranos, The Wire, Breaking Bad, and House of Cards, it seems to me, is at least in part due to their screen performances.My starting point in thinking about performance in my earlier article was to place emphasis on framing, arguing that "conceptualizing performance involves not just reading actors' performances, important though this is, but also a wider consideration of the ontology of film, and the epistemological frames through which screen performance makes sense" (Drake, "Reconceptualizing" 84). Only by opening up questions of ontology and epistemology, I suggested, can we understand the particularity of screen performance, how it is different from everyday performance, and how it is meaningful. In making this point, I was drawing on a range of work from symbolic interactionism, phenomenological sociology, ordinary language philosophy, and media and performance studies, rather than the limited theoretical work on performance in film and television studies. Part of my article was focused on star performers who bring extratextual celebrity signification to their roles, offering audiences a multiply coded performance, where the actor is recognized both as a star performing himself or herself and as a character within a narrative. However, I was also interested in the performance of the nonrecognizable supporting actors and the work they perform, anchoring those stars to dramatic realism and verisimilitude through performances using indirect address. This services narrative and works with rather than against mise-en-scene, reinforcing fourth-wall staging, and uses effaced camera, synchronous sound, and other conventions of realist drama. My analysis of Marlon Brando's screen performance in the opening scene of The Godfather (1972), for instance, considered the performance of the star, Brando, playing Don Corleone against the anchoring function offered by the Italian actor playing Bonasera, Salvatore Corsitto (Drake, "Reconceptualizing" 90-92). Brando, I suggested, is positioned in order to be presented as an ostended sign, mediated through his star image. Brando's performance draws upon the other actor in the scene, who performs according to a different, realist economy of acting. …

Abstract: The National Communication Association [NCA], the professional organization that sponsors TPQ, recently celebrated its 100th anniversary and, significantly, performance scholars have been influential in defining the academic discipline from its inception. Currently, these scholars call their work performance studies, a label that includes those interested in the “study, criticism, research, teaching, public awareness, and application of the artistic, humanistic, and cultural principles of performance” (Performance Studies). Yet, for NCA's first 75 years, these scholars identified their work using terms that signified conspicuous aesthetic performance practices: elocution, expression, oral interpretation. During these years, scholars understood performance as performing art, literary study, communicative act, self-development, or some amalgam of these perspectives (Whitaker, “Critical Reasons” 192). For each of these approaches, performance was an act comprised of some combination of performer, text, and audience. While these approaches endure, and many remain invested in traditional notions of performer, text, and audience, expanded definitions of these elements, as well as a growing interest in the contexts of performance, warranted a name change to performance studies, which necessarily broadened what we might study as well as how we might proceed.

Abstract: This book argues that to truly understand the short story form, one must look at how it was shaped by the lively, chaotic, and deeply politicized world of 19th-century transatlantic theater and performance culture. By resurrecting long-neglected theatrical influences on representative works of short fiction, Michael J. Collins demonstrates that it was the unruly culture of the stage that first energized this most significant of American art forms. Whether it was Washington Irving’s first job as theater critic, Melville’s politically controversial love of British drama, Alcott’s thwarted dreams of stage stardom, Poe and Lippard’s dramatizations of peculiarly bloodthirsty fraternity hazings, or Hawthorne’s fascination with automata, theater was a key imaginative site for the major pioneers of the American short story. The book shows how perspectives from theater studies, anthropology, and performance studies can enrich readings of the short story form. Moving beyond arbitrary distinctions between performance and text, it suggests that this literature had a social life and was engaged with questions of circumatlantic and transnational culture. It suggests that the short story itself was never conceived as a nationalist literary form, but worked by mobilizing cosmopolitan connections and meanings. In so doing, the book resurrects a neglected history of American Federalism and its connections to British literary forms.

Abstract: The writing experiment presented here was derived from the literature review chapter of my doctoral dissertation. The project itself was designed to intervene in the gender narratives of a cohort of postgraduate student teachers in Ireland, and was built around my performance of a play about the marginalisation of women in workplaces (Morrissey, 2012). In this article, I review some of the theoretical texts with which I was engaging prior to and during the project. My review takes the form of a conversation between these various texts using a combination of dramatic script writing and found poetry. The conversational format reflects the way in which I engage with texts and theories; as conversations with distant colleagues (Phillips & Carr, 2010). When I embarked on my dissertation project, I had already been conversing with distant colleagues in performance studies and feminist post-structural theory and I continued to do so as the project progressed. Sometimes serendipitously, other theories and texts presented themselves as interesting or useful along the way. These texts were not confined to academic literature and included poetry which also helps me to "think hard" (St Pierre, 2009, p. 231) about what I am doing/writing. In this article, I review these various texts and theories as a kind of conversation which "in reality" was inseparable from my conversations with pedagogy, research methodology and "life." The conversational format offers a mode of "capturing" the dynamism of my engagement with theory; opening spaces for readers to engage in that conversation and generate their own meanings. The conversational format also offers an alternative mode of representing a literature review in a qualitative report and, concomitantly, an alternative mode of understanding theory (and of what counts as theory). While the conversation itself troubles taken-for-granted notions of gender and the systems of power in which it is embedded, the format troubles normative modes of representing a literature review; modes in which gender is also enmeshed (this point is developed further in the literature review itself). So, in both content and format, my writing experiment troubles (or intervenes in) taken-for-granted notions of gender. The thrust of my writing experiment is thereby aligned with my research methodology; fulfilling my need to cohere what (and how) I think and do with what (and how) I write about it. It also addresses a broader need to respond to the way gender has been silenced in educational discourse, and in social and political discourse more generally, by its incorporation into "softer" discourses of "equality," "inclusion" and "diversity" which implicitly endorse the status quo (Skelton, 2007). My writing experiment is aimed at teachers, researchers (in education and related fields), teacher/researchers and anyone else with an interest in gender and power. Staged as a conversation, it invites readers to enter into that conversation and to take its evocations/invocations/provocations with them into their ongoing conversations with theory, gender and life.Setting the StageI am a teacher educator in drama in a Catholic college of education and the liberal arts in Ireland. This means that I teach student teachers (primary) about teaching drama in schools. In Ireland, drama is a subject on the Primary School Curriculum (Government of Ireland, 1999). As a teacher - who has also taught at primary level and in adult education - it has never been enough for me to "reproduce the way things are" (Greene, 1995, p. 1). Like Greene, I believe that it is only by troubling the taken-for-granted that we can posit "alternative ways of living and valuing" (p. 23). And, like Greene, I see teachers as important agents of social change. So, as a teacher educator, I seek to trouble the "certainties" by which - and within which - my students and I live. I see (heteronormative) gender - and, concomitantly, the systems of power in which it is entangled - as one such certainty. …