First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.

In the first comprehensive study of the interactions between fashion, performance and performativity, a group of international experts explore fashion as the ideal 'complex space' – or, in other words, the ideal space where performance and performativity come together, according to the works of seminal theorists Eve Kosofsky Sedgwick and Andrew Parker. Bringing together western and non-western, historical and contemporary case studies and theories, the book explores the magazines, photography, exhibitions, global colonial divides, digital media, and more, which have become key markers of the fashion industry as we know it today. Using existing literature as a springboard and incorporating perspectives from fashion studies, art history, media studies and gender studies, as well as from artists and practitioners, Fashion, Performance, and Performativity is an innovative and essential work for students, scholars and practitioners across multiple disciplines.

This insightful book explores the relationship between theater and digital culture. The authors show that the marriage of traditional performance with new technologies leads to an upheaval of the implicit “live” quality of theatre by introducing media interfaces and Internet protocols, all the while blurring the barriers between theater-makers and their audience.

Within the wide range of writings on performance studies, theoreticians and practitioners have been using the concepts of performance and performativity as key terms for explaining different social, philosophical and artistic phenomena. The question «what are performance and performativity» is always already shaped according to what sort of 'performance' is being carried out, which performance is taken into consideration, which contexts and power-knowledge «stratum» operate in the formation of these concepts. Performance and Performativity primarily aims to find a way of grasping the maze of different positions that have become incorporated within the general and often overlapping terms of performance studies and performative theory. The book focuses on how «the power of discourse to produce what it names» is linked with the question of performance and performativity, rather than providing a general intellectual background and context for the modern idea of performance and performativity.

This handbook provides a systematic overview of the present state of international research in narratology and is now available in a second, completely revised and expanded edition. Detailed individual studies by internationally renowned narratologists elucidate central terms of narratology, present a critical account of the major research positions and their historical development and indicate directions for future research.

How is performativity shaped by digital technologies - and how do performative practices reflect and alter techno-social formations? "Performing the Digital" explores, maps and theorizes the conditions and effects of performativity in digital cultures. Bringing together scholars from performance studies, media theory, sociology and organization studies as well as practitioners of performance, the contributions engage with the implications of digital media and its networked infrastructures for modulations of affect and the body, for performing cities, protest, organization and markets, and for the performativity of critique. With contributions by Marie-Luise Angerer, Timon Beyes, Scott deLahunta and Florian Jenett, Margarete Jahrmann, Susan Kozel, Ann-Christina Lange, Oliver Leistert, Martina Leeker, Jon McKenzie, Sigrid Merx, Melanie Mohren and Bernhard Herbordt, Imanuel Schipper and Jens Schröter.

Theories of performativity have garnered considerable attention within the social sciences and humanities over the past two decades. At the same time, there has also been a growing recognition that the social production of space is fundamental to assertions of political authority and the practices of everyday life. However, comparatively little scholarship has explored the full implications that arise from the confluence of these two streams of social and political thought. This is the first book-length, edited collection devoted explicitly to showcasing geographical scholarship on the spatial politics of performativity. It offers a timely intervention within the field of critical human geography by exploring the performativity of political spaces and the spatiality of performative politics. Through a series of geographical case studies, the contributors to this volume consider the ways in which a performative conception of the "political" might reshape our understanding of sovereignty, political subjectification, and the production of social space. Marking the 20th anniversary of the publication of Judith Butler’s classic, Bodies That Matter (1993), this edited volume brings together a range of contemporary geographical works that draw exciting new connections between performativity, space, and politics.

This book defines theatricality and performativity through metaphors of texture and weaving, drawn mainly from anthropologist Tim Ingold and philosopher Stephen C. Pepper. Tracing the two concepts’ various relations to practices of seeing and doing, but also to conflicting values of novelty and normativity, the study proceeds in a series of intertwining threads, from the theatrical to the performative: Antitheatrical (Plato, the Baroque, Michael Fried); Pro-theatrical (directors Wagner, Fuchs, Meyerhold, Brecht, and Brook); Dramatic (weaving memory in Shaffer’s Amadeus and Beckett’s Footfalls); Efficient (from modernist “machines for living in” to the “smart home”); Activist (knit graffiti, clown patrols, and the Anthropo(s)cene). An approach is developed in which ‘performativity’ names the way we tacitly weave worlds and identities, variously concealed or clarified by the step-aside tactics of ‘theatricality’.

Duttlinger (German, Wadham College, Oxford) introduces a dozen papers selected from a conference held in 2002 at the University of Cambridge that apply the critical theory concepts of performance and performativity to German cultural studies. Though the German language has no single equivalent for performance, English- and German-speaking scholar