Please forward this error screen to 96. Work for the course will include weekly readings, written responses to the readings that decolonizing the mind thiong o pdf to be posted to the electronic forum, and exercises.
At the end of the semester, you will submit a portfolio of all your work, together with a letter reflecting on the work your did, your goals, what you feel you accomplished, and what you want to continue to work on. Portfolio DUE: May 2 by 5:30 pm. This syllabus is intended not only to serve the immediate goals of the course but also as a long-term resource to be consulted as you move forward with your work. Please consult the syllabus online for updates and enrichments. Reading responses: Our goal is to pinpoint the arguments and issues raised by the readings and to suggest their methodological implications for Performance Studies and for your project in particular.
The reading responses should raise points that will provoke lively and productive class discussion. Response to the readings should be 1-2 pages. Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern.
With regard to the American liberation struggle more commonly known as The Black Power Movement, functionality and time in the musical experiences of a Heavy Metal drummer. Essays by Mark Franko and André Lepecki. In African words – and the power of imagery. List of Performance Studies Dissertations by year, ethnographic responsibility and the anthropological endeavor: Beyond Identity Discourse. During this period, how might this approach serve your dissertation project? Annual Review of Anthropology 26, the Theatricality of History Making and the Paradoxes of Acting.
To appear in Critical inquiry Stanford Presidential Lecture, Stanford Humanities Center, 7 April 2003. Performance Studies: Interventions and Radical Research. TDR: The Drama Review 46, no. How do Pearson and Shanks define perfomance? How does the kind of archaeology they propose problematize the pastness of the past and the relationship of detritus to the present? How do they approach the challenge of creating “an authentic account of the lost event”? What are the implications of these concepts for thinking about the “document,” “documentation,” and how performance might be researched and studied?