表演的力量

节选

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　　The Theatre of Faith: Margery’sChristian-ness as Performance　　Butler’s interrogation of gender formation may thus serve as an analyticalmodel for a performance study of the Book: Could the way gender identitiesare performed into being also apply to religious identities, e.g., the Christian-ness and mystic-ness of Margery？ Was late medieval life a mimetic theatre inwhich identities were but subjectivity-nullifying performances, too？9 If ourastonishing Margery was performing as well, how precise was her mimesis orreiteration, how efficacious were her performances, and how was she able to,as it seemed, “escape” performativity and perform at variance？　　To answer these, the first stop is to revisit the late medieval social theatreand locate the social scripts and directing authorities, so that we can examineher performance in its historicity. Given the breadth of the medieval socialcanvas, the analysis below will focus on the most basic identity of a latemedieval man or woman, that of being a Christian. In theory, a Christian is adescriptive term referring simply to anyone who accepts and believes in theBible’s contents and ideas. In execution, however, one is never a Christiantill recognized so by the Church. Just like the Butler baby who is girl-ed intogirlhood by a doctor, a medieval English baby is appellated into its Christianidentity when the priest dabs water on its forehead, saying performatively, “Ibaptize thee in the name of the Father, and of the Son, and the Holy Ghost.Amen.”This done, the baby’s future-to-be becomes clearly foreseeable. He/She will attend the Mass, since very young and on a weekly basis, and say themorning, noon, evening prayers, or pray over dinners, on a daily basis. He/Shewill also in due turn takes five of the six other sacraments that punctuate anaverage Christian’s life journey —— Confirmation, Matrimony or Holy Orders,Extreme Unction. and at ereater freauencies the sacraments of Eucharist and Penance —— each of them marking his/her accession to a new stage of life,wearing a new social identity yet remaining shaded by the umbrella identity ofa Christian.　　Presumably, one does all this because he is （already） a Christian, yet aButlerian analysis suggests that one is a Christian exactly because he has doneit all in the Christian way. In Butlerian terms, being Christian is a performance,the effect of stylized repetition both in terms of its formation and of itsmaintenance.　　……

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内容简介

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　　个体在社会剧场中如何言说、表演，是一个跨越时空和文化的议题。《玛格丽·坎普之书》作为现存的**部英文自传和为数寥寥的中世纪女性写作成果，堪称个性化言说的典范。《表演的力量：的表演学解读（英文版）》细致解读文本和相关文献，批判性地借鉴性别表演理论并融合其他表演学派思想，分析了坎普对语言、身体、空间、服装和沉默等表演要素的管理，意在发掘个体表演与社会剧本不断协商中展现的意蕴和策略，同时彰显中世纪文本与当代社会的恒久关联。

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目录

IntroductionKempe StudiesThe Performative TurnThe DissertationChapter One Butler and Medieval PerformativityFrom Shakespeare to Butler：The World as StageThe Theatre of Faith：Margery’s Christian-ness as PerformanceChapter Two Late Medieval Cacophony and the Birth of “This Creature”Butler TroubleThe Never-Solo Land of Margery KempeThe Birth of a Free-Lance MysticChapter Three The Politics of SpeechMystical Speech and Austinian PerformativitySpeech Felicitous and the Management of PerformativesSpeech Infelicitous：Erasure and PenaltiesChapter Four The Poetics of DissentNew Perforrnatives and the New TheatreSecular Places，Sacred SpaceDressing Up，Dressing DownBodies That LitterChapter Five The Poetry of SilenceSilence vs．SilencesThe Right of SilenceThe Rhythm of NoiseConclusionAppendixBibliography

封面

书名:表演的力量

作者:王睿

页数:188

定价:¥19.0

出版社:上海外语教育出版社

出版日期:2015-12-20

ISBN:9787544641715

PDF电子书大小:68MB 高清扫描完整版