Titlebook: Staging Queer Feminisms; Sexuality and Gender Sarah French Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Race.Drag.Burlesq

Encounter

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否决

HERTZ

Introduction: Staging Queer Feminisms,temporary Australia to provide the socio-political context from which the book’s case studies have emerged as sites of intervention and subversion. It then traces the recent history of feminist and queer performance in Australia, suggesting that their trajectories were somewhat divergent before alig

非秘密

,Pleasure, Pain and the Politics of Affect: Moira Finucane’s , and ,ctorian Salon’, engages with horror and gothic fiction to explore the affective qualities of abject imagery while . embraces the pleasurable and utopian aspects of a feminist camp aesthetic. Drawing on Brian Massumi’s writing on affect, the chapter argues that these performances demand an analytical

发展

EXULT

,Disidentifying with the ‘Good Indigenous Citizen’: Constantina Bush and ,performer Kamahi Djordan King of the Gurindji people, and in her performance in the role of ‘Queen Constantina’ in .. It argues that King’s performances employ disidentification, as theorised by José Esteban Muñoz, as a strategy to resist and reject what Aileen Moreton-Robinson calls ‘The Good Indig

指派

,Queering History, Race and Nation in Sisters Grimm’s , and ,ersive reworkings of historical narratives. Set in the nineteenth century in America’s Deep South and Australia respectively, both plays interrogate the racial politics of national history, employing a complex use of drag that operates across a range of identity categories including gender, sexualit

Fibrillation

Spectacle, Community and Memory in the Performance Art of Brown Council,e artist and the function of performance as a form of social and cultural critique, especially as it relates to gender and feminism. Their work retains key political concerns of second-wave feminism, including the need for communality and collaboration between women and a rejection of the female bod

杠杆

commodity

,‘Fighting the Power Never Tasted So Sweet’: , and Concluding Remarks, its critique of sexism and gender stereotypes with an interrogation of the effects of racism, colonialism and the fetishisation of women of colour, highlighting the significance of discourses on race to contemporary feminist and queer performance. The chapter returns to the central concepts of the