Performance at the Nexus of Gender, Power, and Desire: Reconsidering Bauman's Verbal Art from the Perspective of Gendered Subjectivity as Performance

Richard Bauman's theory of performance has supported feminist work in folklore but proves incompatible with contemporary concepts of gendered subjectivity. Bauman's combination of formalist and behaviorist perspectives paradoxically de-emphasized and undertheorized audience and emotion. Th...

Full description

Saved in:
Bibliographic Details
Published in:Journal of American folklore 2002, Vol.115 (455), p.28-61
Main Author: Sawin, Patricia E.
Format: Article
Language:English
Subjects:
Aesthetics
Audience behavior
Audiences
Bauman, Richard
Desire
Eldreth, Bessie
Ethnology
Feminism
Feminist theory
Folk culture
Folk Singers
Folklore
Folkloristics
Gender
Gender Differences
Gender identity
Gender performativity
Gender roles
Gender Theory
Perception
Performance art
Performance Theory
Performing artists
Personal experiences
Relationships
Singers
Singing
Sources and methods
Storytellers
Storytelling
Subjectivity
Theoretical and systematic contributions
Theory
Women
Citations: Items that cite this one
Online Access:Get full text
Tags: Add Tag
No Tags, Be the first to tag this record!
Description
Summary:Richard Bauman's theory of performance has supported feminist work in folklore but proves incompatible with contemporary concepts of gendered subjectivity. Bauman's combination of formalist and behaviorist perspectives paradoxically de-emphasized and undertheorized audience and emotion. The threat posed by women's performance is better explained by exploring how performance constructs reciprocal positions for audience and performer, mobilizes desire, and motivates investment in gendered subject positions. Analysis of two stories Bessie Eldreth tells about audience response to her singing exemplifies the power of this gender-informed approach.
ISSN:0021-8715
1535-1882
1535-1882
DOI:10.1353/jaf.2002.0012