Papers by Barbara Kirshenblatt-Gimblett
Performing the State: The Jewish Palestine Pavilion at the New York World’s Fair, 1939/40, 2013
I will argue that the Jewish Palestine Pavilion attempted to perform the
state into being by stag... more I will argue that the Jewish Palestine Pavilion attempted to perform the
state into being by staging de facto statehood in the gap between the world of the fair and the world itself, a gap that widened with the approach of World War II. By world of the fair, I mean, first, an envisioned totality and,
second, the idea of bringing the entire world into one space. By performing
the state into being, I mean that the Pavilion itself was a ‘‘performance’’
within the theater of the Fair. By suggesting that the world of the fair—and
the Jewish Palestine Pavilion—were also performative, I point to the conviction on the part of their organizers that such displays would help to bring about that which they postulated.
Theater, 2001
... Joseph Roach ... It's an old problem, one both Williams and Stuart Hall have grap-pled wi... more ... Joseph Roach ... It's an old problem, one both Williams and Stuart Hall have grap-pled with as well and for whom I think the later Derrida, especially as he is mulled over by other Marxist thinkers such as Ernesto Laclou, Chantal Mouffe, and Slavoj Zizek, has something to offer to ...
At a banquet given by a nobleman of Thessaly named Scopas, the poet Simonides of Ceos chanted a l... more At a banquet given by a nobleman of Thessaly named Scopas, the poet Simonides of Ceos chanted a lyric poem in honour of his host but including a passage in praise of Castor and Pollux. Scopas meanly told the poet that he would only pay him half the sum agreed upon for the panegyric and that he must obtain the rest from the twin gods to whom he had devoted half the poem. A little later, a message was brought in to Simonides that two young men were waiting outside who wished to see him. He rose from the banquet and went out but could nd no one. During his absence the roof of the banqueting hall fell in, crushing Scopas and all the guests to death beneath the ruins; the corpses were so mangled that the relatives who came to take them away for burial were unable to identify them. But Simonides remembered the places at which they had been sitting at the table and was therefore able to indicate to the relatives which were their dead. [...] This experience suggested to the poet the principles of the art of memory of which he is said to be the inventor. Noting that it was through his memory of the places at which the guests had been sitting that he had been able to identify the bodies, he realized that orderly arrangement is essential for good memory.-Cicero (in Yates 1996:1-2) 1 The catastrophe has transformed life in New York City. City of cials speak of rings. Extending out from Ground Zero are the ever larger rings that de ne physical and emotional proximity to the disaster. Grassroots responses to the trauma have been spontaneous, improvised, and ubiquitous. Every surface of the citysidewalks, lampposts, fences, telephone booths, barricades, garbage dumpsters, and walls-was blanketed with candles, owers, ags, and missing persons' posters. These posters-wedding or graduation photographs from a family album, accompanied by intimate details of identifying marks on the body-hung in suspension between a call for information and a death notice. They quickly became the focal point of shrines memorializing the missing and presumed de
University of Pennsylvania Press eBooks, Dec 31, 1976
University of Pennsylvania Press eBooks, Dec 31, 1976
Museum International, 2004
This essay works towards a notion of global public sphere through an analysis of UNESCO�s efforts... more This essay works towards a notion of global public sphere through an analysis of UNESCO�s efforts to define and protect world heritage. It will argue that world heritage is a vehicle for envisioning and constituting a global polity within the conceptual space of a global cultural commons. The author examines UNESCO�s project of the list of Masterpieces of Oral and Intangible Heritage of Humanity in order to demonstrate how valorization, regulation, and instrumentalization alter the relationship of cultural assets to those who are identified with them, as well as to others. More specifically, such instrumentalizations produce an asymmetry between the diversity of those who produce cultural assets in the first place and the humanity to which those assets come to belong as world heritage
Choice Reviews Online, Mar 1, 2008
At 73 Mayer Kirshenblatt began to paint the scenes and the stories of his Jewish childhood in the... more At 73 Mayer Kirshenblatt began to paint the scenes and the stories of his Jewish childhood in the town of Apt in prewar Poland. He was born in 1916 and left for Canada in 1934 at the age of 17. More than 250 paintings later, Mayer, who is now 91 years old, has created a joyful, vivid, poetic record of that lost time, lest, he says, future generations will know more about how Jews died than how they lived. Celebrating the publication of their new book, Mayer Kirshenblatt and his daughter Barbara will present a multimedia event for the annual Crowley Memorial Concert. As Mayer shows his paintings, he will tell the stories they embody. A book-signing with Mayer and Barbara will follow the event. Dan Crowley Memorial Storytelling Concert, sponsored by the AFS Storytelling Section suggested donation (for student prize fund) $5
University of Pennsylvania Press eBooks, Dec 31, 1976
University of Pennsylvania Press eBooks, Dec 31, 1976
Cities have been with us since antiquity, and from their inception they have fostered distinctive... more Cities have been with us since antiquity, and from their inception they have fostered distinctive urban tradtions.1 As early as the sixteenth century, London had its own antiquary, John Stow, who was probably the first person to pay formal recognition to the folklore of London. Other cities attracted their collectors of folklore too. In 1825, Robert Chambers published Traditions of Edinburgh in two volumes. And by the mid-nineteenth century, Mayhew had issued London Labour and the London Poor, a monumental treasure trove of occupational lore, urban street cries, local characters and legend, street performance, folk speech and nicknames .2 During the nineteenth century, most British and American folklorists lived in cities. For many of them, fieldwork was part of their everyday lives. Dorson reports that John Francis Campbell of Islay was driving in his hansom cab in March of 1861, when he spied a knife-grinder who seemed a likely prospect. He jumped out of his cab and arranged for the man and his brother to come the next day to the office of the Lighthouse Commission, where Campbell presumably worked. Campbell, who had prepared long clay pipes, beer, bread and cheese, recorded seven tales from the two gypsy tinkers .3 By the 1870s, William Wells Newell, author of Games and Songs of American Children (1883), was gathering examples from
Duke University Press eBooks, Dec 7, 2006
Yale University Press eBooks, Dec 31, 2017
... Image before my eyes: A photographic history of Jewish life in Poland before the Holocaust. P... more ... Image before my eyes: A photographic history of Jewish life in Poland before the Holocaust. Post a Comment. CONTRIBUTORS: Author: Dobroszycki, Lucjan. Author: Kirshenblatt-Gimblett, Barbara. PUBLISHER: Schocken Books (New York). SERIES TITLE: YEAR: 1994. ...
RePEc: Research Papers in Economics, 2006
When is an artistic work finished? When the copyeditor makes the final correction to a manuscript... more When is an artistic work finished? When the copyeditor makes the final correction to a manuscript, when the composer writes the last note of a symphony, or when the painter puts the last brushstroke on the canvas? Perhaps it's even later, when someone reads the work, when an ensemble performs, or when the painting is hung on a gallery wall for viewing? Art from Start to Finish gathers a unique group of contributors from the worlds of sociology, musicology, literature, and communications—many of them practicing artists in their own right—to discuss how artists from jazz musicians to painters work: how they coordinate their efforts, how they think, how they start, and, of course, how they finish their productions. Specialists in the arts have much to say about the works themselves, which are often neglected by scholarsi n other fields. Art from Start to Finish takes a different tack by exploring the creative process itself and its social component. Any reader who makes art or has an interest in it will value this book.
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Papers by Barbara Kirshenblatt-Gimblett
state into being by staging de facto statehood in the gap between the world of the fair and the world itself, a gap that widened with the approach of World War II. By world of the fair, I mean, first, an envisioned totality and,
second, the idea of bringing the entire world into one space. By performing
the state into being, I mean that the Pavilion itself was a ‘‘performance’’
within the theater of the Fair. By suggesting that the world of the fair—and
the Jewish Palestine Pavilion—were also performative, I point to the conviction on the part of their organizers that such displays would help to bring about that which they postulated.
state into being by staging de facto statehood in the gap between the world of the fair and the world itself, a gap that widened with the approach of World War II. By world of the fair, I mean, first, an envisioned totality and,
second, the idea of bringing the entire world into one space. By performing
the state into being, I mean that the Pavilion itself was a ‘‘performance’’
within the theater of the Fair. By suggesting that the world of the fair—and
the Jewish Palestine Pavilion—were also performative, I point to the conviction on the part of their organizers that such displays would help to bring about that which they postulated.