u7 brief final print

7/30/2019 u7 Brief Final Print

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Essential Study Material

Books

Bakhtin, M, (1986) The Dialogic Imagination,Four Essays by M. M. Bakhtin.(1965-1975), translated by Caryl Emerson and Michael Holquist, Austin,

University of Texas Press.

Butt, G (ed.). (2004)After Criticism: New Responses to Art and Performance.

Oxford: Blackwell. Chapters 1, 3 & 6

Jones, A and Stephenson, A (eds). (1999) Performing the Body, Performing

the Text. London: Routledge. Introduction, 3, 8, 9, 14, 16.

Lecht, J. (1994) Fifty Key Contemporary Thinkers: From Structuralism to

Postmodernity. London: Routledge

Lecht, J. (1994) Fifty Key Contemporary Thinkers: From Structuralism to

Postmodernity. London: Routledge. Sections: Bachelard, Bakhtin, Mauss,

Merleau-Ponty, Lacan, Lvi-Strauss, Bataille, Deleuze, Derrida, Foucault,

Kristeva, Irigaray, Benjamin, Baudrillard

Lehmann, H-T. (2006) Postdramatic Theatre. Routledge p 68 133

Panorama of postdramatic theatre

Rogers, H. and Burrows, D (eds). Making a Scene. (2002), Birmingham:

ARTticle (University of Central England in Birmingham). Sections: Posing the

Subject: Performing the Other as Selfand After Mourning Sex

Essays & Abstracts

Foster, H. (1996) The Crux of Minimalism In: The Return of the Real: The

Avant-Garde at the End of the Century. London: Cambridge Mass: MITPress.

Sontag, S. (1966)Against Interpretation. London: Vintage.

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Essays & Abstracts

Benjamin, W. (1973) The Storyteller. In: Illuminations. (trans. H. Zohn).

London: Fontana.

Benjamin, W. (1973) The Work of Art in The Age of Mechanical

Reproduction. In: Illuminations. Trans. H. Zohn. London: Fontana.

Burgin, V. (1996) Brecciated Time. In: In/Different Spaces: Place and Memory

in Visual Culture. Berkley: University of California Press.

Burgin, V. (1996) Geometry and Abjection. In: In/different Spaces: Place and

Memory in Visual Culture. London: Berkeley: University of California Press.

Burgin, V. (1996) Seiburealism. In: In/different Spaces: Place and Memory in

Visual Culture. London: Berkeley: University of California Press.

Foster, H. (1996) The Artist as Ethnographer. In: The Return of the Real.

Cambridge Mass; London: The MIT Press.

Gilane T. (2000) Vladimir and Estragon are Still Waiting. In: Making a Scene.

Rogers, H. and Burrows, D (eds). Birmingham: ARTticle (University of Central

England in Birmingham).

Schneider, R. (2004) Solo Solo Solo. In:After Criticism, New Responses to

Art and Performance. Butt, G. London: Blackwell Publishing.

Tatchell, P. (2000) The Art of Activism Protest as Performance. In: Making

a Scene. Rogers, H. and Burrows, D (eds). Birmingham: ARTticle (University

of Central England in Birmingham).

Refer to general bibliography and additional reference material for materials

appropriate to your work.Further guidance and study material will be provided byyour tutor in accordance with the needs of your individual study.(

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Extenuating Circumstances& Retrieval for failure of Unit

The procedure is the same as for previously completed units and is available for reference onyour notice-board, the course Blackboard site and in the Course Handbook.

Risk Assessment:For your own and everyone elses safety you may be required to complete a Student Risk

Assessment Form available on Bb in the General file for all 3 stages. Advice on how tocomplete this form is a scheduled session within the curriculum but if in doubt consult one ofthe Centre for Performance technicians. There could be several reasons why you are askedto do this: you wish to make some kind of construction within the course studio facilities as part of

your work on this unit e.g. sculpture, installation etc. you wish to create some kind of independent live performance event within the course

studios facilities as part of your work on this unit eg scratch performance, filmedexperiments etc.

you wish to incorporate some kind of performance element into the presentation of yourwork at the final assessment

This list is not finite, but if you do intend to do any of these things as part of your work oranything else you think might be potentially dangerous to anyone in any way:

1. you must first consult either your Unit Tutor or one of the Centre for Performancetechnicians, who will tell you if you need to complete a Student Risk AssessmentForm or not.

2. if appropriate the form must be submitted electronically, and only after it has beenagreed by Centre for Performance Technical Manager /Course Leader, it can theproposed action be undertaken.

3. a copy of the completed and agreed Risk Assessmentis kept on file by the CourseLeader

If this process is not completed, normally at least three days prior to the potential risk then,

for example, the tutor/s may refuse to assess the work on grounds of Health & Safety. Thiscould result in a Fail being recorded at an initial assessment point, unless there are upheldECs as to why the procedure was not undertaken.

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u7 brief final print

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