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Anonymous Subjects: Performing Anonymity Across Media 1890-1948
Anonymous Subjects: Performing Anonymity Across Media 1890-1948
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20260202104709
- ISBN
- 9798286499656
- DDC
- 790
- 서명/저자
- Anonymous Subjects: Performing Anonymity Across Media 1890-1948
- 발행사항
- [Sl] : Columbia University, 2025
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2025
- 형태사항
- 254 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 87-01, Section: A.
- 주기사항
- Advisor: Worthen, W. B.
- 학위논문주기
- Thesis (Ph.D.)--Columbia University, 2025.
- 초록/해제
- 요약This dissertation introduces "anonymity" as a critical concept that reshapes how we understand modernist performance, subject formation, and political agency. Challenging the enduring association between naming and power, this dissertation shows how anonymity operates as a performative structure across dance, theatre, and cinema to unfix identity and enable alternative forms of individual and collective action. Each chapter analyzes a central aesthetic object through archival research, inductive formal analysis, and critical theory. Chapter 1 reads Les Noces (1923) by Bronislava Nijinska and Igor Stravinsky as a critique of J.L. Austin's theory of the performative, staging non-sovereign collective agency through the ballet's anonymous peasant chorus. Chapter 2 examines interpellation in Maurice Maeterlinck's The Blind (1890) and Robert Wiene's The Cabinet of Dr. Caligari (1920), arguing that anonymity structures the formation of subject positions. Chapter 3 turns from the anonymity of the interpellated individual to that of the collective, focusing on the figure of the proletariat in Bicycle Thieves (1948), and showing how the film mobilizes choral anonymity to untether class from fixed identity and open the possibility of an anonymous revolutionary subject. Across these case studies, the dissertation reframes anonymity as a performative mode of appearance that unsettles dominant theories of action, collectivity, and representation. In this account, anonymity displaces the centrality of named identity in theories of agency and appearance, revealing how political subjectivation emerges through structurally anonymous, non-sovereign acts. By reading modernist performance as a site in which anonymity materializes subjectivity and agency, the dissertation reframes anonymity as a critical resource for aesthetic form and political theory alike.
- 일반주제명
- Performing arts
- 일반주제명
- Comparative literature
- 일반주제명
- Film studies
- 일반주제명
- Theater
- 일반주제명
- Dance
- 키워드
- Anonymity
- 키워드
- Critical theory
- 키워드
- Marxism
- 키워드
- Stravinsky, Igor
- 키워드
- Bicycle Thieves
- 기타저자
- Columbia University Theatre
- 기본자료저록
- Dissertations Abstracts International. 87-01A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■020 ▼a9798286499656
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■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a790
■1001 ▼aGuo Silver, Adrian.
■24510▼aAnonymous Subjects: Performing Anonymity Across Media 1890-1948
■260 ▼a[Sl]▼bColumbia University▼c2025
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2025
■300 ▼a254 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 87-01, Section: A.
■500 ▼aAdvisor: Worthen, W. B.
■5021 ▼aThesis (Ph.D.)--Columbia University, 2025.
■520 ▼aThis dissertation introduces "anonymity" as a critical concept that reshapes how we understand modernist performance, subject formation, and political agency. Challenging the enduring association between naming and power, this dissertation shows how anonymity operates as a performative structure across dance, theatre, and cinema to unfix identity and enable alternative forms of individual and collective action. Each chapter analyzes a central aesthetic object through archival research, inductive formal analysis, and critical theory. Chapter 1 reads Les Noces (1923) by Bronislava Nijinska and Igor Stravinsky as a critique of J.L. Austin's theory of the performative, staging non-sovereign collective agency through the ballet's anonymous peasant chorus. Chapter 2 examines interpellation in Maurice Maeterlinck's The Blind (1890) and Robert Wiene's The Cabinet of Dr. Caligari (1920), arguing that anonymity structures the formation of subject positions. Chapter 3 turns from the anonymity of the interpellated individual to that of the collective, focusing on the figure of the proletariat in Bicycle Thieves (1948), and showing how the film mobilizes choral anonymity to untether class from fixed identity and open the possibility of an anonymous revolutionary subject. Across these case studies, the dissertation reframes anonymity as a performative mode of appearance that unsettles dominant theories of action, collectivity, and representation. In this account, anonymity displaces the centrality of named identity in theories of agency and appearance, revealing how political subjectivation emerges through structurally anonymous, non-sovereign acts. By reading modernist performance as a site in which anonymity materializes subjectivity and agency, the dissertation reframes anonymity as a critical resource for aesthetic form and political theory alike.
■590 ▼aSchool code: 0054.
■650 4▼aPerforming arts
■650 4▼aComparative literature
■650 4▼aFilm studies
■650 4▼aTheater
■650 4▼aDance
■653 ▼aAnonymity
■653 ▼aCritical theory
■653 ▼aMarxism
■653 ▼aStravinsky, Igor
■653 ▼aBicycle Thieves
■690 ▼a0641
■690 ▼a0295
■690 ▼a0900
■690 ▼a0378
■690 ▼a0465
■71020▼aColumbia University▼bTheatre.
■7730 ▼tDissertations Abstracts International▼g87-01A.
■790 ▼a0054
■791 ▼aPh.D.
■792 ▼a2025
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17358487▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
