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    Rights statement: http://journals.cambridge.org/action/displayJournal?jid=TRI The final, definitive version of this article has been published in the Journal, Theatre Research International, 32 (2), pp 130-142 2007, © 2007 Cambridge University Press.

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A critical step to the side: Performing the loss of the mother

Research output: Contribution to Journal/Magazine › Journal article › peer-review

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A critical step to the side: Performing the loss of the mother. / Aston, Elaine.
In: Theatre Research International, Vol. 32, No. 2, 07.2007, p. 130-142.

Research output: Contribution to Journal/Magazine › Journal article › peer-review

Harvard

Aston, E 2007, 'A critical step to the side: Performing the loss of the mother', Theatre Research International, vol. 32, no. 2, pp. 130-142. https://doi.org/10.1017/S0307883307002799

APA

Aston, E. (2007). A critical step to the side: Performing the loss of the mother. Theatre Research International, 32(2), 130-142. https://doi.org/10.1017/S0307883307002799

Vancouver

Aston E. A critical step to the side: Performing the loss of the mother. Theatre Research International. 2007 Jul;32(2):130-142. doi: 10.1017/S0307883307002799

Author

Aston, Elaine. / A critical step to the side: Performing the loss of the mother. In: Theatre Research International. 2007 ; Vol. 32, No. 2. pp. 130-142.

Bibtex

@article{3385bc9f02824641b95f06571e439472,
title = "A critical step to the side: Performing the loss of the mother",
abstract = "This essay sets out to ask in what ways it might be critically productive to come back to the maternal as a subject for feminism. Drawing on Eve Sedgwick's desire to 'loosen' the antiessentialist drive to get 'beyond' gender, and her consideration in this respect of a non-dualistic idea of 'beside', I locate my analysis in three performances, examined 'beside' each other. Each of these performances is a solo show: Anna Yen's Chinese Take Away (1997), SuAndi's The Story of M (1994) and Kazuko Hohki's Toothless (1998). Moreover, each solo is located in different inter-national, maternal geographies: Asian/Australian (Yen), black British (SuAndi) and Japanese/British (Hohki), and each performs the loss of the mother by the daughter. Working also with Judith Butler's proposal that grief and loss afford a political, transformative means of 'becoming undone', I 'read' these three international geographies of the maternal side by side as different from each other, but all connected to the critical project of rethinking the maternal.",
author = "Elaine Aston",
note = "http://journals.cambridge.org/action/displayJournal?jid=TRI The final, definitive version of this article has been published in the Journal, Theatre Research International, 32 (2), pp 130-142 2007, {\textcopyright} 2007 Cambridge University Press.",
year = "2007",
month = jul,
doi = "10.1017/S0307883307002799",
language = "English",
volume = "32",
pages = "130--142",
journal = "Theatre Research International",
issn = "0307-8833",
publisher = "Cambridge University Press",
number = "2",

}

RIS

TY - JOUR

T1 - A critical step to the side: Performing the loss of the mother

AU - Aston, Elaine

N1 - http://journals.cambridge.org/action/displayJournal?jid=TRI The final, definitive version of this article has been published in the Journal, Theatre Research International, 32 (2), pp 130-142 2007, © 2007 Cambridge University Press.

PY - 2007/7

Y1 - 2007/7

N2 - This essay sets out to ask in what ways it might be critically productive to come back to the maternal as a subject for feminism. Drawing on Eve Sedgwick's desire to 'loosen' the antiessentialist drive to get 'beyond' gender, and her consideration in this respect of a non-dualistic idea of 'beside', I locate my analysis in three performances, examined 'beside' each other. Each of these performances is a solo show: Anna Yen's Chinese Take Away (1997), SuAndi's The Story of M (1994) and Kazuko Hohki's Toothless (1998). Moreover, each solo is located in different inter-national, maternal geographies: Asian/Australian (Yen), black British (SuAndi) and Japanese/British (Hohki), and each performs the loss of the mother by the daughter. Working also with Judith Butler's proposal that grief and loss afford a political, transformative means of 'becoming undone', I 'read' these three international geographies of the maternal side by side as different from each other, but all connected to the critical project of rethinking the maternal.

AB - This essay sets out to ask in what ways it might be critically productive to come back to the maternal as a subject for feminism. Drawing on Eve Sedgwick's desire to 'loosen' the antiessentialist drive to get 'beyond' gender, and her consideration in this respect of a non-dualistic idea of 'beside', I locate my analysis in three performances, examined 'beside' each other. Each of these performances is a solo show: Anna Yen's Chinese Take Away (1997), SuAndi's The Story of M (1994) and Kazuko Hohki's Toothless (1998). Moreover, each solo is located in different inter-national, maternal geographies: Asian/Australian (Yen), black British (SuAndi) and Japanese/British (Hohki), and each performs the loss of the mother by the daughter. Working also with Judith Butler's proposal that grief and loss afford a political, transformative means of 'becoming undone', I 'read' these three international geographies of the maternal side by side as different from each other, but all connected to the critical project of rethinking the maternal.

U2 - 10.1017/S0307883307002799

DO - 10.1017/S0307883307002799

M3 - Journal article

VL - 32

SP - 130

EP - 142

JO - Theatre Research International

JF - Theatre Research International

SN - 0307-8833

IS - 2

ER -