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[null,"1.","Record Nr.",null,"UNINA9910306598903321"]
[null,null,"Autore",null,"Bollobás Enikő"]
[null,null,"Titolo",null,"They aren't, until I call them [[electronic resource] ] : performing the subject in American literature / / Enikő Bollobás"]
[null,null,"Pubbl/distr/stampa",null,"Frankfurt am Main ; ; New York, : Peter Lang, c2010"]
[null,null,"ISBN",null,"1-299-41041-3"]
[{"$nulls":4},"3-653-00209-5"]
[null,null,"Descrizione fisica",null,"1 online resource (238 p.)"]
[null,null,"Disciplina",null,"820"]
[null,null,"Soggetti",null,"American literature - 20th century - History and criticism"]
[{"$nulls":4},"Performance in literature"]
[{"$nulls":4},"American literature - Themes, motives"]
[{"$nulls":4},"Electronic books."]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"TABLE OF CONTENTS; ACKNOWLEDGEMENTS 7; INTRODUCTION 9; CHAPTER ONE: THE STRONG PERFORMATIVE 25; The performative: early history 25; Logos, the originary instance of the strong performative: some Biblical examples 31; A performative genre par excellence: the declaration and the manifesto 38; Word power (Mark Twain, The Adventures of Huckleberry Finn;  Zora Neale Hurston, Their Eyes Were Watching God;  Norman Mailer, 'The Time of Her Time') 45; Alternative realities as performative creations (Mark Twain, The Mysterious Stranger;  Ambrose Bierce, 'An Occurrence at Owl Creek Bridge') 50"]
[{"$nulls":4},"The language games of irony and make-believe (Edward Albee, Who's Afraid of Virginia Woolf?) 59CHAPTER TWO: EXTENDING THE PERFORMATIVE 71; Performativity in theories of the subject 73; Performance and performative constructions of the subject 85; Performativity of reading and writing 89; Presupposition 92; Presupposition and the (performative) production of meaning 93; CHAPTER THREE: PERFORMING GENDER 97; Recipes for men and women: gender as (hetero)sexualized performance 103; Gender performances and performative genders 106"]
[{"$nulls":4},"Performances of gender compliance (Henry James, Daisy Miller, The Portrait of a Lady, The Wings of the Dove Theodore Dreiser, Sister Carrie;  Kate Chopin, The Awakening, 'A Pair of Silk Stockings';  Edith Wharton, The House of Mirth) 108; The performance of cultural codes: "]
[{"$nulls":4},"the Southern woman (William Faulkner, 'A Rose for Emily';  Tennessee Williams, A Streetcar Named Desire;  Flannery O'Connor, 'A Good Man Is Hard to Find') 120; Some misogynist reversals (Jonathan Swift, 'A Beautiful Young Nymph Going to Bed,' T. S. Eliot, The Waste Land) 129"]
[{"$nulls":4},"Performative genders: non-compliance with social norms (Gertrude Stein, Three Lives Willa Cather, My Ántonia;  Djuna Barnes, Nightwood;  H.D., HERmione;  Carson McCullers, The Ballad of the Sad Cafe) 131; CHAPTER FOUR: PERFORMING SEXUALITY 151; The new kid on the block of binary thinking: conceptualizing the homosexual 153; The resisting narrative: homosexual subtext beneath the heterosexual text (Henry James, 'The Beast in the Jungle,' 'In the Cage') 156; CHAPTER FIVE: PERFORMING PASSING 167; Gender passing (Mark Twain, Is He Dead?;  Vladimir Nabokov, Lolita;  David Hwang, M. Butterfly) 168"]
[{"$nulls":4},"The convergence of categories: race and class passing (James Weldon Johnson, The Autobiography of an Ex-Colored Man Nella Larsen, Passing;  Philip Roth, The Human Stain) 182; CONCLUSION 201; WORKS CITED 205; INDEX 225"]