No CrossRef data available.
Article contents
Gender and Nation Tightly Bound
Ita Segev’s Knot in My Name
Published online by Cambridge University Press: 15 September 2021
Abstract
In her solo performance, Knot in My Name, Ita Segev utilizes transaesthetic strategies and technology to elucidate her mutually dependent investments in gender and nation and the urgent personal and political stakes of the ongoing Israeli occupation for the performer and her American audience alike.
- Type
- Critical Acts
- Information
- Copyright
- © The Author(s) 2021. Published by Cambridge University Press for Tisch School of the Arts/NYU
References
Berdugo, Liat. 2021. The Weaponized Camera in the Middle East: Videography, Aesthetics, and Politics in Israel and Palestine. London: Bloomsbury.CrossRefGoogle Scholar
Cárdenas, Micha. 2010. “Becoming Dragon: A Transversal Technology Study.” CTheory, 29 April. Accessed 6 July 2020. journals.uvic.ca/index.php/ctheory/article/view/14680.Google Scholar
Chen, Jian, and Olivares, Lissette. 2014. “Transmedia.” TSQ: Transgender Studies Quarterly 1, 1–2:245–48. doi.org/10.1215/23289252-2400172.CrossRefGoogle Scholar
King, Homay. 2015. Virtual Memory: Time-Based Art and the Dream of Digitality. Durham, NC: Duke University Press.Google Scholar
Sundén, Jenny. 2018. “Queer Disconnections: Affect, Break, and Delay in Digital Connectivity.” Transformations 31:63–78.Google Scholar
Ziv, Amalia. 2007. “Diva Interventions: Dana International and Israeli Gender Culture.” In Queer Popular Culture: Literature, Media, Film, and Television, ed. Peele, Thomas, 119–38. New York: Palgrave Macmillan.CrossRefGoogle Scholar