Manifesto = Theatre

Puchner, Martin

doi:10.1353/tj.2002.0095

Cited by 22 publications

(9 citation statements)

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“…The ‘we’ pronoun is often used in manifestos as a means of denotative utterance that places the sender in the position of the knower while the reader is placed in the position of acceptor or rejector (Lyon, 1991: 104). As such, a manifesto is not content with merely a description of a historic rupture ‘but produces such a history, seeking to create this rupture actively through its own intervention’ (Puchner, 2002: 451). The second rhetorical strategy is to use performative utterances as a force in and of themselves (Hood-Williams and Cealey, 1998).…”

Section: Rhetorical Analysismentioning

confidence: 99%

‘We are not here for the money’: Founders’ manifestos

Dror

2013

New Media & Society

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In April 2004, prior to Google's flotation in the National Association of Securities Dealers Automated Quotations (NASDAQ) Stock Market, the company filed its S-1 Registration Statement. In addition to financial details, Google's founders published a personal letter to the company's potential investors in which they discussed procedural issues as well as philosophical ones. Since then, the founders of three other Internet companies -Groupon, Zynga and Facebook -have published similar manifestos in their S-1 statements. This first attempt to explore these manifestos uncovers how they function as a political and persuasive discourse. Using rhetorical analysis, this study identifies shared rhetorical strategies aimed at constructing a new business discourse. The founders' efforts are important not only because they are counterintuitive to traditional business practices, but also because they signal the realization of an alternate business discourse that is informed by and based upon a new managerial style and Web 2.0 cultural values.

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Section: Rhetorical Analysismentioning

confidence: 99%

‘We are not here for the money’: Founders’ manifestos

Dror

2013

New Media & Society

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“…Yet, for Puchner, the manifesto operates on "modes of displacements." 85 In a similar vein, decadent aesthetics are visible in these texts' generic confusion of prose and drama and especially in the transfiguration of characters into abstract philosophical concepts. All three authors actively shaped the international scene of writers whose aesthetics were based in the Expressionism and Futurism that grew out of the decadent movement.…”

Section: Else Lasker-schüler: I and I (1940/41)mentioning

confidence: 97%

“…In this sense, one could read the plays as manifestos based on their shared investment in symbolic imagery, authorial ambiguity, and paradoxical dialectic found in major examples of the genre. Moreover, while Puchner has argued that the manifesto is a "genre celebrating the masculine," 81 the authors I have discussed used allegory to destabilize any such gendering of genre. They transform the manifesto, locating it closer to its theatrical roots in order to negotiate, as Lyon maintains, "the form's universalist imperatives," as well as to challenge "anti-individualist representations of 'Woman'."…”

Section: Else Lasker-schüler: I and I (1940/41)mentioning

confidence: 99%

Allegories on the international scene: Vernon Lee’s, Mina Loy’s, and Else Lasker-Schüler’s war plays

Herold

2021

Feminist Modernist Studies

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Modernist drama between 1914 and 1945 underwent a process of rejuvenation through the remarkable revival of the medieval mystery play in women's writing on war. The adaptation of the allegorical mode of medieval drama allowed female authors to comment on political conflict, national identity, and the shifting of gender roles from a combined perspective of the inherently personal and the global. This article investigates how Vernon Lee, Mina Loy, and Else Lasker-Schüler, three authors working across the turn of the century and across various nations, remodeled the form into personal manifestos of cosmopolitan authorship. Lee's Satan the Waster (1914/20), Loy's The Sacred Prostitute (1914), and Lasker-Schüler's IchundIch (I and I, 1940/41) expose the dual status of the poet as performer and critic of their own time. The allegorical capacity of these plays allows them to ironize and criticize the idea of rigid boundaries, be these historical, national, or gendered. As these authors demonstrate, the destabilizing of boundaries common to decadent, performative writing was developed and adapted in modernist avant-garde writing.

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“…191 Puchner argues that, as manifestos are performancethey are speech actsa lack of audience means a manifesto fails in its objectives. 192 However, this measure of failure supposes a specific intent and a temporal marker of impact. For instance, the Female Anti-Slavery Society of Salem's Constitution (1832) succeeded in its initial aim of creating their own space and allowing members to be heard by each other, so on their own terms they succeeded.…”

Section: Claims To Constituent Powermentioning

confidence: 99%

Manifestos as constituent power: Performing a feminist revolution

Houghton

O’Donoghue²

2022

Glob. Con.

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Women use a multiplicity of forms and methods to articulate harms and claim political spaces. Among these are manifestos.1 Women’s manifestos are concomitant with both political convulsion and the enduring, mundane inequalities faced by women; they play a key role in feminist attempts to achieve political and legal ends.2 Manifestos are overtly political acts of legal/political performance; they are in dialogue with each other, with counter and anti-manifestos, and with the legal-political infrastructures they inhabit.3 Manifestos seek to fracture traditional understanding and practices of law, often in the guise of claiming constituent power and political space.

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Manifesto = Theatre

Cited by 22 publications

References 0 publications

‘We are not here for the money’: Founders’ manifestos

‘We are not here for the money’: Founders’ manifestos

Allegories on the international scene: Vernon Lee’s, Mina Loy’s, and Else Lasker-Schüler’s war plays

Manifestos as constituent power: Performing a feminist revolution

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