Celebrity 2.0: The Case of Marina Abramović

Marcus, Sharon

doi:10.1215/08992363-2798331

Cited by 13 publications

(9 citation statements)

References 25 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…(Turner and Larson 2015, p. 55) This approach to studying how intellectual achievement is communicated to a diverse audience places agency back at the heart of structural processes, whilst at the same time allowing it to be dispersed between multiple actors and located in multiple managed settings, as is commonly the case for more popular forms of celebrity. It also maps on to recent compelling work by Sharon Marcus (2015b). Marcus insists that true celebrity of any form only begins when an individual brings together multiple, diverse publics who would not otherwise have anything linking them.…”

Section: On Notions Of Fame and Agency In The Literary Sectormentioning

confidence: 92%

“…Bringing in Marcus's (2015b) definition of celebrity as someone who is capable of drawing together multiple, diverse publics, however, raises the stakes for literary celebrity. Such a degree of broad public resonance is much harder for literary writers to achieve directly, because reading literary texts tends to remain a comparatively niche activity.…”

Section: On Notions Of Fame and Agency In The Literary Sectormentioning

confidence: 99%

See 1 more Smart Citation

The world author in us all: conceptualising fame and agency in the global literary market

Braun

2016

Celebrity Studies

View full text Add to dashboard Cite

This article explores the link between national success as a writer and the promotional structures of world literature in the West. It does so through critically examining how individual people relate to the various creative processes that underpin literature as it travels around the western world. The article draws in particular on Bruno Latour's work on the concepts of 'agency' and 'mediators' in the context of actor-network theory, as well as developing the idea of a 'network intellectual' put forward in 2015 by Fred Turner and Christine Larson. In so doing, the article finds common ground between literary studies and celebrity studies that can help parse the concept of 'literary celebrity'. The model for understanding the links between authorship, celebrity and world literature that I propose is exemplified through reference to the intertwined contemporary careers of novelists Daniel Kehlmann and Jonathan Franzen. Both writers have achieved bestseller status in their respective national contexts (Germany/Austria and the United States), both deliberately seek to place their work and person into dialogue with key writers and works from other national traditions, and both have been systematically promoted across multiple countries as international success stories. Approaching them as contemporary case studies in both world authorship and literary celebrity allows us to reconsider how individuals carry wider cultural value in an age of rapid network expansion. ARTICLE HISTORY

show abstract

Section: On Notions Of Fame and Agency In The Literary Sectormentioning

confidence: 92%

Section: On Notions Of Fame and Agency In The Literary Sectormentioning

confidence: 99%

The world author in us all: conceptualising fame and agency in the global literary market

Braun

2016

Celebrity Studies

View full text Add to dashboard Cite

show abstract

“…To some degree it is a function as well of the individualization of politics that is sometimes seen as being one of the most notable by-products of cyberactivism--a process that depends on strong emotional connection to particular causes, but also on the self-publicizing technologies that allow such emotions to be made visible and expressed (Castells 2010;Meikle 2002). Most of all, however, it is a function of visibility itself as the implied goal of such activities, which are part of what Joshua Gamson among others sees as a "heightened consciousness of everyday life as a public performance: an increased expectation that we are being watched [and a corresponding] willingness to offer [our private selves up] to watchers known and unknown" (ibid: 1068; see also Marcus 2015, Turner 2004.…”

Section: After Blackfishmentioning

confidence: 99%

Killers: Orcas and Their Followers

Huggan¹

2017

Public Culture

View full text Add to dashboard Cite

Orcas are among the world’s most charismatic animals, combining grace and power, violent when they need to be, but rarely toward humans and never in the wild. Attacks on humans have been restricted to captive orcas, opening up widespread discussions on the ethics of marine-mammal captivity and prompting major changes to the North American orca-display industry, as represented by corporate giants such as SeaWorld. Orcas are now more likely to be followed online than watched either in captivity or in the wild, with some individual orcas becoming celebrity targets for activist campaigning. This article assesses some of the different ways that orcas are being “followed” today, showing how the figure of the celebrity orca offers an opportunity to reflect both on the performative nature of celebrity and on the continuing human exploitation of performing animals, which is tied in with the depredations of the modern corporate world.

show abstract

“…In this area Abramovic; most strongly referenced and circumvented her own celebrity presence. By restaging the work that marked her shift to celebrity performance artist (Marcus 2015), the gazing participants represented both Abramovic; and themselves. With its clear allusion to The Artist is Present, the gaze exercise showed how In Residence departed from (and in some ways inverted) a recent trend in participatory art that Bishop calls "delegated performance."…”

Section: Was Probably Failing At Presencementioning

confidence: 99%

“My relationship to the public is changing”: Marina Abramović: In Residence

Balkin¹,

D’Urso

2017

TDR/The Drama Review

View full text Add to dashboard Cite

Marina Abramović: In Residence (2015) was a participatory public art project that relied on “facilitators” trained in the Abramović Method. As in other later works of Abramović’s performance practice, the artist’s presence is implied in the bodies of facilitators and participants. Situating In Residence in a longer history of institutional performance takes into account Abramović’s self-positioning as the charismatic undead.

show abstract

Celebrity 2.0: The Case of Marina Abramović

Cited by 13 publications

References 25 publications

The world author in us all: conceptualising fame and agency in the global literary market

The world author in us all: conceptualising fame and agency in the global literary market

Killers: Orcas and Their Followers

“My relationship to the public is changing”: Marina Abramović: In Residence

Contact Info

Product

Resources

About