Mark Edward – författare

Empire is one of the oldest forms of political organisation and has dominated societies in all parts of the world. Yet, despite the emergence of nation-states in the eighteenth and nineteenth centuries, and the apparent end of empire with the breakup of European colonial regimes and the Soviet Union in the twentieth century, empire remains powerful in the modern world. The EU’s accession policies, the United States’ War on Terror, China’s economic developments in Africa, among others, draw accusations of imperial agendas. Empire is no stranger to crisis but, in recent years, the effects of global austerity have forced states, both powerful and weak, to adapt, with varying degrees of success and failure. The confusions, contradictions, and contestations which emerge from imperial crisis point to a vital question – how is Austerity changing Empire and how will this shape tomorrow’s world?This book was published as a special issue of Global Discourse.

What is Counterculture?- It's an alternative lifestyle...- The ideas that spark a revolution...- A movement that changes the world...This new collection of essays celebrates the incredible originality of British post-war culture. British art, film, theatre, dance, literature and music have attracted international recognition, from the Angry Young Men to the Sex Pistols to Grayson Perry. Now gaming, the internet and social media enable creative communities to flourish and either fight for social justice - or just be entertained. Can we find the creative inspiration to succeed in a postcapitalist future?

Drag: The Basics offers a concise, critical, and intersectional exploration of drag performance through its rich histories, theories, practices, and politics across global contexts.Through sharp analysis and compelling case studies, this accessible volume delves into drag's complex relationships with race, gender, sexuality, class, disability, and media representation. The book traces drag's transformative journey from countercultural expression to mainstream phenomenon, examining its role in protest, activism, and artistic innovation, while providing fresh insights that go beyond surface-level understanding.Drag: The Basics is ideal for students and scholars in performance studies, gender theory, queer studies, and cultural history, as well as performers and curious enthusiasts seeking deeper engagement with drag cultures beyond makeup and glitter.

The Routledge Companion to Drag offers a comprehensive academic exploration of drag as a global, historical, and cultural phenomenon.This volume examines drag beyond its popularised media image, tracing its diverse practices across time and geography. Chapters address key themes such as the history, herstory, and theirstory of drag, its representation on television, activism, and performance traditions from the Victorian and Elizabethan stage to contemporary contexts. With contributions that extend beyond the global North, the book foregrounds intersectional perspectives on race, ethnicity, the body, class, and sexuality, while engaging with issues such as the AIDS pandemic and cultural politics. Rejecting uniformity, it embraces the complexity and multiplicity of drag cultures worldwide. The Routledge Companion to Drag is ideal for undergraduates, postgraduates, and researchers in Gender Studies, Anthropology, Sociology, and Politics, and provides an essential resource for those seeking critical insights into modern and historical drag practices and its discourse.

Drag: The Basics offers a concise, critical, and intersectional exploration of drag performance through its rich histories, theories, practices, and politics across global contexts.Through sharp analysis and compelling case studies, this accessible volume delves into drag's complex relationships with race, gender, sexuality, class, disability, and media representation. The book traces drag's transformative journey from countercultural expression to mainstream phenomenon, examining its role in protest, activism, and artistic innovation, while providing fresh insights that go beyond surface-level understanding.Drag: The Basics is ideal for students and scholars in performance studies, gender theory, queer studies, and cultural history, as well as performers and curious enthusiasts seeking deeper engagement with drag cultures beyond makeup and glitter.

Drag: The Basics offers a concise, critical, and intersectional exploration of drag performance through its rich histories, theories, practices, and politics across global contexts.Through sharp analysis and compelling case studies, this accessible volume delves into drag's complex relationships with race, gender, sexuality, class, disability, and media representation. The book traces drag's transformative journey from countercultural expression to mainstream phenomenon, examining its role in protest, activism, and artistic innovation, while providing fresh insights that go beyond surface-level understanding.Drag: The Basics is ideal for students and scholars in performance studies, gender theory, queer studies, and cultural history, as well as performers and curious enthusiasts seeking deeper engagement with drag cultures beyond makeup and glitter.

Drag: The Basics offers a concise, critical, and intersectional exploration of drag performance through its rich histories, theories, practices, and politics across global contexts.Through sharp analysis and compelling case studies, this accessible volume delves into drag's complex relationships with race, gender, sexuality, class, disability, and media representation. The book traces drag's transformative journey from countercultural expression to mainstream phenomenon, examining its role in protest, activism, and artistic innovation, while providing fresh insights that go beyond surface-level understanding.Drag: The Basics is ideal for students and scholars in performance studies, gender theory, queer studies, and cultural history, as well as performers and curious enthusiasts seeking deeper engagement with drag cultures beyond makeup and glitter.

In recent years drag performance has moved from the fringes to emerge as a mainstream phenomenon, showcased on TV shows in the US and the UK.This collection offers a diverse range of critical engagements by drag performers, makers, scholars and writers reflecting on work from the UK, USA, Israel, Germany and Australia. Moving beyond discussions of gender theory, the essays consider contemporary drag performance practices, connecting them to the histories, communities and politics that produced them. Chapters range across discussions of drag kings in the US, UK and drag and activism; the influence of RuPaul on the generation of new forms of work in New York; transfeminist critiques of drag; ‘bio’/faux queens;engagements with race and ethnicity through drag performance; drag andragogy; audience concerns; drag intersections with animal personas, and how drag performance relates to personal narratives of history and identity. Collectively the contributions focus on drag as a mode of performance that is diverse and that uncorsets the easy thought that drag is simply a cross dressing man in a dress or a woman in a suit.

In recent years drag performance has moved from the fringes to emerge as a mainstream phenomenon, showcased on TV shows in the US and the UK.This collection offers a diverse range of critical engagements by drag performers, makers, scholars and writers reflecting on work from the UK, USA, Israel, Germany and Australia. Moving beyond discussions of gender theory, the essays consider contemporary drag performance practices, connecting them to the histories, communities and politics that produced them. Chapters range across discussions of drag kings in the US, UK and drag and activism; the influence of RuPaul on the generation of new forms of work in New York; transfeminist critiques of drag; ''bio''/faux queens;engagements with race and ethnicity through drag performance; drag andragogy; audience concerns; drag intersections with animal personas, and how drag performance relates to personal narratives of history and identity. Collectively the contributions focus on drag as a mode of performance that is diverse and that uncorsets the easy thought that drag is simply a cross dressing man in a dress or a woman in a suit.

In recent years drag performance has moved from the fringes to emerge as a mainstream phenomenon, showcased on TV shows in the US and the UK.This collection offers a diverse range of critical engagements by drag performers, makers, scholars and writers reflecting on work from the UK, USA, Israel, Germany and Australia. Moving beyond discussions of gender theory, the essays consider contemporary drag performance practices, connecting them to the histories, communities and politics that produced them. Chapters range across discussions of drag kings in the US, UK and drag and activism; the influence of RuPaul on the generation of new forms of work in New York; transfeminist critiques of drag; ''bio''/faux queens;engagements with race and ethnicity through drag performance; drag andragogy; audience concerns; drag intersections with animal personas, and how drag performance relates to personal narratives of history and identity. Collectively the contributions focus on drag as a mode of performance that is diverse and that uncorsets the easy thought that drag is simply a cross dressing man in a dress or a woman in a suit.

Drawing on rich interdisciplinary research that has laced the emerging subject of drag studies as an academic discipline, this book examines how drag performance is a political, socio-cultural practice with a widespread lineage throughout the history of performance. This volume maps the multi-threaded contexts of contemporary practices while rooting them in their fabulous historical past and memory.The book examines drag histories and what drag does with history, how it enacts or tells stories about remembering and the past. Featuring work about the USA, UK and Ireland, Japan, Australia, Brazil and Barbados, this book allows the reader to engage with a range of archival research including camp and history; ethnicity and drag; queering ballet through drag; the connections between drag king and queen history; queering pantomime performance; drag and military veterans; Puerto Rican drag performers and historical film.

Drawing on rich interdisciplinary research that has laced the emerging subject of drag studies as an academic discipline, this book examines how drag performance is a political, socio-cultural practice with a widespread lineage throughout the history of performance. This volume maps the multi-threaded contexts of contemporary practices while rooting them in their fabulous historical past and memory.The book examines drag histories and what drag does with history, how it enacts or tells stories about remembering and the past. Featuring work about the USA, UK and Ireland, Japan, Australia, Brazil and Barbados, this book allows the reader to engage with a range of archival research including camp and history; ethnicity and drag; queering ballet through drag; the connections between drag king and queen history; queering pantomime performance; drag and military veterans; Puerto Rican drag performers and historical film.

Drawing on rich interdisciplinary research that has laced the emerging subject of drag studies as an academic discipline, this book examines how drag performance is a political, socio-cultural practice with a widespread lineage throughout the history of performance. This volume maps the multi-threaded contexts of contemporary practices while rooting them in their fabulous historical past and memory.The book examines drag histories and what drag does with history, how it enacts or tells stories about remembering and the past. Featuring work about the USA, UK and Ireland, Japan, Australia, Brazil and Barbados, this book allows the reader to engage with a range of archival research including camp and history; ethnicity and drag; queering ballet through drag; the connections between drag king and queen history; queering pantomime performance; drag and military veterans; Puerto Rican drag performers and historical film.

Drawing on rich interdisciplinary research that has laced the emerging subject of drag studies as an academic discipline, this book examines how drag performance is a political, socio-cultural practice with a widespread lineage throughout the history of performance. This volume maps the multi-threaded contexts of contemporary practices while rooting them in their fabulous historical past and memory.The book examines drag histories and what drag does with history, how it enacts or tells stories about remembering and the past. Featuring work about the USA, UK and Ireland, Japan, Australia, Brazil and Barbados, this book allows the reader to engage with a range of archival research including camp and history; ethnicity and drag; queering ballet through drag; the connections between drag king and queen history; queering pantomime performance; drag and military veterans; Puerto Rican drag performers and historical film.

In recent years drag performance has moved from the fringes to emerge as a mainstream phenomenon, showcased on TV shows in the US and the UK.This collection offers a diverse range of critical engagements by drag performers, makers, scholars and writers reflecting on work from the UK, USA, Israel, Germany and Australia. Moving beyond discussions of gender theory, the essays consider contemporary drag performance practices, connecting them to the histories, communities and politics that produced them. Chapters range across discussions of drag kings in the US, UK and drag and activism; the influence of RuPaul on the generation of new forms of work in New York; transfeminist critiques of drag; ‘bio’/faux queens;engagements with race and ethnicity through drag performance; drag andragogy; audience concerns; drag intersections with animal personas, and how drag performance relates to personal narratives of history and identity. Collectively the contributions focus on drag as a mode of performance that is diverse and that uncorsets the easy thought that drag is simply a cross dressing man in a dress or a woman in a suit.

This third and final volume in Edward and Farrier’s groundbreaking trilogy spotlights the vibrant spectrum of drag as an art form, identity category and political force. Drawing on practice, research, and interdisciplinary approaches, the volume captures drag’s continual capacity to challenge, critique and create.Drawing from a range of academic disciplines, including critical disability studies, media, philosophy, linguistics, the book celebrates the many faces – and possibilities – of drag as a cultural and performance form. The contributions include chapters that are assertively activist, deeply reflective, and thought provoking.This third volume goes in search of new conversations through the exploration of critical drag studies. The frameworks that formulate these conversations advocate for a broader, inclusive vision of drag, while not shying away from some of its problematic components. The chapters peek behind the glamourous veneer of drag, exposing the grit and sweat that underpin the performance, while winking at the theory that we may use to understand. Drag Vistas and Visions sees drag through a transformative lens that pushes boundaries and transcends the ordinary.

This third and final volume in Edward and Farrier’s groundbreaking trilogy spotlights the vibrant spectrum of drag as an art form, identity category and political force. Drawing on practice, research, and interdisciplinary approaches, the volume captures drag’s continual capacity to challenge, critique and create.Drawing from a range of academic disciplines, including critical disability studies, media, philosophy, linguistics, the book celebrates the many faces – and possibilities – of drag as a cultural and performance form. The contributions include chapters that are assertively activist, deeply reflective, and thought provoking.This third volume goes in search of new conversations through the exploration of critical drag studies. The frameworks that formulate these conversations advocate for a broader, inclusive vision of drag, while not shying away from some of its problematic components. The chapters peek behind the glamourous veneer of drag, exposing the grit and sweat that underpin the performance, while winking at the theory that we may use to understand. Drag Vistas and Visions sees drag through a transformative lens that pushes boundaries and transcends the ordinary.

This third and final volume in Edward and Farrier's groundbreaking trilogy spotlights the vibrant spectrum of drag as an art form, identity category and political force. Drawing on practice, research, and interdisciplinary approaches, the volume captures drag's continual capacity to challenge, critique and create.Drawing from a range of academic disciplines, including critical disability studies, media, philosophy, linguistics, the book celebrates the many faces and possibilities of drag as a cultural and performance form. The contributions include chapters that are assertively activist, deeply reflective, and thought provoking. This third volume goes in search of new conversations through the exploration of critical drag studies. The frameworks that formulate these conversations advocate for a broader, inclusive vision of drag, while not shying away from some of its problematic components. The chapters peek behind the glamourous veneer of drag, exposing the grit and sweat that underpin the performance, while winking at the theory that we may use to understand. Drag Vistas and Visions sees drag through a transformative lens that pushes boundaries and transcends the ordinary.

This third and final volume in Edward and Farrier's groundbreaking trilogy spotlights the vibrant spectrum of drag as an art form, identity category and political force. Drawing on practice, research, and interdisciplinary approaches, the volume captures drag's continual capacity to challenge, critique and create.Drawing from a range of academic disciplines, including critical disability studies, media, philosophy, linguistics, the book celebrates the many faces and possibilities of drag as a cultural and performance form. The contributions include chapters that are assertively activist, deeply reflective, and thought provoking. This third volume goes in search of new conversations through the exploration of critical drag studies. The frameworks that formulate these conversations advocate for a broader, inclusive vision of drag, while not shying away from some of its problematic components. The chapters peek behind the glamourous veneer of drag, exposing the grit and sweat that underpin the performance, while winking at the theory that we may use to understand. Drag Vistas and Visions sees drag through a transformative lens that pushes boundaries and transcends the ordinary.

With dark humor Magic Castle alumnus explores the business of psychics.

This book is an anthology of Mark Edward’s creative practice-led projects. It transmits and communicates his research through varied artistic means, primarily contemporary dance, immersive art installation, drag performance, and photography. Through the innovative practice of 'mesearch', in which the author is both theoriser and theorised, this study delivers a personal, creative narration, combining reflections and emotions in relation to self and performance. Instead of being an attempt to undervalue or challenge the accepted notions of style within academic research, it promotes a freedom of expression which allows greater fluidity between the researcher, the performer, and the writer.

This book is an anthology of Mark Edward’s creative practice-led projects. It transmits and communicates his research through varied artistic means, primarily contemporary dance, immersive art installation, drag performance, and photography. Through the innovative practice of ''mesearch'', in which the author is both theoriser and theorised, this study delivers a personal, creative narration, combining reflections and emotions in relation to self and performance. Instead of being an attempt to undervalue or challenge the accepted notions of style within academic research, it promotes a freedom of expression which allows greater fluidity between the researcher, the performer, and the writer.