<html><head><meta http-equiv="Content-Type" content="text/html; charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;" class="">Dear Readers:<br class=""><br class="">Performance Matters has just published its latest issue at <a href="http://performancematters-thejournal.com/index.php/pm" class="">http://performancematters-thejournal.com/index.php/pm</a>. This special double issue on "Circus and Its Others" has been guest-edited by Karen Fricker and Hayley Malouin, and contains 23 contributions addressing a range of contemporary global circus practices and topics.<br class=""><br class="">We invite you to peruse the Table of Contents here, and then to visit our website to review articles and items of interest.<br class=""><br class="">Thanks for your continuing interest in the work of our journal,<br class=""><br class="">Peter Dickinson, Editor<br class="">Department of English/School for the Contemporary Arts/Institute for Performance Studies, Simon Fraser University<br class=""><a href="mailto:peter_dickinson@sfu.ca" class="">peter_dickinson@sfu.ca</a><br class=""><br class="">Performance Matters<br class="">Vol 4, No 1-2 (2018): Circus and Its Others<br class="">Table of Contents<br class=""><a href="http://performancematters-thejournal.com/index.php/pm/issue/view/7" class="">http://performancematters-thejournal.com/index.php/pm/issue/view/7</a><br class=""><br class=""><br class="">--------<br class="">Step Up, Step In: A Welcome Message (n.p.)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Jennifer Miller<br class=""><br class=""><div class="">Introduction: Circus and Its Others (1-18)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Karen Fricker,<span class="Apple-tab-span" style="white-space: pre;"> </span>Hayley Malouin<br class=""><br class=""><br class=""></div><div class="">Gender and Difference in Contemporary Circus (Section Editor: Karen Fricker, Brock University)<br class="">--------<br class="">Gender Asymmetry and Circus Education (19-35)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Alisan Funk<br class=""><br class=""></div><div class="">Carriers, Those Seeming Heroes: Might They Be But Ordinary Humans? (36-41)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Marion Guyez<br class=""><br class=""></div><div class="">Cavalia's Odysseo — A Biopolitical Myth at Work (42-51)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Ante Ursic<br class=""><br class=""></div><div class="">Briefs: Bending Gender in Australian Contemporary Circus (52-56)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Kristy Seymour<br class=""><br class=""><br class=""></div><div class="">Reading Circus Bodies and Signs (Section Editor: Michael Eigtved, University of Copenhagen)<br class="">--------<br class="">From Civilization to Regulation: Airports, Circus (Bodies) and the Battle over Control (57-65)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Michael Eigtved<br class=""><br class=""></div><div class="">In Search of the Dramatic Composition: A Contemporary Circus Performance as a Structure of Signs (66-70)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Veronika Stefanova</div><div class=""><br class=""></div><div class="">Disrupting the Binary of Otherness—A Semiotic Reading of the Performance L’autre by Claudio Stellato (71-77)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Franziska Trapp<br class=""><br class=""></div><div class="">The Acrobat-Body: The Other Body (78-83)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Marcos Nery<br class=""><br class=""></div><div class="">From Postcolonial to Neoliberal? Identifying the "Other" Body in Indian Circus (84-92)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Aastha Gandhi<br class=""><br class=""><br class="">Location, Locatedness, and Mobility (Section Editor: L. Patrick Leroux, Concordia University)<br class="">--------<br class="">Contemporary Circus Mobilities (93-98)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Elena Lydia Kreusch<br class=""><br class=""></div><div class="">Contemporary Circus Careers: Labour Relations and Normative Selfhood in the Neoliberal Scenario (99-103)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Ilaria Bessone<br class=""><br class=""></div><div class="">What a Beard Can Do: Performative Frames and Public Tastes (104-108)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Magali Sizorn<br class=""><br class=""></div><div class="">A Modern Version of Running Away and Joining the Circus: From Inner City to around the World (109-115)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Jessica Hentoff<br class=""><br class=""><br class=""></div><div class="">Is Social Circus the Other of Professional Circus? (Section Editor: David Fancy, Brock University)<br class="">--------<br class="">Is Social Circus the "Other" of Professional Circus? (116-133)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Olga Lucía Sorzano<br class=""><br class=""></div><div class="">Social Circus: Developing Structures for Program Efficacy in the United States (134-140)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Amy Cohen<br class=""><br class=""></div><div class="">Freaks No More: Rehistoricizing Disabled Circus Artists (141-146)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Katrina Carter<br class=""><br class=""></div><div class="">Welcome to The Cyborg Circus Show: Imagining Disability Futures Beyond Normative Bodies A Manifesto (147-150)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Shay Erlich<br class=""><br class=""></div><div class="">Affirmative Freakery, Freaky Methodologies: Circus and Its Bodies without Organs in Disability Circus (151-162)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>David Fancy<br class=""><br class=""><br class=""></div><div class="">Freak and Queer (Section Editor: Charles Batson, Union College)<br class="">--------<br class="">Freak and Queer: Towards a Queer Circus, Queer Hatchings, Monsters in the Cabinet, and Queering Circus Sessions (163-199)<br class=""><span class="Apple-tab-span" style="white-space: pre;"> </span>Charles Batson, Hayley Malouin, Kelly Richmond, Taylor Zajdlik<br class=""><br class="">________________________________________________________________________<br class="">Performance Matters<br class=""><a href="http://performancematters-thejournal.com" class="">http://performancematters-thejournal.com</a><br class=""><div class="">
<div style="color: rgb(0, 0, 0); letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class="">_________________<br class="">Peter Dickinson, PhD<br class="">604-908-0993 • <a href="mailto:peter_dickinson@sfu.ca" class="">peter_dickinson@sfu.ca</a><br class=""><br class="">Professor, Department of English<br class="">Simon Fraser University • Office: AQ 6117<br class=""><a href="http://www.sfu.ca/english" class="">www.sfu.ca/english</a><br class=""><br class="">Professor, School for the Contemporary Arts<br class="">SFU Woodward’s • Office: GCA 3510<br class="">www.sfu.ca/sca<br class=""><br class="">Director, Institute for Performance Studies<br class="">SFU at Harbour Centre • Office: HC 3205<br class="">www.sfu.ca/ips<br class=""><br class="">Editor, Performance Matters<br class="">performancematters-thejournal.com<br class=""><br class="">At Simon Fraser University, we live and work on the unceded territories of the Coast Salish peoples. I thank the Musqueam (xʷməθkʷəy̓əm), Squamish (Sḵwx̱wú7mesh),and Tsleil-Waututh First Nations for their hospitality.<br class=""><br class=""><br class=""></div>
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