| An interview with Gayatri Spivak | 1990/01/01 | English | 3 |
| Writing independence: Gayatri Spivak and the dark continent ofécriture feminíne | 1995/01/01 | English | 3 |
| Courting lesbianism | 1999/01/01 | English | 3 |
| She who is possessed no longer exists outside: Martha Graham'srite of spring | 1986/01/01 | English | 3 |
| Young Jean Lee's Ugly Feelings About Race And Gender | 2007/03/01 | English | 3 |
| “Feeling like a woman, looking like a man, sounding like a no-no”: Grace Jones and the performance of Strangé in the Post-Soul Moment | 2009/03/01 | English | 3 |
| Recovering hurston, reconsidering the choreographer | 2006/03/01 | English | 2 |
| Trap: Kate Millett, Japan, Fluxus and Feminism | 2009/11/01 | English | 2 |
| Performing Social Reparation: “Comfort Women” And The Path To Political Forgiveness | 2006/07/01 | English | 2 |
| Yugoslavia, an ‘Almost Forbidden Word’ Cultural policy in times of nationalism—interview with Dubravka Ugresic | 2007/11/01 | English | 2 |
| The life of the undead: Biopower, Latino anxiety and theepidemiological paradox | 2009/07/01 | English | 2 |
| By the light of what comes after: Eventologies of the ordinary | 2009/07/01 | English | 2 |
| On Precariousness and Performance: 7 Actions for Rio de Janeiro | 2010/03/01 | English | 2 |
| Martha@Martha: A séance with Richard Move | 2010/03/01 | English | 2 |
| “¿Y ahora qué vas a hacer, mulata?”: Hip choreographies in the MexicancabareterafilmMulata(1954) | 2008/11/01 | English | 2 |
| Oprah Winfrey and the co-production of market and morality | 2008/03/01 | English | 2 |
| ‘‘Dynamic branding’’: The case of Oprah Winfrey | 2008/03/01 | English | 2 |
| Speaking others, practicing selves: Representational practices of battered immigrant women in apna ghar (“our home”) | 1995/01/01 | English | 2 |
| Queening it: Women's taste for jewelry excesses in post‐war Britain | 2005/01/01 | English | 2 |
| Performing traumatic dialogue: On the border of fiction and autobiography | 1999/01/01 | English | 2 |
| A prescription for femininity: Male interpretation of the feminine ideal at the turn of the century | 1988/01/01 | English | 2 |
| Locating the language of gender experience | 1985/01/01 | English | 2 |
| What's love got to do with it? ReadingLinda/les and Anniethrough Locon | 1993/01/01 | English | 2 |
| Artifacts (The empire after colonialism) | 1992/01/01 | English | 2 |
| Shakespeare and the feminist actor | 1985/01/01 | English | 2 |
| Excessive performances of the same: Beauty as the beast of reality TV | 2005/01/01 | English | 2 |
| Vodou and nationalism: The staging of folklore in mid‐twentieth century Haiti | 1995/01/01 | English | 2 |
| Hysterical freedom: Surrealist dance & Hélène Vanel's faulty functions | 2005/01/01 | English | 2 |
| The meat manifesto: Ruth Ozeki's performative poetics | 2001/01/01 | English | 2 |
| Women directors in Spain: Josefina Molina | 1986/01/01 | English | 2 |