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Public spheres, counterpublics’ fears and syncopolitics

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journal contribution
posted on 20.04.2020, 13:09 by Fred DalmassoFred Dalmasso
This article explores the often normative and idealist notion of the public sphere at its possible breaking point by analysing the online reactions to two tabloid articles about a 2016 performance of Dancing with Strangers: From Calais to England by Instant Dissidence. It first looks at how a comment platform could be perceived as a subaltern public sphere and as a substitute for a live audience in order to reconsider the notion of the counterpublic. For this, it examines the dialectical tension between politics and aesthetics within a subaltern online public sphere not immune to all kinds of extremism. This leads to an attempt to consider online hostile lay critics as a potentially legitimate public to address the dilemma faced by contemporary artists when engaging with society in an all-inclusive manner. Finally, this article offers a different reading of Instant Dissidence’s performance and of the possible reasons for the commentators’ rage and alienation and proposes syncopolitics as a way out of both online polarisation echo chambers and the public engagement conundrum.

History

School

  • The Arts, English and Drama

Department

  • Arts

Published in

Humanities

Volume

9

Issue

2

Publisher

MDPI AG

Version

VoR (Version of Record)

Rights holder

© The author

Publisher statement

This is an Open Access Article. It is published by MDPI under the Creative Commons Attribution 4.0 Unported Licence (CC BY). Full details of this licence are available at: http://creativecommons.org/licenses/by/4.0/

Acceptance date

02/04/2020

Publication date

2020-04-09

Copyright date

2020

Notes

Special Issue The Public Place of Drama in Britain, 1968 to the Present Day

ISSN

2076-0787

eISSN

2076-0787

Language

en

Depositor

Dr Fred Dalmasso. Deposit date: 9 April 2020

Article number

31