To become sovereign, one must be seen as sovereign. In other words, a sovereign must appear—philosophically, politically, and aesthetically—on the stage of power, both to themselves and to others, in order to assume authority. In this sense, sovereignty is a theatrical phenomenon from the very beginning. This book explores the relationship between theater and sovereignty in modern political theory, philosophy, and performance. Arthur Bradley considers the theatricality of power—its forms, dramas, and iconography—and examines sovereignty’s modes of appearance: thrones, insignia, regalia, ritual, ceremony, spectacle, marvels, fictions, and phantasmagoria. He weaves together political theory and literature, reading figures such as Plato, Aristotle, Montaigne, Leibniz, Kant, Hegel, Schmitt, Benjamin, Derrida, and Agamben alongside writers including Shakespeare, Cervantes, Schiller, Melville, Valéry, Kafka, Ionesco, and Genet. Formally inventive and deeply interdisciplinary, Staging Sovereignty offers a surprising and original narrative of political modernity from early modern political theology to the age of neoliberal capitalism.

At the same time, official speeches and proceedings on colonial practices, such as the public trials of Clive and Hastings, became theatrical events themselves."--Jacket.

The first of its kind to situate the early modern debate on sovereignty within a 'popular culture' dramatic context, this project examines the changing ideological conceptions of sovereignty and their on-stage representations in public theaters from 1580 to 1642. The study examines the way in which the early modern stage presented a critical dialogue concerning the nature of sovereignty through the lens of specifically English history, focusing in particular on the representation of monarchy.

This edited book explores diverse contestations and transformations of sovereignty around the world. Sovereignty plays a central role in modern political thought and practice, but it also remains fundamentally contested. Depending on the context and perspective, it seems either omnipresent or elusive, liberating or oppressive, fading or resilient. Indeed, if in recent decades sovereignty has been expected to wane, today it is back on the agenda; not as the solid bedrock of modern – international – politics, which it never was, but as variations on a concept and institution that are ever contested and, as a result, constantly transforming. Bringing together perspectives from various disciplines, including International Relations (IR), political theory, geography, law, and anthropology, this volume: • goes beyond debates over the resilience or decline of sovereignty to instead emphasize how precisely the inherent ambiguities, tensions, and contestations in scholarship and practice spark sovereignty’s manifold transformations; • offers three theoretical chapters that examine the illusions, contradictions, transformation, and lasting appeal of sovereignty and the nation-state; • explores sovereignty from various disciplinary perspectives in 11 empirical chapters that highlight its role in different contexts around the world, from the European Union (EU) to the South China Sea, to Western Sahara and Palestine; • problematizes the interplay between theory and practice of statehood and sovereignty, as in the perception of Northern Cyprus as a ‘fake state’, scholars’ promotion of Kurdish ‘statehood’ in Iraq, and studies affirming the ‘Islamic State’. This book will be of much interest to students of statehood, sovereignty, conflict studies and International Relations. Chapters 8 of this book are available for free in Open Access at www.taylorfrancis.com. It has been made available under a Creative Commons Attribution-No Derivatives 4.0 license.

Sovereign Acts explores how artists, activists, and audiences performed and interpreted sovereignty struggles in the Panama Canal Zone, from the Canal Zone’s inception in 1903 to its dissolution in 1999. In popular entertainments and patriotic pageants, opera concerts and national theatre, white U.S. citizens, West Indian laborers, and Panamanian artists and activists used performance as a way to assert their right to the Canal Zone and challenge the Zone’s sovereignty, laying claim to the Zone’s physical space and imagined terrain. By demonstrating the place of performance in the U.S. Empire’s legal landscape, Katherine A. Zien transforms our understanding of U.S. imperialism and its aftermath in the Panama Canal Zone and the larger U.S.-Caribbean world.

What is sovereignty? Often taken for granted or seen as the ideology of European states vying for supremacy and conquest, the concept of sovereignty remains underexamined both in the history of its practices and in its aesthetic and intellectual underpinnings. Using global intellectual history as a bridge between approaches, periods, and areas, The Scaffolding of Sovereignty deploys a comparative and theoretically rich conception of sovereignty to reconsider the different schemes on which it has been based or renewed, the public stages on which it is erected or destroyed, and the images and ideas on which it rests. The essays in The Scaffolding of Sovereignty reveal that sovereignty has always been supported, complemented, and enforced by a complex aesthetic and intellectual scaffolding. This collection takes a multidisciplinary approach to investigating the concept on a global scale, ranging from an account of a Manchu emperor building a mosque to a discussion of the continuing power of Lenin’s corpse, from an analysis of the death of kings in classical Greek tragedy to an exploration of the imagery of “the people” in the Age of Revolutions. Across seventeen chapters that closely study specific historical regimes and conflicts, the book’s contributors examine intersections of authority, power, theatricality, science and medicine, jurisdiction, rulership, human rights, scholarship, religious and popular ideas, and international legal thought that support or undermine different instances of sovereign power and its representations.

"A collection of essays, interviews and reflections on themes related to making work for live performance in political and aesthetic resistance to forms and systems that oppress human rights and censor or severely limit freedom of expression. This book offers thoughtful, polemical articulations of practice and theory on the multiple meanings of political art, and the ways in which progressive, wholistic cultural change may be instigated through artworks."--Back cover.