The chapters address affect, pleasure, and memory in the enjoyment of musical and theatrical performance.
Rosenberg also examines contemporary feminist performance, anti-racist interventions, activist aesthetics, and political agency especially with regard to feminist and queer interpretations of opera and theatre.
As of 2017 less than a third of British MPs were women, just a quarter of members of the House of Lords and less than a quarter of judges in the Court of Appeal and the High Court.
More FTSE 100 CEOs are called David than are female.
"I want my sons to escape the pressure to be a particular kind of masculine that is so damaging to men and to the people around them," he said in his essay.
"I want them to be comfortable being themselves, and being feminists—who stand up for what's right, and who can look themselves in the eye with pride."The Canadian prime minister's echo of Obama's essay comes at a time when Obama's successor is about as likely to declare himself a feminist as he is to admit a woman beat him in the popular vote.
It's the knowledge that when we are all equal, all of us are more free."If that sounds very familiar, perhaps it's because Obama's essay ended with pretty much the same line. "It's easy to absorb all kinds of messages from society about masculinity and come to believe that there's a right way and a wrong way to be a man," he wrote.
"But as I got older, I realized that my ideas about being a tough guy or cool guy just weren't me.
She contextualizes her work within broader developments in gender and queer studies, and within the feminist movement by highlighting important contributions of artists who draw from the above to create performance.
The book will be welcomed by opera and theatre lovers, students, academics, and the wider public that is interested in the performing arts and its queer feminist potential.