sonic landscape” (174) of Koothnytz disrupts the elite, caste-coded space of Bangalorean nightclubs in productive ways by allowing exciting vernacular choreographies and engagements in urban nightlife. Although the registers of pleasure and aesthetics are useful here, ishtyle as an analytic does not always work. It is too vaguely defined and can seemingly be applied to anything; its very definition as accented style means that the author considers ishtyle expressions as supplement, slippage, or ephemera, and not as absolute ways of knowing and being. There is also a troubling elision of caste throughout, which the last chapter does not fully address. Ishtyle is invoked as a uniform lens for understanding interlocutors’ narratives, but the migrant professional groups on which Khubchandani focuses are not homogeneous. Although Khubchandani shows how race and power work in the nightclub, they are less attentive to how caste informs cultural and embodied knowledges. A more rigorous engagement with caste privilege would strengthen the author’s insights into the redemptive possibilities of performance. On the whole, however, Ishtyle is an absorbing and deftly written analysis of brown gay worlds and an important addition to previous scholarship on South Asian and queer cultural studies.

中文翻译：

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特权观众：对白人至上主义的戏剧性干预，丹尼·斯奈德-杨（Dani Snyder-Young）。戏剧和表演研究；和批判性种族研究。伊利诺伊州埃文斯顿：西北大学出版社，2020；pp. xxxvi + 163, 9 幅插图。99.95 美元的布，34.95 美元的纸，34.95 美元的电子书。

Koothnytz 的声音景观”（174）通过允许令人兴奋的本土舞蹈和参与城市夜生活，以富有成效的方式破坏了班加罗尔夜总会的精英、种姓编码空间。尽管快乐和美学的记录在这里很有用，但作为分析的 ishtyle 并不总是有效。它的定义过于模糊，似乎可以应用于任何事物；其作为重音风格的定义意味着作者将 ishtyle 表达视为补充、滑点或蜉蝣，而不是绝对的认识和存在方式。还有一个令人不安的种姓遗漏自始至终，最后一章没有完全解决。Ishtyle 被用作理解对话者叙述的统一镜头，但 Khubchandani 关注的移民专业群体并不是同质的。尽管 Khubchandani 展示了种族和权力如何在夜总会中发挥作用，但他们不太关注种姓如何影响文化和具体知识。对种姓特权更严格的参与将加强作者对表演的救赎可能性的洞察力。然而，总的来说，Ishtyle 是对棕色同性恋世界的引人入胜且巧妙的书面分析，是对先前关于南亚和酷儿文化研究的学术研究的重要补充。