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Books on the topic 'Performativní studia'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

A, Giroux Henry, and Shannon Patrick 1951-, eds. Education and cultural studies: Toward a performative practice. Routledge, 1997.

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2

Diakonie inszenieren: Performative Zugänge zum diakonischen Lernen. Verlag W. Kohlhammer, 2015.

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3

Performative histories, foundational fictions: Gender and sexuality in Niskavuori films. Finnish Literature Society, 2003.

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4

Learning in a musical key: Insight for theology in performative mode. Pickwick Publications, 2011.

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5

Passon, Jenny. Shakespeare in der Realschule inszenieren: Theatre Education zur Förderung von kommunikativer und performativer Fremdsprachenkompetenz. Lit, 2014.

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6

Baxen, Jean. Performative praxis: Teacher identity and teaching in the context of HIV/AIDS. Peter Lang, 2010.

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7

Performative praxis: Teacher identity and teaching in the context of HIV/AIDS. Peter Lang, 2010.

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8

Brusa, Elisabetta. 8 tesi per 150 anni. Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-384-7.

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8 tesi per 150 anni è un filo rosso che parte dalle pagine di alcuni libri-tesi, preziosamente conservati tra le mura dell’Archivio Storico di Ca’ Foscari, per trasformarsi nel corso del 2018 nel simbolico volo di alcune rondini-studenti.Mettendo insieme voci provenienti dal passato e voci e corpi della nostra contemporaneità, Fucina Arti Performative Ca’ Foscari ha celebrato, nell’anno dei festeggiamenti per i 150 anni dell’Ateneo veneziano, gli otto Dipartimenti, dedicando ad ognuno di questi una performance realizzata partendo dall’elaborazione di una tesi.Spaziando cronologicamente (la pri

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9

Dupré, Sven, Anna Harris, Julia Kursell, Patricia Lulof, and Maartje Stols-Witlox, eds. Reconstruction, Replication and Re-enactment in the Humanities and Social Sciences. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463728003.

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Performative methods are playing an increasingly prominent role in research into historical production processes, materials, bodily knowledge and sensory skills, and in forms of education and public engagement in classrooms and museums. This book offers, for the first time, sustained, interdisciplinary reflections on performative methods, variously known as Reconstruction, Replication and Re-enactment (RRR) practices across the fields of history of science, archaeology, art history, conservation, musicology and anthropology. Each of these fields has distinct histories, approaches, tools and re

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10

Peterson, William. Asian Self-Representation at World's Fairs. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985636.

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International expositions or "world’s fairs" are the largest and most important stage on which millions routinely gather to directly experience, express, and respond to cultural difference. Rather than looking at Asian representation at the hands of colonizing powers, something already much examined, Asian Self-Representation at World’s Fairs instead focuses on expressions of an empowered Asian self-representation at world’s fairs in the West after the so-called golden age of the exhibition. New modes of representation became possible as the older "exhibitionary order" of earlier fairs gave wa

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11

Siewert, Senta. Performing Moving Images. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985834.

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Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks: what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect? What can we learn from re-scre

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12

Colesanti, Gemma Teresa, Blanca Garì, and Núria Jornet-Benito, eds. Clarisas y dominicas. Modelos de implantación, filiación, promoción y devoción en la Península Ibérica, Cerdeña, Nápoles y Sicilia. Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-676-7.

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Il volume è frutto della ricerca del progetto Claustra. Atlante della spiritualità femminile. Il libro si occupa dell’analisi del paesaggio religioso contrassegnato dalle comunità di clarisse e di domenicane. L’approfondimento della struttura territoriale dei vari regni avviene tramite cinque linee: la conoscenza di aree poco studiate nella topografia monastica femminile; la comprensione delle dinamiche fondazionali e il ruolo delle comunità di mulieres religiose; la dinamica dell’impianto urbano e i processi di comunicazione e di azione, creatori del paesaggio monastico; l’importanza del mece

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13

T, Warren John. Performing purity: Whiteness, pedagogy, and the reconstitution of power. P. Lang, 2003.

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14

Racial imperatives: Discipline, performativity, and struggles against subjection. Indiana University Press, 2012.

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15

Weisband, Edward. Perversity in the Performative. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677886.003.0007.

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To study the staged performative transgressions of victims, sadistic cruelty borne by the desire on the part of perpetrators to witness the collective dying of victims, requires analytical orientations beyond those focused exclusively on motivations cast in rational or rationalizing, cognitive or purposive strategic terms. Performativity as a theoretical perspective establishes the explanatory relevance of the unconscious in appraising the dynamics of desire, shame, and sadistic cruelty among perpetrators. Various psychosocial perspectives may be adopted in this regard. Sadistic behaviors are

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16

1944-, Wulf Christoph, and Zirfas Jörg, eds. Pädagogik des Performativen: Theorien, Methoden, Perspektiven. Beltz, 2007.

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17

1944-, Wulf Christoph, and Zirfas Jörg, eds. Pädagogik des Performativen: Theorien, Methoden, Perspektiven. Beltz, 2007.

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18

Pan, Yung-Yi Diana. Incidental Racialization: Performative Assimilation in Law School. Temple University Press, 2017.

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19

Pan, Yung-Yi Diana. Incidental Racialization: Performative Assimilation in Law School. Temple University Press, 2017.

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20

Love, Meredith A. The writer's stage: Rehearsing the performative possibilities of composing. 2003.

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21

Leap into Action: Critical Performative Pedagogies in Art and Design Education. Lang AG International Academic Publishers, Peter, 2020.

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22

Campbell, Lee. Leap into Action Companion: Critical Performative Pedagogies in Art and Design Education. Lang AG International Academic Publishers, Peter, 2020.

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23

Coraor, John E. The performative aspects of viewing art: An existential grounding of art in foundational education. 1988.

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24

Queer Youth Cultures: Performative and Political Practices (Suny Series, Interruptions: Border Testimony(ies) and Critic). State University of New York Press, 2008.

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25

Netz, Reviel. The Greek Canon. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198818489.003.0008.

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Following the quantitative evidence where it may be found (papyri, marble portraits, ancient citations, medieval copies), the chapter studies the form of the ancient canon. This can be understood in terms of the libraries in which it was preserved (some authors, such as Homer and probably also Menander and Euripides, were owned by every reader, even the most modest book collector, others, such as Plato, would be preserved mostly in bigger libraries), and in terms of its genre: above all, this was the canon of performative literature. The key observation is the early date of the formation of th

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26

Alter, Karen J., Laurence R. Helfer, and Mikael Rask Madsen. International Court Authority in a Complex World. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795582.003.0001.

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This introductory chapter locates this book’s approach within the dominant approaches to studying the authority of international institutions. The scholarship on authority is vast; the chapter focuses on four key perspectives: legal formalist approaches; normative approaches, including legitimate or ideal authority; sociological legitimacy theories; and compliance studies and performative approaches. The framework developed in this book to measure de facto authority makes a number of bold conceptual claims that challenge these existing scholarships on international courts (ICs). Perhaps most c

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27

Cook, Nicholas. Making music together. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199347803.003.0002.

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This first chapter of Music as Creative Practice sets out a social and performative approach to creativity in music. It develops the idea of emergence, the generation of unpredicted and unpredictable outcomes, within the context of collaborative performance, but extends it into a broad concept of real-time musical creativity. This is achieved through the idea of the musical assemblage, in which interactions between people are extended through the role of instruments, scores and other ‘outside the room’ factors: creativity is a property of the total human and nonhuman system. The argument is de

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28

Altonen, Heli, Vigdis Aune, Kathy Barolsky, et al. Theatre and Democracy: Building Democracy in Post-war and Post-democratic Contexts. Edited by Petro Janse van Vuuren, Bjørn Rasmussen, and Ayanda Khala. Cappelen Damm Akademisk - NOASP, 2021. http://dx.doi.org/10.23865/noasp.135.

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Theatre and Democracy: Building Democracy in Post-war and Post-democratic Contexts is the outcome of a longstanding collaboration between two centers of applied theatre education and research in South-Africa and Norway, respectively (2017–2022). It presents knowledge, critical conversations and artistic work related to issues of democracy, both historical and contemporary. Within the global framework of our current (post)democracies, thirteen chapters contain stories and analyses from artists and researchers who all study, understand and facilitate theatre as a political-performative medium in

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29

Carlson, Marvin. 4. Theatre and performance. Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199669820.003.0004.

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Modern interest in performance can be traced to several different developments from the 1950s to 1970s in the art world, in academic theatre, and in the social sciences, particularly sociology, anthropology, and linguistics. ‘Theatre and performance’ outlines the influence of this major shift in methodological orientation, which has become known as the ‘performative turn’, on Richard Schechner, in particular, who was editor of The Drama Review. His work with Victor Turner led to the first course on ‘performance theory’ at New York University. Courses on performance studies are now taught aroun

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30

Brock, Roger. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198817192.003.0012.

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The conclusion emphasizes the diversity both of the criteria for citizenship attested in the preceding chapters and of the conceptions which they imply of the archaic polis and its organization, in terms of centralized authority and inclusiveness. Although it is therefore unlikely that classical citizenship simply evolved from archaic citizenship, the persistence of characteristic early features such as performative aspects and the major role of civic subdivisions should be noted. Areas for future study are sketched out, notably the emergence of the sense of community, and archaic Greek citize

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31

Menotti, Gabriel, and Virginia Crisp, eds. Practices of Projection. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190934118.001.0001.

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This volume makes an intervention in the fields of film studies and visual culture by examining projection as a pivotal element in the continuing technological becoming of media systems. The chapters come together to paint a picture of projection that incorporates a range of practices across time and space. From studies of travelling projectionists in early twentieth-century Scotland and modern-day Uruguay to considerations of the (almost) lost mediums of the slide-tape and the magic lantern, the authors invite us to consider the varied nature of the technologies, apparatuses, practices, and h

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32

Alonso-Minutti, Ana R., Eduardo Herrera, and Alejandro L. Madrid, eds. Experimentalisms in Practice. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.001.0001.

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This book problematizes the notion of experimentalism as defined in conventional narratives about experimental musical practices. Contributors take a broad approach to a wide variety of Latin@ and Latin American music traditions conceived and/or perceived as experimental. The adoption of a plural “experimentalisms” points at a purposeful decentering of its usual US and Eurocentric interpretative frameworks. The case studies in this book contribute to this by challenging discourses about Latin@s and Latin Americans that have historically marginalized them. As such, the notion of “experimentalis

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33

Vander Wel, Stephanie. Hillbilly Maidens, Okies, and Cowgirls. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043086.001.0001.

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Well before the success of Loretta Lynn and Dolly Parton, female artists were integral to the commercial expansion and aural reception of country music. Women in early country music took on and redefined the theatrical and musical roles of the hillbilly maiden, the unruly Okie, the singing cowgirl, and the honky-tonk angel in live performance, on radio, in film, and in the recording studio. This book accounts for the vibrant presence of female country artists through an interdisciplinary focus on performance and vocal expression in relation to the cultural currents of the 1930s and 1950s. Acro

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34

De Souza, Jonathan. Idiomaticity; or, Three Ways to Play Harmonica. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190271114.003.0004.

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How do instrumental interfaces map pitches onto physical locations? And how do these instrumental spaces guide players’ creative action? As a case study, this chapter examines the ten-hole diatonic harmonica. It develops a transformational model of “harmonica space” and juxtaposes it with fretboard and keyboard spaces. This model is then used in a comparative analysis of folk, blues, and jazz harmonica playing, which explores performative moves on the instrument and the resulting pitch patterns. Such analysis shows that instrumental idioms reflect both the interface’s possibilities and the pla

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35

De Souza, Jonathan. Voluntary Self-Sabotage. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190271114.003.0005.

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When musicians alter their instruments, they may open up new sonic possibilities. Yet instrumental alteration can also induce dynamic remapping of players’ auditory-motor associations, subverting habitual connections between performative action and sonic effect. Instrumental alteration, at this level, affects players’ perception. This chapter considers experimental research on altered auditory feedback in instrumental performance, then turns to a series of case studies related to guitar improvisation. It distinguishes between three kinds of instrumental alteration—retuning, preparation, and re

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36

Belkin, Ahuva, and Gad Kaynar. Jewish Theatre. Edited by Martin Goodman. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199280322.013.0035.

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This article describes the history of the Jewish theatre, Jewish theatre studies, the history of the Israeli theatre from 1889 to 2001, and Israeli theatre studies. Although Jews were known as the People of the Book, and despite the very rich literature attached to Judaism, the dramatic genre never became an integral part of Jewish civilization, and theatre as an institution was never a part of its cultural life. This may be in part because the Bible and the book of oral law — the Talmud and later rabbinical writings — contain vehement exhortations against the theatre. In Judaism, jesters are

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37

Alonso-Minutti, Ana R., Eduardo Herrera, and Alejandro L. Madrid. The Practices of Experimentalism in Latin@ and Latin American Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0001.

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This chapter introduces the main theoretical issues discussed in the book and puts them in dialogue with contemporary discussions about them. The book’s adoption of the plural term “experimentalisms” points toward a purposeful decentering of the usual US and Eurocentric interpretative frameworks. The case studies in this volume contribute to this by challenging discourses about Latin@s and Latin Americans and experimentalism that have historically marginalized them. As such, the notion of “experimentalisms” works as a performative operation of sound, soundings, music, and musicking that gives

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38

Wilson, Liz. Starvation and Self-Mutilation in Religious Traditions. Edited by Michael Jerryson, Mark Juergensmeyer, and Margo Kitts. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199759996.013.0013.

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This chapter investigates the place of destructive acts against oneself—such as starvation and self-mutilation—in the spectrum of violent actions performed in the name of religion. Self-starvation and self-mutilation share some of the ideological and performative features of violence in the name of religion. The self-sacrifice of Quang Duc was demonstrative of a time-tested Buddhist form of bodily practice known in Buddhist studies in the West as self-immolation. It is revealed that self-directed violence can be both an act of devotion and an act of protest. Self-immolation and hunger-striking

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39

Pérez-Milans, Miguel. Metapragmatics in the Ethnography of Language Policy. Edited by James W. Tollefson and Miguel Pérez-Milans. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190458898.013.7.

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This chapter traces briefly the origins and development of the ethnography of language policy. It argues that, although this tradition has put ethnography firmly on the language policy and planning (LPP) research agenda since the turn of the twenty-first century, it has not yet sufficiently addressed some persistent problems. Against this background, metapragmatics is presented as a suitable epistemological framework, one that draws from two contemporary shifts in the study of texts, contexts, and meanings in linguistic anthropology and sociolinguistics: (1) a departure from emphasis on denota

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40

Ophir, Adi, and Ishay Rosen-Zvi. Gentiles Are Not Barbarians. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198744900.003.0009.

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This chapter compares the Jew-goy distinction to another binary opposition functioning in Mediterranean antiquity, usually considered both older and similar: the Greek-barbarian one. After following the traces that this contrast has left in Jewish texts, primarily in Paul and in Tannaitic literature, the chapter compares and contrasts these two discursive formations, shedding light on the uniqueness of the Jew-goy distinction. With the aid of new studies on the concept of “barbarians” in classical Greece and Hellenistic cultures it reconstructs the relationship between the two oppositions and

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41

Austa, Luca, ed. The Forgotten Theatre II. Rombach Wissenschaft, 2020. http://dx.doi.org/10.5771/9783968210018.

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This book contains the lectures given at the second international conference on ancient and fragmentarily preserved drama called The Forgotten Theatre, which was held in Turin in 2018. All these contributions have been reworked according to the discussions at the conference and previously published research literature on this subject, and have been subjected to a peer review. Through interdisciplinary cooperation, these conferences, which take place annually, aim to advance academic research into fragmentary texts from not only ancient Greek and Roman theatre but also from other performative t

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42

Gill, Denise. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190495008.003.0007.

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The conclusion offers important departure points for scholars to push ahead with the study of music, emotion, feeling, sound, and affective practices. Identifying and interrogating one affective particular—“melancholy”—in Turkish classical musicians’ historicizing, narrative, sonic, artistic, performative, and transmission processes, the conclusion argues that melancholies must be understood as affective practice. The ending compares normative U.S. and Turkish assumptions about melancholy, and interrogates the author’s own performances of melancholy and a trip to the rhizomatic reed beds of so

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43

Johnson, Tom. Legal History and The Material Turn. Edited by Markus D. Dubber and Christopher Tomlins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198794356.013.27.

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This chapter considers the implications of the ‘material turn’ in the humanities and social sciences for the study and writing of legal history. It suggests three paths forward for how legal historians might incorporate these insights into their research. These approaches are labelled as ‘categorizing’, ‘materializing’, and ‘filing’. ‘Categorizing’ refers to the possibility of redrawing ontological categories which could open up new ways of understanding law in the past. ‘Materializing’ looks at an analytical approach in which law is understood as a phenomenon composed of the material things i

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44

(Editor), Laura B. Lengel, and John T. Warren (Editor), eds. Casting Gender: Women And Performance in Intercultural Contexts (Critical Intercultural Communication Studies). Peter Lang Publishing, 2005.

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45

Pryce, Paula. Sanctuary. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190680589.003.0007.

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Highlighting the interconnected roles of agency, habitus, and ambiguity, this chapter describes the book’s core thesis: the variability and interdependence of three culturally specific knowledge types (performative knowledge, unknowing, and unitive being), which result from practitioners’ differing capacities to “evoke the divine.” Expressed as an algebraic formula, this new epistemological theory of differential knowledge adds to classic studies of ritual and perception by detailing the diversity and fluidity with which “communitas” or phenomenological intersubjectivity actually occurs in a p

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46

Steyaert, Chris. Michel Serres (1930b). Edited by Jenny Helin, Tor Hernes, Daniel Hjorth, and Robin Holt. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199669356.013.0034.

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Michel Serres, a French philosopher and mathematician, is known for his enquiry into the interrelationships between various systems ranging from science and philosophy to mythology and poetry/literature. Such systems can be compared with one another to determine what each tries to exclude (for example, noise, disorder, or turbulence). This chapter examines Serres’ philosophy and its relevance to processual organization studies. It considers his conceptions of time, translation and mediation, the third-excluded and the third-instructed, multiplicity and complexity, the body and the senses, and

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47

Riches, Gabby. Feeling Part of the Scene. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.17.

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What does it mean to be an extreme band in northern England? How do female and male metal musicians come to feel part of a scene that is continuously splintering into spatial fragments and social circles? What sorts of sensual and affective intensities emerge during these music making performances and practices? These questions, which remain peripheral within popular music, leisure, and metal music studies, are central to this chapter. Drawing upon the author’s ethnographic research of Leeds’s extreme metal scene, this chapter draws on feminist poststructuralism to examine how the fluctuating

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48

Yelle, Robert A. Semiotics. Edited by Michael Stausberg and Steven Engler. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198729570.013.15.

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Within those disciplines pursuing semiotic approaches to religion, recent decades have been characterized by a shift toward the pragmatic and performative dimensions of discourse. Roman Jakobson’s analysis of the poetic function of language has been extended to ritual, which in some cases deploys poetry to enhance rhetorical performance. The metricalization of ritual often constructs indexical icons that mirror and converge with real-world events that ritual seeks to bring about. The ability of the sign to figure something absent intersects with the general problem in religion concerning how (

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49

Natale, Simone, and Diana Pasulka, eds. Believing in Bits. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190949983.001.0001.

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Situated at the theoretical interface between the fields of media studies and religious studies, Believing in Bits advances the idea that religious beliefs and practices are inextricably linked to the functioning of digital media. Digital media—conceived as technologies and artifacts, as well as the systems of knowledge and values shaping our interaction with them—cannot be analyzed outside the system of beliefs and performative rituals that inform and prepare their use. How did we come to associate things such as mind reading and spirit communications with the functioning of digital technolog

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50

Decker, Gregory J., and Matthew R. Shaftel, eds. Singing in Signs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.001.0001.

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Singing in Signs is a collection of essays from prominent opera scholars that explores the rich interplay of symbols in the operatic genre, while simultaneously providing perspective on the state of opera study. Each author, whether explicitly or implicitly, uses the powerful tools of semiotics (the study of signs) to construct interpretations and discover relationships among music, lyrics, and drama. Authors in this collection use a combination of traditional and emerging methodologies to engage composer-constructed and work-specific music-semiotic systems, broader sociocultural music codes,

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