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Littérature scientifique sur le sujet « Praxis performative »

Auteur : Grafiati
Publié le 19 juillet 2023

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Articles de revues sur le sujet "Praxis performative"

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Sting, Wolfgang. « Performance und Theater als anderes Sprechen ». Scenario : A Journal of Performative Teaching, Learning, Research VI, no 1 (1 janvier 2012) : 56–65. http://dx.doi.org/10.33178/scenario.6.1.4.

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Die aktuellen performativen Spiel- und Inszenierungsformen der szenischen Künste halten innovative Impulse für die Konzeption und Praxis des Sprachenlernens bereit. Das zeigen die Kategorien des Performativen, die am Beispiel des Flashmobs in diesem Beitrag herausgearbeitet werden wie z.B. Aktion, Körperlichkeit, Bewegung, Intensität, Gemeinschaft, Spielfreude, Ereignischarakter, also Improvisieren, Inszenieren, Präsentieren und soziale Interaktion im öffentlichen Raum. Diese körperlichen, sozialen und ästhetischen Handlungs- und Erfahrungskategorien markieren wesentliche Elemente jugendlicher Lebenswelt und unterstützen Lernprozesse nachweislich. Performative Praxis bedeutet Wirklichkeit und Wirkung erschaffen; didaktisch gewendet heißt das: Performance und Theater allgemein als Spiel- und Interaktionsform leben von einer elementaren Handlungs-, Erfahrungs-, Subjekt-, Gruppen- und Situationsorientierung. Deshalb sind pädagogische Settings und Lernkonzepte heutzutage sehr an Performance und dem Moment der Performativität interessiert. Im diesem Beitrag wird am Beispiel des TheaterSprachCamps in Hamburg illustriert, welchen Stellenwert eine am Performativen orientierte Theaterpraxis in diesem Konzept der Sprachförderung einnimmt und welche Wirkung sie entfaltet. Sprechen an dieser Stelle verweist darauf, dass Theater und Performance als Kunst- und Kommunikationsform neben Sprache als gesprochenem Wort eine Vielzahl von Sprachen und Sprechformen wie etwa Körper-, Bild-, Symbol-, Rhythmus-, Bewegungs-, Raumsprache bzw. szenisches und performatives Sprechen umfasst. Der Beitrag basiert auf schon veröffentlichten Passagen aus Sting (2010), Sting (2011), siehe Literaturverzeichnis.
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Prokushenkov, Pavel. « Strategy Formation as Narrative-Driven Performative Praxis ». International Journal of Management and Decision Making 22, no 1 (2023) : 1. http://dx.doi.org/10.1504/ijmdm.2023.10048440.

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Prokushenkov, Pavel. « Strategy formation as narrative-driven performative praxis ». International Journal of Management and Decision Making 22, no 3 (2023) : 310–33. http://dx.doi.org/10.1504/ijmdm.2023.131734.

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O'Neill, Maggie, et Phil Hubbard. « Walking, sensing, belonging : ethno-mimesis as performative praxis ». Visual Studies 25, no 1 (23 mars 2010) : 46–58. http://dx.doi.org/10.1080/14725861003606878.

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Aita, Sean. « Performing England : language and culture in performative praxis ». Research in Drama Education : The Journal of Applied Theatre and Performance 15, no 3 (août 2010) : 361–84. http://dx.doi.org/10.1080/13569783.2010.495270.

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Shukri, Salma T., et Kate G. Willink. « Interpretive Discernment and Performative Listening ». Departures in Critical Qualitative Research 9, no 3 (2020) : 48–77. http://dx.doi.org/10.1525/dcqr.2020.9.3.48.

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By highlighting a collaborative praxis between performative interviewing and affect theories, this essay theorizes interpretive discernment as an orientational and conceptual foundation that paves the way for performative interviewing. Interpretive discernment—the process of sensing and interpreting affective registers—encompasses both a methodological orientation and an analytical heuristic. We argue that interpretive discernment builds an interpretive architecture that expands our vocabulary, heightens our ability to listen for the affective in interviews, homes in on methodological nuances that enrich critical qualitative approaches to interviewing, and provides a structure to performative interviewing analysis.
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Swafford, Shelby. « To Be a (M)other : A Feminist Performative Autoethnography of Abortion ». Cultural Studies ↔ Critical Methodologies 20, no 2 (26 septembre 2019) : 95–103. http://dx.doi.org/10.1177/1532708619878743.

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This is an abortion story. A feminist story. A body story. An autoethnographic story. This is a story of learning how to story abortion in a culture unforgiving to abortion stories. A story of embodying a body deemed unworthy of embodiment. A story of enfleshment enmeshed amid silence and violence. Influenced by feminist embodied auto-epistemologies, this essay seeks to disrupt the functionality of the U.S. American abortion debate through a performative, somatic reclamation of my experience from the semantic constrictions of highly medicalized, politicized, and individualized hegemonic discourses. Engaging a feminist performative autoethnographic praxis informed by écriture feminine, I center my corporeal body as a site of epistemological value to speak back against the limiting narratives of/about abortion while illustrating the critical creative potentials of performative autoethnographic storytelling. This essay weaves theory, lyric prose, epistolary, and poetry to performatively reconstruct, reframe, and reclaim my abortion experience through an embodied autoethnographic framework, in hopes of illuminating possibilities for others to “[experiment] with how we might tell stories differently rather than simply telling different stories” (p. 16).
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Spry, Tami. « Bodies of/as Evidence in Autoethnography ». International Review of Qualitative Research 1, no 4 (février 2009) : 603–10. http://dx.doi.org/10.1525/irqr.2009.1.4.603.

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Qualitative researchers are aptly positioned to address issues implicated in the politics of evidence in scholarship. Autoethnography in particular carries important methodological implications for how the body is sited in what constitutes knowledge, evidence, and the evidence of knowledge. I argue that if autoethnography is epistemic, then the evidence of how we know what we know must reside in the aesthetic crafting of critical reflexion upon the body-as-evidence. As we develop “post” methodologies we may be in danger of expecting the personal or emotional to stand in for literary acumen. Performative autoethnography resides in the intersections of knowledge construction and art, in the aesthetic articulation of the performative body, in a personally political reflection whose evidence is an epistemic/aesthetic praxis. I utilize autoethnographic writing on loss and hope to operationalize the epistemic/aesthetic praxis as an ethical imperative for performative autoethnography.
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Rittberger, Kevin. « If you don’t organize yourselves, you will be organized ». Paragrana 26, no 2 (27 novembre 2017) : 123–39. http://dx.doi.org/10.1515/para-2017-0025.

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AbstractIm vorliegenden Text versucht der Autor, die Kybernetisierung des Alltags innerhalb der Theaterinstallation Syntegrity zu beschreiben. Anhand der ästhetischen Umsetzung einer Kultur der Commons geht es darum zu untersuchen, wie die performative Vorwegnahme eines künftigen Alltags mit den Begriffen Präfiguration und Vorahmung beschrieben werden kann. Die zentralen Konzepte der Selbstorganisation und Selbstverwaltung bilden die diskursive Grundlage einer gemeinsamen Arbeit am Skript, das (nur) inmitten der technologisch-materiellen Umgebung des Labors entstehen kann. WissenschaftlerInnen, AktivistInnen, KünstlerInnen, AutorInnen und PerformerInnen können so bereits bestehende Forschungsprojekte nutzen, um künftigen Alltag mittels performativer Vorahmung als grundlegend andere Praxis erscheinen zu lassen.
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Kockelman, Paul. « The Epistemic and Performative Dynamics of Machine Learning Praxis ». Signs and Society 8, no 2 (mars 2020) : 319–55. http://dx.doi.org/10.1086/708249.

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Thèses sur le sujet "Praxis performative"

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Foy, Matthew M. « Performative Riffing : Theory, Praxis, and Politics in Movie Riffing and Embodied Audiencing Rituals ». OpenSIUC, 2013. https://opensiuc.lib.siu.edu/dissertations/753.

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Audience agency, text-reading practices, and the roles mediated cultural texts play in the lives of readers have long been at the center of enduring debates among Critical, Cultural, Performance, and Rhetorical Studies scholars. One salient ongoing dialogue among scholars and critics questions the degree to which audiences actively participate in the process of making sense of mediated texts. How capable are media consumers of comprehending and responding to texts containing oppressive discourses? If pop culture is vital in shaping what it means to belong to a culture, can politically minded consumption of cultural texts be a tool by which we can resist or subvert dominant ideologies? This study enters into this dialogue through critical engagement with the emergent embodied audiencing practice of movie riffing, which is characterized by performers talking back to a film, or any matter of mediated text, as it is screened, through a series of humorous and/or critical speech acts. Embracing performative riffing as both a text-reading ethic for negotiating ideologically loaded pop culture texts and a space-based return of embodied performance in a social setting typically characterized by stillness and silence, this study explores the present state of riffing and looks to riffing's future by theorizing a movie-riffing ethic that constitutes explicitly political performance. This study is divided into eight chapters. Chapters 1 and 2 consider contemporary and historical anecdotes on audiencing practices to situate riffing within a rich legacy of embodied audiencing, text appropriation, meta-commentary, and ritual performance. Chapter 3 discusses the theoretical implications of riffing by situating riffing in scholarly discussions concerning audience agency in making sense of ideologically loaded pop culture texts; I argue riffing explicates the possibilities and constraints of audience agency, all of which should be recognized if riffing is to become a valuable performance tactic by which consumers of U.S. popular culture might enter into struggle over ideologically loaded cultural texts and reclaim a space for embodied audiencing in the cultural marketplace. Chapters 4 through 6 are dedicated to site- and text-specific inquiries into the current state of performative riffing and embodied audiencing. Chapter 4 chronicles my initial foray into ritual embodied audiencing with an ethnographic account of the 24-hour participatory "bad" movie festival B-Fest. Recounting my experiences of a B-Fest spent riffing alongside a group of enthusiastic B-Fest aficionados, I consider both the shortcomings and potential power of B-Fest riffing as a participatory, embodied audiencing ethic. Chapter 5 continues my exploration into site-specific audiencing rituals and weaves elements of text-specific inquiry, as I examine the popular audiencing ritual of the 2003 film The Room through a lens of Victor Turner's social drama model. I argue The Room's audiencing ritual and its related performances constitute part of a discursive struggle between the film's fanbase and the film's director, Tommy Wiseau, to claim the film's enduring success as a midnight movie phenomenon. In describing ways in which audience members interact with the film and each other during screenings of the film, I explore the implications of tactical in-theater performance in reading pop culture texts. Chapter 6 moves out of the realm of physical theaters and into the world of popular media as I explore today's most famous and influential riffing showcase, Mystery Science Theater 3000, and consider the tactical strengths and weaknesses of its model of movie riffing as a vessel for cultural criticism. I undertake a close textual reading of MST3K's characteristic movie riffing and identify themes that politically minded riffers might utilize to aid their efforts to read and potentially challenge ideologically loaded texts. Yet, recognizing that the discourse of the show at times showcases problematic attitudes that can be read as destructive or offensive in ways that suggest ridiculing a text is not necessarily the same as subverting it, I also consider ways in which MST3K's model of riffing falls short or presents challenges--and, therefore, avenues for innovation and growth--to politically minded riffers. Chapters 7 and 8 reflect on the lessons gleaned in previous chapters to articulate theoretical contributions and future directions for riffing and embodied audiencing practices. Chapter 7 reflects upon the observations and ideas gathered in Chapters 4 through 6 and localizes them in three related contexts--amateur riffing and online communities, mediated activist art, and the political use of humor--which I offer as further illuminating possibilities, challenges, and new directions and paradigms for riffing. Finally, Chapter 8 draws from my observations in Chapters 4 through 7 and discusses future directions that performative riffing and embodied audiencing performances provide as text-based discursive tools for interpreting and critiquing mediated cultural texts and the ideologies and interpretations of reality they convey. I glimpse into the future of riffing and in-theater performance and discuss the possibilities of riffing as a method of political performance by which media consumers can talk back to mediated texts and those texts' ideologies and interpretations of reality.
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Spiers, Peter. « Beyond representation in imaging : developing a dialogical approach using performative action, mimesis and methexical praxis ». Thesis, University of Ulster, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.560807.

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This research project sets out to define a methodology for photographic imaging in the field of contemporary [me art that goes beyond utilising representational means and moves towards an encounter of lived experience. My original contributions to existing knowledge are: • Taking the photograph out of an abstracted system of representation and situating the photographic image in the immediacy of viewer's lived event of actuality. • Demonstrating a working dialogical model of photographic imaging in terms of the imaging event and the image encounter. • Combining the imaging event and the image encounter to form an all encompassing approach to photography in which the photographer, image and viewer hold collaborative positions of invested responsibility. • Formulating a model that combines ideas of becoming and synchronicity which can be used in art processes as a means to encounter what can be described as coincidence or patternicity in the locale event of the artwork, depending on the viewer's viewpoint. Using a strategy that incorporates Dialogical Practice, Performative Action, Mimesis and Methexis, this research places the image in the lived actuality of the receiver. Led by studio experiments, live action performance and exhibited projects, the research is augmented with textual essays and reports, examining the concepts at play and bringing light to those operations that are not so easily observable in the documentation of the practical research. Keywords: Contemporary [me art photography, improvised performance, performative action, mimesis, methexis, dialogism, Bakhtin, becoming, synchronicity, actuality, representation, aesthetics.
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Kahlon, Raminder Kaur. « Performative politics : artworks, festival praxis and nationalism, with reference to the Ganapati Utsava in western India ». Thesis, SOAS, University of London, 1998. http://eprints.soas.ac.uk/29520/.

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This study explores regionally based perspectives on the broader nation-wide phenomena of the politicisation of Hinduism (Hindutva) in historical and contemporary times (van der Veer 1987; Basu et al 1993; Pandey 1993; Jaffrelot 1996). However, in contrast to these works, my focus is on the extent to which an annual religious festival, the Ganapati utsava, has been effected by the wider socio-political terrain in the cities of Mumbai and Pune, Maharashtra. The Ganapati utsava is a discursive arena for mutually reliant activities of a devotional, artistic, entertaining, and socio-political nature. The intertwining of the various constituent elements sustain and accentuate each other in the performative milieux of the festival, yet also lie outside of totalising political schemas. I note that the festival has become a site for the hegemonic strategies of several political parties, and sponsored media competitions who all vie for supremacy in the festive context. As a result, the festival represents an uneven field of consent and contestation (Laclau and Mouflfe 1985). The history, and contemporary praxis of the festival necessitates a consideration of the movement of nationalism(s) for which the festival played a significant part, particularly under the auspices of Bal Gangadhar Tilak since the 1890s. I propose that the efficacy of nationalism as a hegemonic strategy relies as much on public performative events, as on constitutional politics and social structures (eg. Gellner 1983), or on the print media, such as newspapers and novels (eg. Anderson 1983). By integrating Habermas' views on the 'public sphere' (Habermas 1991) and perspectives on public rituals or 'public arenas' (Freitag 1989), the study notes the interactive potency of both collective gatherings and media forms as sites for variant nationalist strategies. Mandap (shrine) tableaux, in particular, are considered as performative loci for socio-political variables, particularly in their audio-taped narratives and visualisation of versions of the nation.
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LeBaron, Susannah Bunny. « The Revolutionary Breath ». OpenSIUC, 2016. https://opensiuc.lib.siu.edu/dissertations/1162.

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The Revolutionary Breath is praxis of conscious breathing and values awareness. I explore the transformative potential of this praxis through a method I call axio-somatic ethnography, which is an expansion of traditional autoethnography that de-centers identity and valorizes body-sensing as the foundation for authentic storytelling. The Revolutionary Breath is juxtaposed to the State Sponsored Breath, a constellation of physical and cultural habits and values. The Revolutionary Breath, itself, is composed of three Allowings, or conscious sensing practices, all framed within a commitment to the depth and ease of one’s breath. Throughout the dissertation, I use axio-somatic ethnography to present my own experiences of putting this praxis into use.
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Nzalakanda, Rufin. « La performativité de la grande entreprise pharmaceutique dans la chaîne de développement des produits de santé : une analyse de la fraude fondée sur le concept de Poche organisationnelle Informelle (P.O.I) ». Electronic Thesis or Diss., Paris, HESAM, 2021. https://tel.archives-ouvertes.fr/tel-04164360.

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Depuis les années 1950, l'industrie pharmaceutique n'est pas épargnée par les affaires de scandales sanitaires (thalidomide 1961, 1962 et 1963), Distilbène (1977), Médiator (2009) etc. Il s'agit en général des produits de santé dont les effets indésirables graves n'ont pas été identifiés plus tôt ou simplement dissimulés par les fabricants tout au long de la chaîne de développement des produits de santé (CDPS). Ces effets ont généré des conséquences désastreuses en France et à l'étranger, augmenté les dépenses de santé publique et dégradé l'image de l'industrie pharmaceutique et la confiance des populations à l'égard de ladite industrie. Ce diagnostic laisse présager l'existence d'un dilemme auquel cette industrie fait face. Dans cette recherche, nous abordons ce dilemme sous l’angle de la fraude normalisée par les grandes entreprises pharmaceutiques (G.E.P) dans la CDPS qui illustre le parcours d’un produit de santé. Notre sujet de recherche, positionné dans le champ de recherche de la criminalité d'affaires (criminalité en col blanc, Edwin. Sutherland, 1930), pose une question pratique : de quelle manière la grande entreprise pharmaceutique fait « faire » pour normaliser la fraude dans la chaîne de développement des produits de santé (CDPS) ? Le déploiement de la M.C.R.A.A (Méthode de Contextualisation et d'analyse par la Recherche des Alliés et des affinités) a été l'approche méthodologique mobilisée dans le cadre de cette recherche. Cela nous a permis de produire des résultats en deux temps. Le premier type de résultat est assimilé à l’émergence du concept de Poche Organisationnelle Informelle (« P.O.I. »), en tant que dispositif formé par ses ressources matérielles, symboliques et ses membres affiliés, c’est-à-dire des acteurs équipés partageant un secret organisationnel autour d’un produit de santé faisant l’objet de fraude d’une part, et des acteurs externes d’autre part. Ce résultat a été progressivement transformé en résultats définitifs après renouvellement de notre processus de recherche. Cette transformation met en évidence les deux phases du cycle de vie de la P.O.I : sa réussite (résultats principaux de la thèse) et son échec (résultats secondaires de la thèse) dans la normalisation de la fraude dans la chaîne de développement des produits de santé (CDPS)
Since the 1950s, the pharmaceutical industry is still affected by the scandals of health scandals (thalidomide 1961, 1962 and 1963), Distilbène (1977), Vioxx (2004), Mediator (2009), breast prostheses PIP (2010), ...These are generally health products that have a harmful effect that is not detected earlier in the collective management of these products throughout the health product development chain. These harmful effects have generated disastrous consequences in France and abroad ( some organizations say that these are cases of pain that have caused illness, cancer or death), but also in economic and financial terms (national health costs), image and trust. This is the diagnosis made about the functioning of the pharmaceutical industry. This diagnosis reveals the existence of a dilemma that this sector must undoubtedly resolve. Various situations are often mentioned to refer to this dilemma. Some situations refer to the negligence and imprudence of institutions and organizations for the control and supervision of health products, others are oriented towards the fault and error of the actors involved in the collective management of these products, and others are about fraud perpetrated by actors mandated to develop health products that help the population to eliminate the different diseases. This thesis focuses on situations of fraud committed by big pharma as a research subject. She positions him in the field of white-collar crime, a term invented by American sociologist Edwin. Sutheland in the 1930s). The analysis of this research subject poses a practical question: How big pharma performs to normalize fraud in the health product development chain that includes national, transnational and global levels. It is important to note that this thesis does not aim to stigmatize big pharma, which are essential actors because they contribute to the disappearance of diseases by providing health products to society. Rather, it focuses on a phenomenon that has been clearly identified and that represents a threat to the planet, which has already affected health systems several times, thousands of people in the world and caused considerable human and financial losses. Thus, it relies on the experience of institutional, organizational and individual actors in the health sector, in terms of health scandals marked by pharmaceutical fraud, to answer research questions. The research results show that, big pharma is instrumentalising P.O.I, a structured and structuring organisation, to perform the actors who are involved in the collective management of health products in such a way that their practices and discourse are consistent with what she thinks, says and does. It is through this mechanism that pharmaceutical fraud is normalized at the national, transnational and global levels. More specifically, the P.O.I is a network organisation composed of human and non-human actors.Hidden within the big pharma, it materializes the ability of this enterprise to produce a generalized effect in the process that describes the different phases of realization of a health product, which will encourage the actors involved to legitimize the fraud in order to serve the interests of the entreprise in which it is housed
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Gall, Alfred. « Performativer Humanismus : die Auseinandersetzung mit Philosophie in der literarischen Praxis von Witold Gombrowicz ». Dresden Thelem, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015749452&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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Contreras, Lorenzini Maria José <1977&gt. « Il corpo in scena : indagine sullo statuto semiotico del corpo nella prassi performativa ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1092/1/Tesi_Contreras_Lorenzini_Maria_Jose.pdf.

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Contreras, Lorenzini Maria José <1977&gt. « Il corpo in scena : indagine sullo statuto semiotico del corpo nella prassi performativa ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1092/.

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Adam, Zoé. « Praxis Queer : les corps queers comme sites de création et de résistance ». Thesis, Lille 3, 2018. http://www.theses.fr/2018LIL3H034/document.

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Praxis queer s'intéresse à l'utilisation de pratiques artistiques au sein du militantisme queer. La réflexion s'organise en trois axes : artistique, militant, et quotidien. L'axe artistique analyse les techniques d'invention de soi, de subversion des normes corporelles, sexuelles et de genre. Les militant-es établissent des jeux entre la performativité et la performance. L'axe militant met en évidence l'utilisation de l'art en tant qu'outil de lutte queer, ce qui questionne les stratégies de lutte et l'efficience politique de l'art. Le troisième axe se concentre sur les pratiques quotidiennes de résistance. Ces pratiques sont analysées à la fois sous l'angle de la micropolitique et de la performance artistique, questionnant les limites de l'art. Certains thèmes transversaux se retrouvent dans ces trois axes : la performance, l'enjeu des archives au sein des luttes queers, l'utilisation militante des nouvelles technologies et la figure du cyborg. De nouveaux enjeux du militantisme queer, comme les affects, l'écologie et l'anticapitalisme, sont abordés. Cette thèse est un geste militant. Elle s'adresse autant au monde universitaire qu'aux activistes et elle correspond à un engagement personnel. Elle se base sur des entretiens réalisés avec des militant-es de France et d'Espagne. Ces entretiens sont utilisés de façon à valoriser les savoirs militants et à les mettre en parallèle du savoir "légitime" que représentent les auteur-es comme Judith Butler, Jack Halberstam, Paul Preciado ou Amélia Jones. Les outils de l'histoire des arts sont utilisés pour analyser des actions militantes. La dimension politique ou militante des oeuvres est systématiquement analysée
Praxis queer questions the use of artistic practices in queer activism. The reflection is organized around three lines of thought : artistic, militant, and daily life resistance. The artistic axis analyses the techniques of self-invention and subversion of corporal, sexual and gender norms. Activists establish games between performativity and performance. The militant axis highlights the use of art as a tool of queer activism, which interrogates the strategies of struggle and the political efficiency of art. The third axis focuses on daily life resistance practices. These practices are analysed from both a micropolitical and artistic performance point of view, questioning the limits of art. Some cross-disciplinary themes can be found in these three areas : performance, the issue of archives in queer struggles, the militant use of new technologies and the figure of the cyborg. New issues of queer activism, such as effects, ecology and anticapitalism, are discussed. This thesis is a militant act. It is dedicated to academics as well as activists and is a personal involvement. It is based on interviews with activists from France and Spain. These interviews are analysed in such a way that it enhances militant knowledge and put it in parallel with the "legitimate" knowledge represented by authors such as Judith Butler, Jack Halberstam, Paul Preciado or Amelia Jones. The tools of art history are used to analyse militant actions. The political or militant dimension of works is systematically analysed
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Goodwin, Janna L. « Applied theatre in corrections : Community, identity, learning and transformation in the facilitated, collaborative processes of performative, artistic praxis ». 2005. https://scholarworks.umass.edu/dissertations/AAI3163669.

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This dissertation explores learning, community, identity and transformation as these transpire in the situated practices and process of The Performance Project, an artist-facilitated performing group that began in a county jail. Interpretation and discussion respond to the primary philosophical framework of Deweyan pragmatism and to Etienne Wenger's theory of learning, Communities of Practice, which is grounded in the assumption that engagement in social practice is the fundamental process by which people learn and develop a sense of identity. Too, aspects of Performance Theory are employed, as is methodological scaffolding, proposed by ethnographers of communication, that supports an understanding of the ways language and ritual may point to sacred objects and principles around which a community is organized. This dissertation submits a theoretical entity for consideration, “facilitated communities of collaborative, performative, artistic praxis,” proposing a model for pedagogic application, and contributes to an area of inquiry that is, in the author's view, under-explored by scholars of communication or performance: what occurs, for whom, in collaborative creative processes derived from theatre practices and explicitly centered upon art, participation and change.
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Livres sur le sujet "Praxis performative"

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Politisierung und Ent-Politisierung als performative Praxis. Münster : Westfälisches Dampfboot, 2006.

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

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

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Theater als Zeitmaschine : Zur performativen Praxis des Reenactments : theater- und kulturwissenschaftliche Perspektiven. Bielefeld : Transcript, 2012.

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Performativer Humanismus : Die Auseinandersetzung mit Philosophie in der literarischen Praxis von Witold Gombrowicz. Dresden : Thelem, 2007.

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Gall, Alfred. Performativer Humanismus : Die Auseinandersetzung mit Philosophie in der literarischen Praxis von Witold Gombrowicz. Dresden : Thelem, 2007.

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Performativität und Praxis. München : Fink, 2003.

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Baxen, Mary Jean. Performative Praxis : Teacher Identity and Teaching in the Context of HIV/AIDS. Lang AG International Academic Publishers, Peter, 2011.

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Hempfer, Klaus W., et Jörg Volbers. Theorien des Performativen : Sprache - Wissen - Praxis. eine Kritische Bestandsaufnahme. Transcript Verlag, 2014.

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Lehmann, Irene, Rainer Simon et Katharina Rost. Staging Gender - Reflexionen Aus Theorie und Praxis der Performativen Künste. Transcript Verlag, 2019.

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Chapitres de livres sur le sujet "Praxis performative"

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Schürmann, Eva. « Sehen als performative Praxis ». Dans Wahrnehmen als soziale Praxis, 31–41. Wiesbaden : Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-31641-9_2.

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Rosenkranz, Marie. « Praxis im Konflikt. Kunstaktivismus als performative Kulturpolitik ». Dans Politologische Aufklärung – konstruktivistische Perspektiven, 159–73. Wiesbaden : Springer Fachmedien Wiesbaden, 2023. http://dx.doi.org/10.1007/978-3-658-40513-7_9.

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Chaker, Sarah. « Musikvermittlung as Everyday Practice ». Dans Forum Musikvermittlung - Perspektiven aus Forschung und Praxis, 121–30. Bielefeld, Germany : transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839456811-010.

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This contribution is dedicated to another practical format of Musikvermittlung that was part of the lecture series back in 2019/2020: For the Austrian cello quartet Die Kolophonistinnen with its young musicians Hannah Amann, Marlene Förstel, Elisabeth Herrmann and Theresa Laun, practices of Musikvermittlung are an integral part of their daily professional routines. This is how the quartet has been able to make a name for itself, for its creative performative strategies and special arrangements of works, which all aim to address and connect with the audience, as the lecture series also impressively showed. Based on an interview with Marlene Förstel, Sarah Chaker outlines the motivation and strategies of the ensemble with regard to Musikvermittlung.
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Polzin, Chantal. « Implikationen für die Praxis ». Dans Zum Performativen des frühen Dialogs, 321–23. Wiesbaden : Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25831-3_10.

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Grebner, Helena. « 2. Das Interview als performativer Deutungsraum ». Dans Kultur und soziale Praxis, 89–111. Bielefeld, Germany : transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839460986-009.

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Hauser, Beatrix. « Das Vermitteln der Regel(n) : Menstruelle Unreinheit in der performativen Praxis indischer Frauen ». Dans Reinheit, 197–218. Wien : Böhlau Verlag, 2011. http://dx.doi.org/10.7767/boehlau.9783205791102.197.

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Polit, Karin. « Rituelles Lernen in ritueller Praxis : ». Dans Performative Lernkulturen, 41–60. Harrassowitz Verlag, 2017. http://dx.doi.org/10.2307/j.ctv11qdv1m.5.

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« Conclusion : The Performative Dialogics of Poethical Praxis ». Dans Ethics and Politics in Modern American Poetry, 194–218. Routledge, 2012. http://dx.doi.org/10.4324/9780203374337-13.

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« Architektur als performative Praxis : Fest – Szene – Ausstellung – Umnutzung ». Dans Absolute Architekturbeginner, 145–91. Wilhelm Fink Verlag, 2010. http://dx.doi.org/10.30965/9783846760369_006.

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Ambrose, Cohen. « Performative Discussion : Practicing Brechtian Praxis in the Classroom ». Dans The Brecht Yearbook / Das Brecht-Jahrbuch 41, 42–61. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787441392.007.

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