Gotowa bibliografia na temat „Performative redemption”

Abstract The 2014 staging and publication of Jonathan Moore’s play Inigo offers a unique commentary on the relationship between acting and spirituality within the Society of Jesus, the official name of the Jesuit Order. Through a close analysis of Moore’s play, this article contends that Jesuit spirituality draws on performative skills to inspire exemplary behavior and foster an embodied and long-lasting response to devotional narratives. In probing post-secular readings of hagiographical drama, the author considers the reasons for the ongoing fascination exerted by saints as stage characters in contemporary plays and argues that the success of Inigo is due to its humanistic reconfiguration of the notions of sanctity, faith, and redemption, as well as to its understanding of sainthood as the result of answering a religious and artistic vocation.

Beginning with an investigation into forms of aurality used in late fourteenth and early fifteenth-century Middle English devotional literature, this article breaks down journeys of affective piety in both the courtly romance and urban cycle plays. Traditional understandings of genre divisions are super-ceded in the Middle English period by performative spirituality and invocations to the audience/ reader to a contemplative posture. The Wakefield Master and the Gawain poet developed their work in dialogue with Lollard critiques of church excesses. They both show investment in personal expressions of inward devotions which had been popularized in the work of Nicholas Love and other Carthusian texts dealing in popular piety. Both The Second Shepherd’s Play and Sir Gawain and the Green Knight develop landscapes of upheaval and redemption around their characters, drawing the reader into individual reflection on well-known sacraments and intervals of the church year.

Prayer was at the heart of the anchoritic vocation, as an integrated, embodied spiritual practice. Goscelin of Saint-Bertin’s Book of Consolation offers a complex and flexible model of the praying anchorite through images, exhortations, and recommended practices, reflecting the nature of reclusive prayer as a performative gesture or state. Applying the terminology of “liturgy” proposed by Jean-Yves Lacoste, this essay examines how Eve of Wilton is envisioned at prayer, and encouraged in her life of prayer. This life is inextricably connected, for Goscelin, to the eschatological vision which forms the horizon of the text: only through the embodied practice of prayer, metonymic of reclusion itself, can the transformation of the body be anticipated. Goscelin appropriates the transcendent connection between persons offered by prayer to collapse the limitations of space dividing him from Eve, and he pins his hopes for reconciliation with her on the ultimate redemption of both body and space.

A better understanding of the multifaceted, dynamic and situated identity of the language learner stands at the center of much current SLA research. One of the main ways in which it is investigated is through the examination of autobiographical language learning histories. In an effort to better understand some of the processes which lead to a motivated, confident and successful language learner and user, this article analyzes the language learning histories of two EFL student-teachers, notable for their commitment to the learning and teaching of English. A close analysis of their narratives, focusing on thematic, stylistic and performative aspects, reveals what narrative psychologist McAdams (2006) has called “redemptive” patterns, that is, narrative structures in which hardship leads to inner growth and difficulties become “springboards” (Pals, 2006) to success. The two narrators also display a similar flexibility in their evolving self-positioning in response to the difficulties they narrate, and for both, attachment to the imagined community of Anglophone popular culture is an essential component in this process. Together, the learning experiences delineated in the accounts support the call for student-focused pedagogy, which puts emphasis on creating a positive emotional atmosphere, on the one hand, and providing rich intercultural knowledge, on the other.

This article offers a new perspective on the relations between Ivan the Terrible and the Orthodox Church by examining the cultural and anthropological context of the resignation of Metropolitan Afanasii in 1566. Historians usually think that Afanasii, who headed the Orthodox Church from 1564 to 1566, resigned because of his disapproval of the Oprichnina terror. Correspondingly, most historians are skeptical about the official reason for Afanasii’s resignation, his illness. On the basis of a critical reassessment of existing sources from the perspective of Muscovite attitudes to illness, this paper argues that Afanasii’s illness was genuine. At the same time, his illness and resignation included a performative component because Afanasii faced a dilemma: to stay in the metropolitan’s office until his death as required by cultural conventions or to seek a spiritual cure for his illness through repentance and redemption. In his response to this cultural challenge, Afanasii evoked the themes of miraculous healing and glorifying God through creative work by resorting to the cults of his most venerated predecessors on the metropolitan’s see.

R.K. Narayan's The Guide (1958) is a transformation journey through the protagonist Raju, which is a masterpiece of profound analysis on human ethics, by intertwining morals, deception, and self-discovery. This paper explores how Raju’s transition away from a duplicitous tour guide to an unexpected spiritual figure illustrates the flexibility of moral norms. Raju's spiritual development, contextualized in the sociocultural milieu of postcolonial India, deals with the tussle between egoism and altruism and the conventions that dictate identity and restitution. Narayan responds to Western ethical frameworks such as Utilitarianism, Freudian thoughts, and Kantian ethics, but he does this while defining the journey within the dharma (duty), karma (activities and consequences) and moksha (liberation) of Indian philosophical traditions. Through such diverse perspectives, The Guide illustrates how the act of reflection can be life-changing and blurs the lines of what is right and wrong. Deception, which is at the heart of the analysis of this topic, is in interpersonal, relational, social and personal realms. Narayan uses Raju’s recurring tendencies toward deceitfulness as a lens to interrogate the performative quality of identity and spirituality in the way we consume or commodify it. His rise to fame as a spiritual leader casts doubts on the sincerity of personal change, and shows how morality is like a rubber band. Raju's later fasting for a drought-stricken village is critically regarded as filial piety, and remains difficult to characterize between performative redemption and real sacrifice. Here, lying is not only an act of self-preservation, but also a meditation on the currency of belief, the collective authorship of morality and the gullibility of society. Thus, the paper contributes to the new insights into Narayan's position on cultural authenticity and adaptability of spiritual and moral values by placing these relationships in postcolonial and postmodernist contexts, helping bridge the research gaps. Finally, this paper argues for comparative analyses that situate The Guide within the scope of international literary traditions that explore identity and morality. Such examinations would highlight its continuing relevance in a modernized, globalized world by illuminating its relationship to contemporary musings on ethical elasticity and authenticity. Narayan manages to universalize elements of plot and character in the story establishing his novel not only as a classic in Indian English literature, it is also a deep contemplation of humanity and the nuances of ethics and self-realization.

In this article I reflect on the deployment of crass vandalism in contemporary decolonial and anti-racist struggles, as exemplified by the recent activist campaign against Belgium’s colonialist patrimony. Through a consideration of two internal, “enlightened” critiques of such vandalist activism, I argue that an irresolvable, recurrent conflict between two fundamental performative politics, based on the performance of civility and barbarity respectively, plays itself out here. In recourse to arguments by Benjamin, Žižek, Jameson and Fanon, I offer a redemptive critique of the second type of politics and examine the “paradoxical efficacy” of “staging barbarity” for decolonial, anti-racist purposes.

Abstract This essay examines the notion of Narrentum (foolishness) in Franz Kafka’s writings, reflecting Walter Benjamin’s engagement with the legacy of Kafka’s fools. The Narr, associated with playfulness, irony, and resistance, provides a comic perspective on the question of being-Jewish. Alongside its Germanic, mostly Baroque, heritage, the Narr incorporates traditional Jewish tropes, primarily rooted in Aggadic traditions. However, in Kafka’s world, the Narr embodies performative skills also linked to Yiddish theatre. In Benjamin’s readings, Kafka’s Narr is associated with the crisis of modern Judaism and with different modes of wisdom. The Narr signifies particular sorts of nihilistic freedom, which Benjamin refers to as redemptive.

<div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p><span>How can the human relationship with the other-than-human be reenvisioned as neither destructive nor redemptive but as dynamic and playful? I explore ways that the archetype and practice of the fool and theatrical clowning could highlight this fundamental connection. This autoethnographic performative study draws on the work of such play theorists as Huizinga, Carse, Nachmanovitch, Winnicott, Bateson and Martin, Ackerman, and leadership visionary Wheatley. It is a dance between stories and literature that gives examples of play as a way to navigate and imagine a heart, mind, and body engagement with community. </span></p></div></div></div></div>

This paper compares the ritual management of fortunate and unfortunate dead (hungry ghosts) by a Chinese new religious movement named Déjiāo 徳教 (lit. Teaching of Virtue), which emerged in Chaozhou (the northeast of Guangdong province) in 1939, before spreading to Southeast Asia after World War II. Based on ethnographic data collected in Chaozhou and Thailand between 1993 and 2005, the analysis reveals significant differences concerning both the ideological and performative aspects of the ritual processing of the two categories of dead. The funeral care of orphaned dead by Déjiāo conforms to the Chaozhou tradition of xiū gūgú 修孤骨, a festival of second burial allegedly devised during the Song dynasty by a local Buddhist monk; most of his sequences require the activity of mediums. Turned toward the salvation of the unfortunate dead, this festival was enriched by a universalist ambition through its adaptation to the Thai context. In doing so, it perfectly expresses the moral and religious goals of Déjiāo, one of the most active Chinese redemptive societies.

Equal protection law operates within a narrative structure of fall and redemption. Framed as a repudiation of race, color-blind constitutionalism appears to enact this redemption by aspiring to transcend racial consciousness. And yet prohibitions against racial classification in fact serve to heighten and preserve racial awareness, in direct contradiction of their stated goals and justification. This chapter examines the narrative structure and constraints of equal protection law, within which efforts to achieve racial equality appear as equivalent to state-sponsored racial segregation. Theorizing color-blindness as a kind of performative contradiction, it demonstrates the race-conscious logic of color-blind constitutionalism.

This chapter presents a cultural sociological case study of New Life Fellowship (NLF), a meeting of Alcoholics Anonymous. It begins with a brief sketch of the version of the religion of the heart encoded and enfleshed at NLF—Alcoholics Anonymous (AA) discourse. It then analyses NLF meetings as a type of collective ritual, which comprises four components: erection of symbolic boundaries, demarcation of a distinct social environment, the performative uses of storytelling, and practices of self-cultivation. The relationship between AA discourse and the pathologies of egoism and anomie are discussed. The chapter argues that critics are wrong to suggest that the religion of the heart in this form cannot serve as a site of social integration or moral regulation. The chapter concludes that NLF functions as a generative institution, which facilitates, rather than stifles, civic engagement, as well as a community of redemption, where members are offered the chance to experience moral redemption.

Drawing on the cultural tradition of the martyr as a figure whose suffering confirms the truth of his testimony to a cause, this chapter examines the precarious terms on which singular individuals are allowed – or called upon – to speak for themselves and others. Moving from live art practices of self-injury where blood is really flowing through performative renditions of endurance to works which invoke the logic of the confessional, it examines the narratives of self-sacrifice and redemption which surround martyrdom – and the contemporary works which challenge their logic. Featured practitioners: Ron Athey, Kira O’Reilly, Franko B, Eddie Ladd, Adrian Howells, Scottee.

This chapter examines the madrasa scholars' commitment to a linear understanding of knowledge. Muslim traditionalists in South Asia struggle to hold on to both the imperative of piety and the modern challenge to have the broadest grounding in knowledge. But the aspiration to integrate the full panoply of knowledge remains a struggle. A minority of voices have questioned whether madrasas should exclusively focus on knowledge of salvation as a priority, which remains the default position. The absence of modern knowledge from madrasa curricula results in intellectual deficits. Knowledge is a covenant, a performative, and a redemptive activity. It is viewed as an antidote to sin. The debate over whether knowledge has two roles, both for worldly flourishing and afterworldly salvation, remains unresolved in madrasa circles.