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Готові списки джерел за темами / Performative work / Статті в журналах

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Статті в журналах з теми "Performative work"

Автор: Grafiati

Опубліковано: 10 січня 2023

Оновлено: 28 січня 2023

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1

Bærenholdt, Jørgen Ole, and Hanne Louise Jensen. "Performative Work in Tourism." Scandinavian Journal of Hospitality and Tourism 9, no. 4 (January 2009): 349–65. http://dx.doi.org/10.1080/15022250902978710.

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2

Szuba, Agata. "PERFORMATIVE PERFORMATIVE." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 108–33. http://dx.doi.org/10.5604/01.3001.0012.9926.

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Анотація:

The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conventional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of recording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The question arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?

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3

Massie, Raya. "Hypercreature Rhizome: A Performative Work." Cultural Studies Review 10, no. 1 (September 2, 2013): 61–79. http://dx.doi.org/10.5130/csr.v10i1.3521.

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This writing is an experiment, created primarily out of a synergy of rhizome, flesh, concept and hypercreature, although there are also infinite others resonating through the work. This writing is not, however, a ‘rhizomic’ or ‘fleshy’ work: it is neither faithful, nor does it seek to represent; it is not a rhizomic performance, but rather the writing is performative of hypercreature, rhizome and flesh. It is not a duplicity, but a multiplicity: this writing is an evolution or perhaps a ‘creative involution’ of these concepts.

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4

Nikolova, Natalia, Stewart Clegg, Stephen Fox, Kjersti Bjørkeng, and Tyrone Pitsis. "Uncertainty Reduction Through Everyday Performative Language Work." International Studies of Management & Organization 43, no. 3 (October 2013): 74–89. http://dx.doi.org/10.2753/imo0020-8825430305.

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5

Boedy, Matthew. "Bonhoeffer's Performative Sensibilities in His Earliest Work." Heythrop Journal 53, no. 6 (February 14, 2012): 983–92. http://dx.doi.org/10.1111/j.1468-2265.2012.00744.x.

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6

Fendulova, Yanitsa. "Performative and Installative Spaces." Visual Studies 6, no. 1 (June 29, 2022): 68–79. http://dx.doi.org/10.54664/lpqm4289.

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Анотація:

The article consists of an analysis of two Bulgarian contemporary artworks: by Simeon Stoilov and Atanas Totlyakov from 2021. In addition, the text discusses а work of the author, Yanitsa Fendulova, from the same year, realized as a result of a practical research in the field of performance art. The article is part of a larger study discussing the performative dimensions and values of installation works of art, the term “performative installation”.

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7

Rodrigues, Rejane Lopes. "CORPO E AUTOEXPERIMENTAÇÃO: UMA LEITURA DA ARTCHARNELDE ORLAN A PARTIR DO PENSAMENTO PÓS-FEMINISTA DE PAUL B. PRECIADO / Body and self-experimentation: a reading of ORLAN's artcharnel from Paul B. Preciado's post-feminist thinking." arte e ensaios 26, no. 39 (August 15, 2020): 93–105. http://dx.doi.org/10.37235/ae.n39.8.

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A partir da década de 1960 teve início na Europa e nos EUA um novo movimento artístico conhecido como arte performativa. ORLAN, artista plástica francesa, insere-se neste movimento através de obras que incluem intervenções cirúrgicas em seu próprio corpo com o objetivo de questionar o status do corpo feminino na sociedade ocidental contemporânea. Diante disso, propomos no presente artigo, uma análise do seu trabalho a partir das considerações teóricas do filósofo e escritor transgênero Paul B. Preciado.Palavras-chave: Arte performativa; ORLAN; Gênero; Feminismo; Paul. B. Preciado.AbstractFrom the 1960s, a new artistic movement known as performative art began in Europe and the USA. ORLAN, a French artist, is part of this movement through works that include surgical interventions on her own body in order to question the status of the female body in contemporary Western society. Therefore, in this article, we propose an analysis of his work based on the theoretical considerations of the transgender philosopher and writer Paul B. Preciado.Keywords: Performative art; ORLAN; Genre; Feminism; Paul B. Preciado.

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8

Cabral, Bárbara Silva da Veiga. "PERFORMANCE – EMPREENDIMENTOS [I]MOBILIÁRIOS / Performance – Real [e]state developments." Arte e Ensaios 27, no. 41 (July 24, 2021): 279–97. http://dx.doi.org/10.37235/ae.n41.15.

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O presente texto é um projeto que transita entre os campos da arquitetura, do urbanismo, da fotografia e da performance. Consiste no processo de composição do programa (foto)performativo da obra PERFORMANCE – EMPREENDIMENTOS [I] MOBILIÁRIOS, que conclui o artigo e é pensado, ao longo destas linhas, a partir da experiência e imagens de corpo da arquitetura (2019), em relação com situações urbanas e questões contemporâneas de cidade, como a precarização do trabalho na construção civil e processos de especulação imobiliária.Palavras-chave: Performance; Cidade; Fotoperformance; Arquitetura e Urbanismo; Programa performativo. AbstractThe present text is a project that transits between the fields of architecture, urbanism, photography and performance. It consists of the composition of the (photo) performative program of the work PERFORMANCE – EMPREENDIMENTOS [I]MOBILIÁRIOS, which concludes the article and is thought, through these lines, from the experience and images of corpo da arquitetura (2019), in relation to urban situations and contemporary city issues, such as the precariousness of work in civil construction and real estate speculation processes.Keywords: Performance; City; Photoperformance; Architecture and Urbanism; Performative program.

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9

Cabantous, Laure, and Jean-Pascal Gond. "A Performative Reading of The Work of Communication." Management Communication Quarterly 33, no. 1 (October 27, 2018): 117–23. http://dx.doi.org/10.1177/0893318918809422.

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10

Pérez Antúnez, Cynthia Jeannette. "Reflexiones sobre la epistemología dancística desde el baile flamenco." Investigación Teatral. Revista de artes escénicas y performatividad 13, no. 21 (June 13, 2022): 156–68. http://dx.doi.org/10.25009/it.v13i21.2705.

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Анотація:

La investigación performativa establece estrechos lazos entre propuestas teóricas y metodológicas, así como con la subjetividad y la objetividad. La autora aborda el baile flamenco con una metodología performativa de corte epistemológico que le permite acercarse al fenómeno desde su cuerpo. En el texto lanza cuestionamientos sociales, antropológicos, corporales, históricos, estructurales y afectivos. La investigación performativa está relacionada con el ejercicio crítico y reflexivo del quehacer del investigador como persona y ejecutante. La propuesta apunta a la producción de conocimiento desde el propio cuerpo.Palabras clave: cuerpo; performatividad; reflexividad; danza; antropología; Sevilla. Notes on Dance Epistemology from the Viewpoint of FlamencoAbstractPerformative research links theoretical and methodological tools with issues of subjectivity and objectivity. The author addresses flamenco dance from an epistemological and performative perspective grounded in her body. She poses a set of social, anthropological, bodily, historical, structural, and affective questions. Performative research is closely related to reflexivity, which is the critical exercise of the researcher’s work as a person and performer. The article calls for the production of knowledge from the body. Recibido: 14 de febrero de 2021Aceptado: 06 de junio de 2021

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11

Nielsen, Martin M. "Representations at Work." Outlines. Critical Practice Studies 5, no. 2 (August 1, 2003): 69–77. http://dx.doi.org/10.7146/ocps.v5i2.2156.

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This paper argues that “distributed cognition” facilitates a framework for studying aspects of organizations as socio-technical systems. An approach studying tool use and workflows is laid out and utilized in an analysis of information processing at a post office. Finally, some implications are presented – for organizational as well as cognitive studies. Research on performative representations is called for and, consequently, a widening of the cognition-as-computation framework is suggested.

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12

Beunza, Daniel, and Fabrizio Ferraro. "Performative Work: Bridging Performativity and Institutional Theory in the Responsible Investment Field." Organization Studies 40, no. 4 (February 23, 2018): 515–43. http://dx.doi.org/10.1177/0170840617747917.

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Callon’s performativity thesis has illuminated how economic theories and calculative devices shape markets, but has been challenged for its neglect of the organizational, institutional and political context. Our seven-year qualitative study of a large financial data company found that the company’s initial attempt to change the responsible investment field through a performative approach failed because of the constraints posed by field practices and organizational norms on the design of the calculative device. However, the company was subsequently able to put in place another form of performativity by attending to the normative and regulative associations of the device. We theorize this route to performativity by proposing the concept of performative work, which designates the necessary institutional work to enable translation and the subsequent adoption of the device. We conclude by considering the implications of performative work for the performativity and the institutional work literatures.

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13

Szuba, Agata. "Performative alter ego." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 108–32. http://dx.doi.org/10.5604/01.3001.0012.9880.

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Анотація:

The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conventional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of recording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The question arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?

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14

Hood-Williams, John, and Wendy Cealey Harrison. "Trouble with Gender." Sociological Review 46, no. 1 (February 1998): 73–94. http://dx.doi.org/10.1111/1467-954x.00090.

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This paper is a critical engagement with some of the writings of Judith Butler who is perhaps best known for popularising the idea of gender as performative. Here we trace the origins of the notion of performatives in the work of J.L. Austin. We outline Butler's extended definition of performative gender and comment on its relationship to earlier sociological accounts. We follow her development of the idea through the later deployment of Derrida's notion of citationality. We draw attention to potential problems of this usage and to the difficulties of linking it to a psychoanalytic account of subjectivity. We consider her extended example of drag as sharing the impersonatory character of gender and as allegorizing the melancholic character of heterosexual gender identity. We comment on her interest in a theatrical politics that may make trouble for gender. Finally we consider the theoretical burden that these ideas attempt to carry.

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15

Gist-Mackey, Angela N. "The Pain of Performative Professionalism." Departures in Critical Qualitative Research 9, no. 2 (2020): 140–43. http://dx.doi.org/10.1525/dcqr.2020.9.2.140.

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This essay is the personal and professional perspective of the National Communication Association Organizational Communication Division's awards chair during the 2019 convention. It explores issues of emotion, work, professionalism, silence, embodiment, symbolic violence, and intersectional precarity from the vantage point of an outsider within the academy and the discipline of communication studies.

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16

Blaga, Raluca. "Using Archive Work in Live Stage-Directing." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 2 (October 30, 2021): 135–47. http://dx.doi.org/10.24193/subbdrama.2021.2.09.

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"This paper will present in a narrative form the documentary and the creative process followed by four young theatre directors while studying at the University of Arts from Tirgu-Mures as part of their master class program in Theatre Directing. Firstly, the reader will be familiarized with one of this master class curriculum’s assignments designed by Theodor-Cristian Popescu: to deliver a performative essay using as a starting point one famous Romanian theatre performance. Secondly, this presentation will record, for each of these students, the path from documents and archives to their exam/performance. The purpose will not be to evaluate or investigate the artistic value of these products. The focus will be guided towards the students’ approach while accessing archive documents and the transformations of all these materials in an artistic concept. Keywords: 1960s and 1970s Romanian theatre performances, master class curriculum, Theodor-Cristian Popescu, University of Arts from Tirgu-Mures, performative essay. "

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17

von Geldern, James. "The Ode as a Performative Genre." Slavic Review 50, no. 4 (1991): 927–39. http://dx.doi.org/10.2307/2500473.

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All literature can be understood as text; it can be interpreted, but not all literature asks to be. Text describes a literary work as it moves within and between cultures; it implies interpretation and the readers’ active participation. To use the term text is to make assumptions that are not universal. While literature can bridge the many cultures that create and read it, it can also be confined to a specific frame within its own culture. It can resist bridging, just as it resists independent interpretation. Literature as performance, as an example, is intended for one time and one place. Performance looks at the literary work inside its intended environment. The meaning of the work is predicated by the occasion and conventions of its reading; the audience is asked not to insinuate its own interpretation but to participate in the one provided. Performance can be a physical realization of text in time and space; and, even when an actual performance does not take place, the term suggests an important way of reading.

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18

Moore, Julia. "Performative face theory: A critical perspective on interpersonal identity work." Communication Monographs 84, no. 2 (April 3, 2017): 258–76. http://dx.doi.org/10.1080/03637751.2017.1315891.

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19

Kirk, Peader. "The Performative Museum and the Site-Constructive Work of Mkultra." Performance Research 18, no. 3 (June 2013): 38–46. http://dx.doi.org/10.1080/13528165.2013.818312.

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20

Dillon, Elizabeth Maddock. "The Plantationocene and the Performative Commons." Minnesota review 2019, no. 93 (November 1, 2019): 83–93. http://dx.doi.org/10.1215/00265667-7737297.

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This article proposes that the commons is best understood as a relation among people, land, water, flora, and fauna that requires performance. The “performative commons” takes place in opposition to the alienating and disentangling work of the plantation machine and the systemic disarticulation of lifeworlds that marked the onset of racial capitalism and an epochal transformation of the earth identifiable as the Plantationocene.

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21

Sibirnaja, Maria. "Performative potential of a dramatic fairy tale and its inclusion in the educational and didactic process." Świat i Słowo 35, no. 2 (November 26, 2020): 301–13. http://dx.doi.org/10.5604/01.3001.0014.5479.

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Specific art practices, which include performance, are especially prevalent in popular culture at the turn of the 20th and 21st century. The concept of ‘performance’ means an action in the process of which creation involves a new experience both for the performer of the action and for the recipient. However, it is necessary to distinguish performance as a type of cultural action, dramatization, and performative potential of a work, creating conditions for influencing the consciousness of a person who, when perceiving a work, becomes a full participant in a creative act. Modern fairy-tale plays written by playwrights based on well-known works or the authors’ own dramatic tales have great performative potential. They connect the game principle, the performativity of a fairy tale, capable of activating empathy, influencing the child’s consciousness through the magic of the word, and the performance of the drama, the goal of which is to involve the young viewer in the show. At the same time, the theatrical performance of fairy-tale plays and the metatheatrical techniques involved in them have a significant visual impact on the young audience, which also contributes to the performative dialogue. The moralizing orientation of modern fairy-tale plays, reflecting the current moral and ethical problems of the society, increases the efficiency of the educational process, and contributes to the fulfilment of modern didactic tasks. In this article, based on the Russian playwright Anna Bogacheva, an attempt is made to identify those features of modern fairy-tale plays that convey their performative character and didactic potential.

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22

Fırtın, Cemil Eren, and Tom S. Karlsson. "(Re)descriptions of medical professional work: exploring accounting as a performative device within an emergency unit health-care context." Journal of Public Budgeting, Accounting & Financial Management 32, no. 2 (May 15, 2020): 159–76. http://dx.doi.org/10.1108/jpbafm-05-2019-0084.

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PurposeThis article addresses issues of calculation and economization in contemporary public organizations. In particular, it investigates how choices of organizing emergency health-care have been affected by accounting as a performative device. Special attention has been paid to how accounting brings about performative consequences in shaping the medical profession and its context.Design/methodology/approachThe article employs qualitative research methods and draws its analysis on empirical data from in-depth interviews at an emergency health-care unit in Sweden.FindingsIt is demonstrated how accounting, in the form of calculations of treatment time and number of patients, enables performative consequences for medical professional work. It is also demonstrated how the use of accounting engages (re)descriptions of practices and roles, creates accounts of patients, and helps to sustain such (re)descriptions. Accounting terms (such as efficiency and control) have been reframed into medical terminology (such as health-care quality and security), ensuring and retaining (re)described medical professional work in terms of practices and emerging roles.Originality/valueThis article contributes to (1) the literature on accounting practices within health-care contexts by demonstrating a case where the accounting ideas and practices of medical professionals are coexistent and interwoven and (2) the increasing body of literature focusing on accountingization by showing how emerging calculative technologies carry performative power over medical professional work through formative (re)descriptions.

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23

Englund, Hans, and Magnus Frostenson. "Managing performance evaluation uncertainties in schools: When teachers become struggling performers." European Educational Research Journal 16, no. 6 (February 1, 2017): 885–906. http://dx.doi.org/10.1177/1474904117693243.

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Performative technologies are increasingly relied upon as a means of controlling the work of teachers. As noted in the literature, one possible outcome of this trend is the performer, a teacher identity that presupposes the internalization of, and adaptation to, a performative logic. Based on the findings from an empirical study of a Swedish upper secondary school, we suggest that teachers who actually submit to the underlying logic of performative technologies – i.e. who intentionally strive towards a performative identity – will encounter a number of performance evaluation uncertainties, due to how performative technologies may: (a) reflect and recognize teacher performances based on qualitative judgements, (b) fail to take into account their entrepreneurial endeavours, (c) depict essentially collective effects as individual performances, and (d) reflect and recognize performances in a relativizing way. Such performance evaluation uncertainties will, in turn, provoke perceived tensions as performative teachers want to be (perceived as) performers but become uncertain as to when and why they did (not) perform well. And importantly, we find that such tensions tend to turn the ongoing reproduction of a performative identity into a cognitive struggle. Based on this, we introduce and elaborate on a particular type of performative teacher identity; the struggling performer.

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24

J. Weltsek, Gustave. "Journeying into the Complexities and Possibilities of Performative Pedagogical Practice, Research and Analysis." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 2 (July 1, 2017): 32–50. http://dx.doi.org/10.33178/scenario.11.2.3.

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In the United States, there is an obsession with high stakes testing, and performative pedagogues are challenged to prove that their work is valuable to increased scores. Educators who work through performative pedagogies are also expected to articulate the ways the work encourages and supports socio-cultural growth. In this article, the author calls into question trying to validate performative pedagogies based upon what they produce and or do and rather explores the complexities and possibilities of our work made manifest within observable discourses. Data was collected over the course of a year from a process drama with 20 pre-school students. Three students’ stories provided the researcher the opportunity to articulate multiple ways in which student identities began to emerge. An articulation was made possible based upon how individual discourses were observable as students interpreted and acted upon the various social needs within both an institutionalized world of their school and the fictional world of a pioneer journey.

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25

Spry, Tami. "Picturing the Body." Departures in Critical Qualitative Research 10, no. 1 (2021): 117–20. http://dx.doi.org/10.1525/dcqr.2021.10.1.117.

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Анотація:

The essays in this Critical Intervention forum continue work on posthumanism in performance studies where the elemental performance tools of body, word, and thing activate studies in materialism, vital materialities, and engagement with non/human others. Through methods of performative writing, these works assist in deepening our potential to understand the intersections of art, materiality, and political intervention.

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26

Plotnikof, Mie, Sara Louise Muhr, Lotte Holck, and Sine Nørholm Just. "Repoliticizing diversity work? Exploring the performative potentials of norm‐critical activism." Gender, Work & Organization 29, no. 2 (November 16, 2021): 466–85. http://dx.doi.org/10.1111/gwao.12771.

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27

Bird, Jon, Mark D'inverno, and Jane Prophet. "Net Work: an interactive artwork designed using an interdisciplinary performative approach." Digital Creativity 18, no. 1 (March 2007): 11–23. http://dx.doi.org/10.1080/14626260701252368.

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28

Witerska, Kamila. "Metoda take&make w edukacji performatywnej. Studium przypadku." Kultura i Edukacja 137, no. 3 (2022): 204–27. http://dx.doi.org/10.15804/kie.2022.03.11.

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Анотація:

The article is a report on the research carried out in a group of pedagogy students on the use of the take&make performative method in the subject of comparative pedagogy. The aim of the research was to learn about the experiences of pedagogy students regarding the implementation of an optional performative task within the subject of comparative pedagogy. During the research the case study method was used. The technique used in the study was the technique of analyzing documents, in this case entries on a didactic forum on an e-learning platform – their content and available information on entries, such as the date of entry and the average grade of the student entering the registration. The main strategy for data analysis was qualitative analysis and the complementary strategy was quantitative analysis. The qualitative analysis covers the nature of the responses to correctly completed tasks – the type of action undertaken by the students and its creative or imitative nature, as well as the strategies undertaken by students who failed the task. The quantitative analysis covered the number of submitted works, the number of passed works (performative solutions) and failed works (non-performative solutions), their correlation with the average grade for compulsory tasks and the time of submitting the work. The article points to the need to use performative methods in education that mobilize students to act, not only to plan their own actions.

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29

LAFFEY, MARK. "Locating identity: performativity, foreign policy and state action." Review of International Studies 26, no. 3 (July 2000): 429–44. http://dx.doi.org/10.1017/s0260210500004290.

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Анотація:

This article examines the politics and explanatory plausibility of performative accounts of state action through a critical analysis of the themes of continuity and change in the work of David Campbell. As political interventions, performative models reproduce a number of taken-for-granted conceptual distinctions. As explanations, performative models are undermined by an account of the social that privileges representation. Drawing on materialist feminist critiques of performativity, I argue for the necessity of locating accounts of subject formation and state action in the multiple logics that constitute the social.

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Pérez Navarro, Pablo. "The Performative Power of Queer Assembly." Krisis | Journal for Contemporary Philosophy 40, no. 1 (December 11, 2020): 165–79. http://dx.doi.org/10.21827/krisis.40.1.36972.

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This paper addresses some relations between the spatial politics of queer assemblies in spaces of protest and the constitution of collective political subjects. It does so by exploring the spatial politics of queer activism within the global Occupy movements, in the light of Judith Butler’s work on the performative power of assembly and the ambivalences of the Foucauldian concept of heterotopia. Specific challenges faced by queer activists in various encampments will be addressed in order to expose some tensions between the constitutive exclusions inherent to the constitution of spaces of protest and the processes of coalition building needed to effectively overcome those very constitutive exclusions.

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Wagensveld, Koos, and Jasper Jolink. "Performative research: A Baradian framework." Maandblad Voor Accountancy en Bedrijfseconomie 92, no. 1/2 (March 12, 2018): 27–35. http://dx.doi.org/10.5117/mab.92.23787.

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This paper stresses the importance of materiality in accounting and organization studies. Accounting and organization studies have overlooked the ways in which accounting and organizing is bound up with the material forms and spaces through which humans act and interact. To incorporate the materiality concept in accounting and organization research, an agential realism research approach is proposed in this paper (Barad 2007). The paper concludes that agential realism can at least make three contributions to the literature. First, Baradian studies can contribute by illustrating the importance of material relations in the constitution of accounting and management practices. By interrogating the rich variety of materialities involved in the practices of measurement or making of innovation, Baradian studies expand the methodological choices available to practice-theoretic accounts of accounting or innovation work. It is the entanglement of many types of matter that perform and affect (sometimes in a disruptive way) the making of accounting measures or innovation. Second, Baradian studies can contribute by reframing the causal relations from which accounting measurements and innovations are made. Baradian studies can illustrate the intra-dependencies that exist between the things represented and constituted, and the representations made. Finally, Baradian studies can contribute by illustrating the ways in which properties of abstract concepts and ideals (e.g. liabilities, innovation) are the consequence, not of human-based practice, but of socio-material re-configurings.

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32

Filippi, Madeleine. ""Sarah Trouche, Performing Borders" / Sarah Trouche, performer les frontières." Borders in Globalization Review 3, no. 2 (June 11, 2022): 98–104. http://dx.doi.org/10.18357/bigr32202220778.

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This essay discusses the performative work of Sarah Trouche, whose meticulous field approach and bodily involvement at the edges of borders questions cultural rooting and geopolitical hazards. Essai sur l’œuvre performative de Sarah Trouche, depuis une approche de terrain minutieuse, son implication corporelle aux abords des frontières interroge sur l’enracinement culturel et les aléas géopolitiques.

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33

BENÍTEZ OLIVAR, INMACULADA. "PERFORMATIVE SUBJECTHOODS: LESBIAN REPRESENTATIONS IN SPLIT BRITCHES’ BELLE REPRIEVE." Revista de Estudios Norteamericanos, no. 25 (2021): 51–74. http://dx.doi.org/10.12795/ren.2021.i25.03.

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Emerging postmodern theories of gender and sexuality frame the terms in which society has understood these concepts in an evolutionary way throughout history. The last century has witnessed the radical changes carried out mainly by feminist and LGTB movements. On the other hand, the theater, a subversive space where it is possible to experiment with different forms of subjecthood and communication, has been the laboratory in which it has been attempted to give a plastic form to these new currents of thought. In this sense, the work of Split Britches is remarkable for the innovative ways of bringing the abject to the political forefront. From the lesbian body to drag representation, Belle Reprieve (1991) is developed under the queer premise to dismantle heteropatriarchal hegemony and the binary gender system.

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34

Neuhauser, Charlott. "Minnesplatsen som process och performance." Peripeti 9, no. 18 (January 1, 2012): 34–44. http://dx.doi.org/10.7146/peri.v9i18.107355.

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In the article, I discuss a visit to the memorial Denkmal für die ermordeten Juden Europas in Berlin using Nicolas Whybrow’s description of his visit to the memorial, and his idea of the performative urban work in the book Art and the City (2010). I also use theatre scholar Willmar Sauter’s term ”playing culture”. My experience of the work and the reading of Whybrow’s text are intertwined in a process which is activating. I suggest that the experience of the memorial is play-like rather than performative.

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35

Weingarden, Lauren S. "The performative turn at Inhotim: installation art and Baudelairean modernity." Aletria: Revista de Estudos de Literatura 23, no. 3 (December 31, 2013): 13–30. http://dx.doi.org/10.17851/2317-2096.23.3.13-30.

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This article explores the participatory turn in installation art as part of a trajectory from Baudelairean modernity to twentyfirst-century postmodernity, as represented at Inhotim, the outdoor contemporary art museum and botanical gardens in Brumadinho, MG. In his 1862 essay “The Painter of Modern Life,” Charles Baudelaire defined modernity as fleeting, transitory and fragmentary. Baudelairean modernity initiated a breakdown of boundaries between art and life and between high art aesthetics and popular culture, which continues in the work of installation artists. In the sites of installation art, the spectator is compelled to extend – rather than complete – the work of art in his/her own time, prior experiential encounters and transformative afterthoughts. The shift from the isolated work of art to the experiential one not only complicates how and where works of art are viewed, but also radicalizes the materials that constitute the work of art – whether those materials are extracted from the quotidian sphere or complex technologies, each undergoes a process of defamiliarization and reactivation to produce the transformative aesthetic experience. The individual installations in Inhotim’s “outdoor museum” engage the spectator in a dynamic/participatory experience with spatial, temporal and material relationships that define the very essence of art’s reciprocity, or contrast with the natural and man-made worlds. It is the rarefied setting of Inhotim’s botanical gardens that makes the participatory and transformative experience central to the aesthetic encounter with installation art.

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36

Dupret, Katia. "Performative Silences: Potentiality of Organizational Change." Organization Studies 40, no. 5 (March 21, 2018): 681–703. http://dx.doi.org/10.1177/0170840618759816.

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The article highlights the importance of silence in the change process of organizations, making the claim that silence distributes authority and decision-making processes. It thus adds to existing organization literature that applies a performative approach to silence as neither static nor neutral. It creates new realities. Silence as an act, rather than a noun, is conceptualized as central to organizational change. Through an ethnographic study in a mental healthcare organization, it is shown how different performances of silence make new decision-making processes available and influence new work practices that are central to understanding the particular characteristics of psychiatric organizations. Although the performance of silence can have somewhat immaterial and mundane connotations, when one uses an actor-network theory approach to organization studies, the performance of silence becomes helpful in conceptualizing how new and old practices are often imbedded into each other.

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37

Schultze, Ulrike, and Wanda J. Orlikowski. "Research Commentary—Virtual Worlds: A Performative Perspective on Globally Distributed, Immersive Work." Information Systems Research 21, no. 4 (December 2010): 810–21. http://dx.doi.org/10.1287/isre.1100.0321.

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38

Fauré, Bertrand, and Arlette Bouzon. "French Approaches to the Performative Properties of Language at Work: An Overview." Management Communication Quarterly 24, no. 4 (September 9, 2010): 620–26. http://dx.doi.org/10.1177/0893318910381473.

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39

Weaver, A. "Interactive service work and performative metaphors: The case of the cruise industry." Tourist Studies 5, no. 1 (April 1, 2005): 5–27. http://dx.doi.org/10.1177/1468797605062713.

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40

Sergeeva, Natalya, and Stuart D. Green. "Managerial identity work in action: performative narratives and anecdotal stories of innovation." Construction Management and Economics 37, no. 10 (February 10, 2019): 604–23. http://dx.doi.org/10.1080/01446193.2019.1566625.

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41

Featherstone, Simon. "Sport and the performative body in the early work of C.L.R. James." Identities 22, no. 2 (December 18, 2013): 154–67. http://dx.doi.org/10.1080/1070289x.2013.866559.

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42

Jones, Amelia. "Material Traces: Performativity, Artistic “Work,” and New Concepts of Agency." TDR/The Drama Review 59, no. 4 (December 2015): 18–35. http://dx.doi.org/10.1162/dram_a_00494.

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A new genre of hybrid artworks involving elements of performance, conceptualism, sculpture, and installation practices evokes complex art experiences that are performative yet exist in various material forms—including, implicitly or explicitly, that of the artist’s laboring body. These works call for new ways of engaging that do not dwell on final objects or celebrate “authentic” presence but understand the relational tensions and seductions between human and nonhuman.

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43

BISPO, MARCELO DE SOUZA. "EDUCATING QUALITATIVE RESEARCHERS IN MANAGEMENT: TOWARD PERFORMATIVE JUDGEMENTS." Revista de Administração de Empresas 57, no. 2 (April 2017): 158–69. http://dx.doi.org/10.1590/s0034-759020170205.

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ABSTRACT The aim of this essay is to reflect critically on qualitative research education in doctoral management programs. The central idea is to offer a qualitative research education model supported by the concept of performative judgment. The notion of performative judgment draws upon Aristotle's virtues of thought via Strati's idea of sensible knowledge. The proposal focuses on a theoretical understanding of qualitative research education rather than prescribing pedagogical techniques or steps. The performative judgment education model is therefore open-ended and flexible and may fit in different doctoral program settings. It also helps to reveal the differences between the notions of training and education, showing how they can work together in the educational process.

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44

Morgan, Glenn, and Valeria Pulignano. "Solidarity at Work: Concepts, Levels and Challenges." Work, Employment and Society 34, no. 1 (January 23, 2020): 18–34. http://dx.doi.org/10.1177/0950017019866626.

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Solidarity is not a unified phenomenon with unchanging qualities; it partakes of moral, political and performative elements that are underpinned and reinforced by a shared work context, an organisational infrastructure and an institutional frame which together create distinctive path dependencies in solidarity across different forms of capitalism. Neo-liberalism has challenged these path dependencies by changing the material conditions and the ideological terrain, by heightening the diversity of the workforce, by restructuring the institutional context. However, this is not the end of solidarity and the article addresses the question of what sort of solidarities are now emerging and how.

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45

Carlomagno, Nadia, Francesco Maria Cordella, Valeria Minghelli, and Pier Cesare Rivoltella. "Performative Didactics in a Technological Environment." Research on Education and Media 13, no. 1 (June 1, 2021): 7–16. http://dx.doi.org/10.2478/rem-2021-0003.

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Abstract The didactic-performative experience at a distance, centred on the body in action of the training laboratories activated at the University of Study Cattolica del Sacro Cuore of Milan and the University of Study Suor Orsola Benincasa of Naples, encouraged, through the exercise of ‘simplex property’ of the separation of functions, the crossing of borders of ‘presence/distance’, using Didactics at Distance (DAD) as an opportunity to search in everyone the potential patrimony of the action, able to go beyond the classical meanings of interaction, relationship, experience, emotion, through an effort of imagination and simulation, which even interaction with the machine can stimulate. The research work recalls the ambivalence and the plurality of interpretative keys of the teaching experience and includes its analogies with the performing arts. Starting from the ‘stage presence’, as a scenic ‘bios’ and source of energy, a third energetic space has been investigated, which can amplify the relational dimension. A space which the biologist Sheldrake defines as ‘morphogenetic field’ is the one in which it is possible, through the activation of an empathic climate, to make all the processes of emotional sharing, expressive rediscovery and acquisition of awareness sprout, making the experience of DAD a formative and transformative one.

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46

Schmidt, Cecilie Ullerup. "Guldslør. Performative strategier som kritik og affirmation i senkapitalismen." K&K - Kultur og Klasse 44, no. 122 (December 31, 2016): 201–20. http://dx.doi.org/10.7146/kok.v44i122.25053.

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Is immersive performance art with its blurred identities, parallel worlds and transformational potential the perfect genre for hidden capitalist interests, bad working conditions and commercial branding? Following the motive of the veil, and the gesture of unveiling as form of critique, the article examines the relation between labour of performance art, commercial funding and subjectivation in late capitalism. Departing from the claim that the cultural worker – flexible, creative, innovative and self managing – is the role model of today’s neoliberal work ethos, the article analyses strategies of unveiling of the production conditions and work ethos of performance art today.

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47

Warren, John T. "Social Justice and Critical/Performative Communicative Pedagogy." International Review of Qualitative Research 4, no. 1 (May 2011): 21–34. http://dx.doi.org/10.1525/irqr.2011.4.1.21.

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Through narratives and critical interrogations of classroom interactions, I sketch an argument for a co-constitutive relationship between qualitative research and pedagogy that imagines a more reflexive and socially just world. Through story, one comes to see an interplay between one's own experiences, one's own desires and one's community — I seek to focus that potential into an embodied pedagogy that highlights power and, as a result, holds all of us accountable for our own situated-ness in systems of power in ways that grant us potential places from which to enact change. Key in this discussion is a careful analytical point of view for seeing the world and a set of practices that work to imagine new ways of talking back.

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48

Risum, Janne. "Max Herrmann og Lessingsyndromet." Peripeti 8, S3 (May 28, 2021): 35–47. http://dx.doi.org/10.7146/peri.v8is3.110586.

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In this article I take it upon myself to show that there are good reasons to distinguish between the theatre production as a prepared and structured work of art, and the theatre performance as a transitory presentation of it to spectators; and that there is consequently no reason to presume a general antagonism between the drama as a written work of art and the theatre performance as an event. I do so by primarily discussing the pioneering German theatre scholar Max Herrmann’s (1865-1942) views on both issues, and by also drawing in the views of Aristotle and Lessing. Accordingly I refute Erika Fischer-Lichte’s interpretation of Herrmann’s conception of the theatre performance as entirely corresponding to her own idea of the performative as transitory in her book from 2004, Ästhetik des Performativen (in English The Transformative Power of Performance: A New Aesthetics, 2008).

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49

Liu, Hsing-Yuan, Hui-Mei Han, Chun-Yen Chao, Hsiu-Fang Chen, and Sheau-Ming Wu. "Performative Masculinity: A META-Ethnography of Experiences of Men in Academic and Clinical Nursing." International Journal of Environmental Research and Public Health 19, no. 22 (November 10, 2022): 14813. http://dx.doi.org/10.3390/ijerph192214813.

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Gender differences and stereotypes have been widely studied. Performative masculinity or “doing gender” is the adoption of traits considered to be “masculine” to achieve acceptance in society. Performative masculinity, as it relates to career development for men in nursing, could be affected by internal attitudes and career choice, and external influences of culture. There are no critical systematic reviews to describe this process. The aim of this study was to synthesize research on how men in nursing experience masculine identity at work. A systematic literature search and qualitative synthesis using meta-ethnography guided this study. The literature search included studies from the electronic databases of PubMed, CINAHL, Medline, and Airiti Library, published in English or Chinese from 1994 to 2016. Eleven studies met the inclusion criteria. The meta-syntheses identified three themes describing how men in nursing experience masculine identity at work: (1) Nursing could be a gendered-neutral occupation suitable to both genders; (2) performative masculinity; and (3) strategies used when providing bodywork and care. Exploring insights about the tensions of performative masculinity among men in nursing, this study may help to address the challenges encountered in nursing education, practice, and career development. Establishing a male nursing model based on evidence from academic and clinical practice for nursing students and professional nurses could help to meet the increasing demand for nurses.

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50

Dejmanee, Tisha. "BODIES OF TECHNOLOGY: PERFORMATIVE FLESH, PLEASURE AND SUBVERSION IN CYBERSPACE." Gender Questions 1, no. 1 (September 20, 2016): 3–17. http://dx.doi.org/10.25159/2412-8457/1541.

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This article contextualises the body in cyberspace, using the specific examples of the performative body and the social networking site Facebook. Technology is established as a process which continually unfolds and illuminates new understandings of subjectivity, unfurling in parallel with the performative body â€“ and gendered identities â€“ that Judith Butler articulates. Here, the author conducts a close analysis of the technological affordances of Facebook as a site that fosters the construction of a phantasmic, performative subject that Butler describes. This argument relies on an understanding of technology and the body as having their meaning dynamically constituted through mutual interconnection â€“ an understanding of interface that is taken from the theoretical work of Donna Haraway and Vicki Kirby. The purpose of seeking out the performative body in cyberspace is to explore the possibility of technologically-derived, subversive bodies. This is done by examining the emergence of pleasure in human engagement with technology. This pleasure suggests that subjects are enticed by the creative possibilities which technology offers, as it leads to regenerations that, under the right conditions, yield subversive bodies.

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