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Journal articles on the topic 'Performative praxis'

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Author: Grafiati
Published: 19 July 2023

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1

Sting, Wolfgang. "Performance und Theater als anderes Sprechen." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 1 (January 1, 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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2

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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3

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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4

O'Neill, Maggie, and Phil Hubbard. "Walking, sensing, belonging: ethno-mimesis as performative praxis." Visual Studies 25, no. 1 (March 23, 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 (August 2010): 361–84. http://dx.doi.org/10.1080/13569783.2010.495270.

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6

Shukri, Salma T., and 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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7

Swafford, Shelby. "To Be a (M)other: A Feminist Performative Autoethnography of Abortion." Cultural Studies ↔ Critical Methodologies 20, no. 2 (September 26, 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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8

Spry, Tami. "Bodies of/as Evidence in Autoethnography." International Review of Qualitative Research 1, no. 4 (February 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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9

Rittberger, Kevin. "If you don’t organize yourselves, you will be organized." Paragrana 26, no. 2 (November 27, 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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10

Kockelman, Paul. "The Epistemic and Performative Dynamics of Machine Learning Praxis." Signs and Society 8, no. 2 (March 2020): 319–55. http://dx.doi.org/10.1086/708249.

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11

Cabantous, Laure, and Jean-Pascal Gond. "Rational Decision Making as Performative Praxis: Explaining Rationality'sÉternel Retour." Organization Science 22, no. 3 (June 2011): 573–86. http://dx.doi.org/10.1287/orsc.1100.0534.

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12

Arcila, Jorge. "Integrating memory, historical remembrance and drama in Colombian schooling: Pedagogical and psychosocial implications." Psychologia 6, no. 1 (January 10, 2012): 13–20. http://dx.doi.org/10.21500/19002386.1167.

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This is a research study that explores the kind of pedagogical and psychosocial possibilities that collective remembrance, mediated by practices of drama in education, might offer to the work of memory. Under study is a drama-remembrance project that explores individual and historical memory in conjunction with critical remembrance through the classroom drama praxis. Assuming the school as a terrain within which a community of memory is possible, this research is concerned with educational experiences that facilitate the understanding of the ‘work of memory’. I am also situating drama praxis as an alternative performative form of remembrance. The hypothesis is that through drama framed as a performative practice of remembering, students can productively explore the work of memory; its functioning, implications and structures. I call this approach “Drama-Remembrance Praxis”, as it constitutes a particular application of theatre to the memory and remembrance framework.
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Spry, Tami. "Skin and Bone: Beauty as Critical Praxis." Qualitative Inquiry 24, no. 5 (December 11, 2017): 342–44. http://dx.doi.org/10.1177/1077800417741975.

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That so many hegemonic constructs have been devised to exoticize and belittle beauty should be evidence enough that something about beauty is devastating to power, something just below the skin. And in revealing patriarchy’s sleight of hand, we may begin to see that beauty is skin, deep as skin, moving into muscle, bone, marrow. This essay seeks to explore beauty as a critical praxis; not a gender-only matrix, beauty’s critical strength is in the conscious sociocultural construction of bodies, their colors, shapes, sizes, and abilities. Beauty as a critical praxis is a personally, politically, willfully wanton utopian performative. That so many hegemonic constructs have been devised to exoticize and belittle beauty should be evidence enough that something about beauty is devastating to power, something just below the skin. And in revealing patriarchy’s sleight of hand, we may begin to see that beauty is skin, deep as skin, moving into muscle, bone, marrow. This essay seeks to explore beauty as a critical praxis; not a gender-only matrix, beauty’s critical strength is in the conscious sociocultural construction of bodies, their colors, shapes, sizes, and abilities. Beauty as a critical praxis is a personally, politically, willfully wanton utopian performative.
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14

Feige, Daniel Martin. "Zwei Formen des Ästhetischen, zwei Formen des Alltagsbezugs." Paragrana 26, no. 2 (November 27, 2017): 15–25. http://dx.doi.org/10.1515/para-2017-0017.

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AbstractDer Beitrag zielt auf eine Unterscheidung von zwei Formen des Alltagsbezugs im Ästhetischen. Unter Rückgriff auf Motive vor allem der Ästhetiken Adornos und Hegels argumentiert er dafür, dass wir den Alltagsbezug der Kunst vom Alltagsbezug des Designs kategorial unterscheiden sollten. Ist Design aufgrund der Tatsache, dass es in unserer Praxis bestimmte Funktionen erfüllt, von jeher auf unsere alltägliche Praxis bezogen, stellt die Kunst einen Bruch mit dieser Praxis dar. Der Beitrag zeigt jedoch zugleich, dass daraus nicht folgt, dass Kunst nicht auch auf unsere alltägliche Praxis rückwirken würde: Sind Kunsterfahrungen performative Transformationen unserer selbst, so formen und bestimmen sie die Praxis derjenigen, die sie machen.
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15

O'Neill, Maggie, Sara Giddens, Patricia Breatnach, Carl Bagley, Darren Bourne, and Tony Judge. "Renewed Methodologies for Social Research: Ethno-Mimesis as Performative Praxis." Sociological Review 50, no. 1 (February 2002): 69–88. http://dx.doi.org/10.1111/1467-954x.00355.

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16

Cheng, Meiling. "Catalyst, Praxis, Habitat Performative objects in Chinese time-based art." Performance Research 12, no. 4 (December 2007): 151–66. http://dx.doi.org/10.1080/13528160701822775.

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17

O'Neill, Maggie, Sara Giddens, Patricia Breatnach, Carl Bagley, Darren Bourne, and Tony Judge. "Renewed methodologies1 for social research: ethno-mimesis as performative praxis." Sociological Review 50, no. 1 (February 2002): 69–88. http://dx.doi.org/10.1111/j.1467-954x.2002.tb02792.x.

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18

Borhani, Maya T. "New Vox in Poetic Inquiry." Art/Research International: A Transdisciplinary Journal 6, no. 2 (September 4, 2021): 316–46. http://dx.doi.org/10.18432/ari29511.

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As a doctoral candidate ever-deepening my understandings of arts-based research methods, in general, and performative and poetic methods of inquiry in particular, this paper advances several new theories of Vox in poetic inquiry (Prendergast, 2009, 2015, 2020), playing with the generative possibilities found with/in such poeticizing as writing method, performative gesture, and reflexive praxis, while addressing intersections between the personal/public and poetry as political currency. Woven as a métissage of poetic offerings within theoretical exposition, this essay links theory, research methods, and personal explorations with/in poetic inquiry. Found poems and original compositions punctuate the proposal of several new Vox to help elucidate our myriad voices within a growing chorus of poetic inquirers singing to a variety of purposes. A journey through methodological praxis unfolds, poses further questions, and encourages ongoing exploration and practice of poetic research methodologies in diverse, rhizomatically fruiting tendrils and directions.
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19

Hardy, Ian, M. Obaidul Hamid, and Vicente Reyes. "Data for learning? Confirming and contesting performative practices of data governance." Global Studies of Childhood 8, no. 4 (December 2018): 339–54. http://dx.doi.org/10.1177/2043610618814843.

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This article examines evidence of teachers’ work and learning in one school setting in the northern regions of Queensland, Australia, revealing how globalized performative practices that circulate around the collection and use of data in schooling settings are both confirmed and contested. Drawing upon the literature on the nature of accountability, particularly in relation to educational governance, and alternative theorizing of educational practice as praxis, the research reveals how teachers’ work and learning are heavily implicated in the development and perpetuation of reductive, performative conceptions of education, even as teachers seek to foster a more educative disposition. The research draws upon interviews and meeting transcripts of teachers seeking to enhance their own learning for student learning. The article reveals that even as teachers are actively involved in developing and analysing a plethora of data to foster their own learning for enhanced student learning, they also struggle to do so in a context that ascribes particular standardized forms of school, regional and national data as the data of most value. At the same time, the article describes how more sustainable practices do exist, and serve as examples of forms of praxis that challenge more reductive, performative conceptions of learning in schools more broadly.
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20

Blaszk, Martin. "THE PERFORMATIVE IN SECOND LANGUAGE EDUCATION: AN EXAMPLE OF THE COMPLEXITY OF THE DISCIPLINE." Neofilolog, no. 52/2 (June 30, 2019): 373–87. http://dx.doi.org/10.14746/n.2019.52.2.11.

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Second language education (SLE) must remain open to developments in the world if it is to be relevant to those who have an investment in it: learners, teachers and researchers. However, the broadening of the in-terdisciplinary nature of SLE that may occur because of this is not with-out its problems. New areas will bring ideas and terminology that will make SLE as a discipline even more complex. In addition, the ideas and terminology may be disputed in the fields from which they originate thus compounding the problem of complexity. The article looks at the example of the performative in SLE and how it supports an approach that is interdisciplinary and intercultural. It also looks at some of the problems this causes: the implications of implementing an SLE practice that is performative, the fact that there are different performative prac-tices, as well as variance between seemingly similar performative prac-tices because of national and cultural differences. The article concludes with the description of two studies which show the complex nature of performative SLE as praxis.
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Chaudhry, Vandana. "Knowing Through Tripping: A Performative Praxis for Co-Constructing Knowledge as a Disabled Halfie." Qualitative Inquiry 24, no. 1 (September 15, 2017): 70–82. http://dx.doi.org/10.1177/1077800417728961.

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This article reflects on a performative praxis entailing cultural, symbolic, embodied, and political processes involved in negotiating difference and sameness from the perspective of doing disability research in India as a disabled “halfie.” Based on my own disability experience that disrupted binaries between insider and outsider, I argue that researchers’ disability identities themselves may not be sufficient for becoming an insider to the disability community, due to varying intersectional and cultural contexts. Exposing inadequacies of the liberal disability studies methodology in the social sciences, I draw from critical qualitative methods rooted in performative, postcolonial, and critical ethnography to address questions of positionality and reflexivity, facilitating similitude and knowledge production.
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Hughes, Kathryn Lawson. "‘Speaking the Data’: Renegotiating the Digitally-Mediated Body Through Performative Embodied Praxis, Sound and Rhythmic Affect." Cultural Studies ↔ Critical Methodologies 21, no. 5 (July 6, 2021): 372–80. http://dx.doi.org/10.1177/15327086211027501.

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This article explores an alternative autoethnographic methodological approach, using embodied praxis and sound, for critically re-thinking contemporary subjective health practices of digital ‘self-tracking’; popularized in recent years through the rise in wearable biometric fitness devices, and online socio-cultural movements such as the Quantified Self and Strava platforms, which enable subjects to “share” their quantifiable body-data metrics. Through a performative praxis case study titled Speaking the Data (2017), the author renegotiates the “voice” of subjective agency within the quantitative data-discourse, “speaking the data” that her body is producing in “real-time” on a digital smart-bike machine. This embodied renegotiation, recorded using a sound “data-stream,” produces an alternative subjective data-set which is extended to the reader, who is invited to become “listener” in the theoretical/experiential praxis space. The sound “data-stream” thus proffers an affective expansion to our perceptions of what “body-data” can be, extending the possibilities for the digitally mediated body beyond biometric forms of quantification, through other sensorial registers of embodiment, using sound, rhythmic affect and lived experience.
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GODOI, RODRIGO TAVARES. "Memória Coletiva e Discurso Performativo: Barra do Garças como enunciado * Collective Memory and Performative Discourse: Barra do garças as stated." História e Cultura 1, no. 2 (April 4, 2013): 38. http://dx.doi.org/10.18223/hiscult.v1i2.736.

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<p><strong>Resumo:</strong> Barra do Garças é uma cidade constituída numa consciência histórica dependente da narrativa de Valdon Varjão. O discurso performativo elaborou uma cidade apreendida por meio de mitos. O narrador e a cidade se confundem na própria narrativa. O poder e a força simbólica pertencem à consolidação e reconhecimento da práxis narrativa local. O tempo constituído como histórico manifesta-se na sincronia entre passado, presente e futuro. A postura teleológica é marcante na escrita da história de Barra do Garças. História da cidade é possível se a memória for respeitada e cultuada.</p><p><strong>Palavras-chave:</strong> Memória coletiva – Mitos fundadores – Discurso performativo – Memória histórica.</p><p> </p><p><strong>Abstract: </strong>Barra do Garças is a city established in a historical consciousness dependent on the narrative of Valdon Varjão. The performative discourse prepared a city seized myths. The narrator and the city become confused in the own narrative. The power and the symbolic strength belong to the consolidation and recognition of the local narrative praxis. The time constituted as historical is manifested in synchrony between past, present and future. The teleological posture is outstanding in the writing of the history of Barra do Garças. History of the city is possible if memory is respected and worshipped.</p><p><strong>Keywords:</strong> Collective memory – Founding myths – Performative discourse – Historical memory.</p>
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24

Geiselhart, K. "Praxis ist mehr als Praktiken – Warum moderne Ärzte und spirituelle Heiler im Prinzip das Gleiche tun." Geographica Helvetica 70, no. 3 (August 31, 2015): 205–14. http://dx.doi.org/10.5194/gh-70-205-2015.

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Abstract. The pragmatist concept of praxis involves more than conventionalised practices. It also regards performative dynamics which derive from the fact that practices actually never are enacted in an exemplary manner. Each and every execution of a practice always bears the chance of success but also the risk of failure. Furthermore, the execution of a practice can be fractured in many ways. As situations are always unique, a variety of different dynamics can evolve, each of which might lead to further events which in turn might even result in an alteration of the convention of the practice. Due to such performative dynamics, individuals might experience diverse qualities of emotions, insights, and practical skills that are not inherent to the practices. Those individuals who are engaged in practices thus develop not only an understanding of conventionalised practices (unversalities) but also personal attitudes towards and opinions about these practices (singularities). The example of medical practices in Botswana can function as a role model to illustrate this notion of praxis. A juxtaposition of modern and traditional medicine shows that analysing the way how such fields of practice are epistemologically founded helps us to understand why they are incommensurable.
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25

Gardner, Darren. "Cynicism as Immanent Critique: Diogenes and the Philosophy of Transvaluation." Polis: The Journal for Ancient Greek and Roman Political Thought 39, no. 1 (January 6, 2022): 123–48. http://dx.doi.org/10.1163/20512996-12340358.

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Abstract I argue that Diogenes and early Cynicism can be understood in an explicitly social and political context, where Cynic praxis, performative public action, can be seen to make visible oppositions inherent to the polity. In doing so, Diogenes’ praxis should be understood as a form of immanent critique, one that demonstrates, for example, that nature and custom (phusis and nomos) are interrelated oppositions in the polis. Cynicism here is understood as a form of immanent critique because Diogenes challenges the social norms of the polis without endorsing external universal standards or predetermined models, but from illuminating dynamics from within the polis and polity.
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Waller, Daniel James. "Transferring performativity from speech to writing: illocutionary acts and incantation bowls." Bulletin of the School of Oriental and African Studies 82, no. 2 (June 2019): 233–44. http://dx.doi.org/10.1017/s0041977x19000363.

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AbstractThis article considers the interface between orality and textuality in the Aramaic incantation bowls, as well as the use of performative utterances in the texts of their spells. It demonstrates that writing and writtenness were central to bowl praxis as a whole, and argues that the bowls reflect a growing understanding of writing as performative in itself. In light of this, it suggests that the use of illocutionary acts in the bowl texts reflects the (gradual and ongoing) transfer of performativity from speech to writing in Sasanian Mesopotamia. Such acts of “word magic” in the bowls as oaths and curses are more likely to represent transitional language or a kind of “oral residue” than the verbatim representation of speech or spoken acts.
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Hey, Maya. "Fermenting Communications: Fermentation Praxis as Interspecies Communication." Public 31, no. 59 (June 1, 2019): 149–57. http://dx.doi.org/10.1386/public.31.59.149_1.

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Microbes are in, on, and around us at all times, yet we cannot easily communicate with them. How do we (continue to) live with microbial life in ways that allow for our mutual thriving? Using a performative lens, this paper analyzes the material practices of fermentation as a way of connecting with different scales of life. It attempts to challenge conventional understandings of communications (e.g. encoding/decoding models put forth by Stuart Hall) by examining the layered manner in which fermentation engages with matter and meaning. The material practices of fermentation require embodied knowledge to work with microbial life, and the discursive considerations of fermentation challenge anthropocentric thought. Thus, materially and discursively, fermentation functions as a continual form of engagement. Thought of as a form of communication, fermentation helps us to consider some of the invisible relations we have with microbes and connect with micro-species we often take for granted.
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28

Klepacki, Leopold, and Benjamin Jörissen. "Freiheit und Entanglement: Kulturelle Resilienz als relationale Bildungstheorie." Paragrana 32, no. 1 (June 1, 2023): 168–80. http://dx.doi.org/10.1515/para-2023-0013.

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Abstract Die Frage nach der Quelle von Freiheit ist, angesichts einer wesentlich durch neoliberalistische Lebens- und Wirtschaftsmodelle ausgelösten planetarischen Krise, zu einer Herausforderung der vorwiegend individualistischen Grundlage pädagogischer Theorie geworden. Wir stellen dieser unter dem Titel der „kulturellen Resilienz“ einen relational-transformatorischen bildungstheoretischen Ansatz gegenüber, in dessen Zentrum eine relationale Freiheitstheorie steht. Im Rahmen einer agentiell-realistischen (Barad 2012) Reinterpretation soziologischer Resilienztheorie (Brown 2015) verorten wir Freiheit im Spannungsfeld aufeinander bezogener Momente der Rootedness als Praxis eines sinnlich-leiblichen und zugleich kritisch-ästhetischen Gewahrwerdens von Entanglement (versus desengagierte Rationalität), Resourcefulness als diffraktionale (versus reflexive) umgestaltende Praxis der Hervorbringung von Welt, sowie „Resistance“ als performative und strukturbildende intra-aktionale, d.h. aus Relationierungen (versus abstrahierende Distanz) hervorgehende Praxis der Kritik. „Freiheit“ wird demnach bildungstheoretisch wie pädagogisch nicht durch eine Position außerhalb von Bindungen verwirklicht, sondern durch die Möglichkeit, bindende Strukturen innerhalb materieller Kollektive und kultureller Apparate neu zu konfigurieren.
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Matysek-Imielińska, Magdalena. "Zużyta kategoria uczestnictwa? Między polską tradycją humanistyczną a perspektywą performatywną." Prace Kulturoznawcze 20 (March 27, 2017): 85–104. http://dx.doi.org/10.19195/0860-6668.20.8.

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A Worn-out Category of Participation? Between Polish Humanistic Tradition and a Performative PerspectiveIn the field of Polish humanist studies, the category of “participation in culture” has been broadly examined. Nowadays there are more frequent voices announcing “the end of participation culture”, and that it is ahighly exploited research category. Instead, the academics underline the dynamic character of changes in modern culture and the necessity to attract attention to its “active” aspect, underlining the self-agency of subjects. Thus in the area of culture studies, we observe an interest in performative perspective.In Polish humanist studies Isearch for such participation concepts, which go beyond the field related to arts establishing relation work of art — recipient and activist engagement indicating f.i. resistance, or social movements. Iam particularly interested in theoretical proposals, related to the category of everyday life, social and cultural practices, or even the category of praxis. While recalling this category Iinquire, whether performative perspective can be inspiring and helpful for redefining and modernizing the category of participation in culture.
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Pickersgill, Martyn. "Digitising psychiatry? Sociotechnical expectations, performative nominalism and biomedical virtue in (digital) psychiatric praxis." Sociology of Health & Illness 41, S1 (September 2, 2018): 16–30. http://dx.doi.org/10.1111/1467-9566.12811.

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Graw, Knut. "Locating Nganiyo: Divination as Intentional Space." Journal of Religion in Africa 36, no. 1 (2006): 78–119. http://dx.doi.org/10.1163/157006606775569587.

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AbstractIn Senegal and Gambia, the main reason for divinatory consultation is seen not in misfortune or uncertainty but in the client's intention, longing and desire (nganiyo). To locate this intention is the diviner's first task. Successfully executed, it is the proof of his/her divinatory capacities. Drawing on the phenomenological and semantic analysis of Senegambian divinatory praxis, especially among Mandinka speakers, it is argued that Senegambian divination should not be seen as an abstract search for knowledge but as a performative praxis constituting an intentional and empowering cultural space that allows the subject to engage actively with his current situation. In a parallel analysis, it is shown that the notions and concepts underlying the divinatory process form in themselves a highly instructive theory of intentionality and affliction.
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Schönbohm, Avo, and Anastasia Zahn. "Reflective and cognitive perspectives on international capital budgeting." critical perspectives on international business 12, no. 2 (May 3, 2016): 167–88. http://dx.doi.org/10.1108/cpoib-02-2013-0006.

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Purpose The purpose of this paper is to develop a framework for an enlightened management and governance praxis against a backdrop of cognitive and motivational biases promoting a reflected international capital budgeting decision process. Furthermore, societally relevant questions are raised whether these biases might have an effect on various stakeholders in public–private partnerships. Recurring failures of international business investments motivate reflective, cognitive and socio-constructivist perspectives on the international capital budgeting process. Design/methodology/approach Based on an interdisciplinary literature review and substantiated by empirical studies, the cognitive biases and flaws of the international capital budgeting process are discussed making use of a five-stage process scheme. The article applies the interpretative paradigm and regards the international capital budgeting process stages as a socio-political process of reality construction and critically assesses the motives of its actors. Consequently, the authors develop and discuss three principle-based behavioural rationalisation factors. Findings International capital budgeting is not a process of rational choice but of social construction of reality. Reflective prudence, critical communication and independence are three rationalisation factors which could, if applied along the five stages of the international capital budgeting process, systematically lead to de-biasing and thus enhance the performative praxis of international investment decisions. Research limitations/implications The international capital budgeting process deals with the construction of future scenarios under uncertainty and assessment of potential success and failure of future projects. The defined (or any other) rationalisation factors are subject to cultural biases and can naturally not guarantee successful investment projects. Although the success of the application of various de-biasing tactics was empirically confirmed, the aggregated rationalisation factors of the paper have not been tested. Practical implications The paper is aimed at enhancing the reflective understanding and the performative praxis of the international capital budgeting process. The practical recommendations aggregated in the rationalisation factors are explicitly elaborated for international business practitioners. Social implications Societally relevant questions are raised whether systematic biases have an effect on various stakeholders in international public–private partnerships. Especially in large investment projects, where capturing private value might be boosted by actively exploiting biases of the public decision makers, active stakeholder engagement could enhance the social and ecological value of investments. Originality/value The article provides a rare interdisciplinary literature review on cognitive biases in the international capital budgeting process. It critically reflects the social construction of it various stages and its social repercussions and develops practical rationalisation factors for an enhancement of the international capital budgeting process as a performative praxis.
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Cuny, Jacqui. "Exploring musical theatre performance synergy: Accessing seven performative processes." Studies in Musical Theatre 16, no. 2 (July 1, 2022): 133–50. http://dx.doi.org/10.1386/smt_00094_1.

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To meet the demands of the ever-evolving musical theatre industry, performers are expected to craft inspiring performances across eight shows a week, seamlessly integrating their triple-threat expertise. Most actors undertake intensive training to achieve the complex skillset required to execute this art form, yet professional success can be elusive. It appears that a key element to building and maintaining a musical theatre career is performance synergy. This phenomenon is described colloquially as stage presence or X-factor. Whilst the literature regarding the field of musical theatre training is wide-ranging, little formal research has been undertaken on the ephemeral subject of performance synergy as it pertains to the work of the musical theatre actor. To address this lacuna in the literature ‐ and to determine whether performance synergy can be described, comprehended, taught or learned ‐ semi-structured interviews were conducted with 42 Australian actors and creative directors active in the musical theatre industry. Collected data captured expert opinions on the elements, constructs and praxis of musical theatre performance synergy. Following a thematic analysis of the data, a framework of seven performative processes was constructed towards a clearer understanding of the practical aspects of this multifaceted phenomenon.
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Dickerson, Mason. "Performative Revolution in Popular Media and Accelerationist Narratives in Resident Evil." Film Matters 13, no. 2 (September 1, 2022): 38–50. http://dx.doi.org/10.1386/fm_00225_7.

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Popular Hollywood movies do not often attempt to meaningfully criticize capitalism. What proliferates, instead, are performative optics; media starts a revolution for us so capital can continue its death march forward, unphased. Academia has begun to wrestle with the concept of accelerationism—that is, the full maximization of capitalism’s mechanics as a destabilizing strategy. Though accelerationism may lack merit as a political praxis, this article frames it as a subversive narrative strategy in popular media, fully embodied through the final installment of Paul W. S. Anderson’s film adaptation of the Resident Evil video game franchise, Resident Evil: The Final Chapter (2016).
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Andersen, Tawny. ""Any Search for an Origin is Hysterical": Summoning the Ghost of J.L. Austin." Performance Philosophy 2, no. 2 (January 31, 2017): 189. http://dx.doi.org/10.21476/pp.2017.22102.

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As the father of the concept of the “performative utterance”, British philosopher of language J.L. Austin is regularly cast as the point of origin in a genealogy tracing the influence of linguistic theory on performance theory. Based on extensive research into Austin’s writing praxis, this paper demonstrates that the philosopher produced and disseminated his research orally, dialogically, and pedagogically through contexts that privileged the inter-subjective exchange. It frames Austin’s self-described practice of “linguistic phenomenology” as a pragmatic one in which philosophy is context. I demonstrate that this mode of “doing” or “performing” philosophy is also at play within the dramaturgy of Austin’s texts, which restage his thought processes and invite his readers to become spectators to the dramatization of his ideas. My analysis offers up a portrait of a J.L. Austin who enacted his philosophy about the performative utterance in a performative manner. In so doing, it exposes the inaugural texts about performativity as hybrid objects that trouble the concepts of “authorship” and “origin”. It also shows that these texts are infected, at their inception, by parasites, by literature, by the Other, and by the ghosts that Austin tried so hard to exorcise, yet that—on some level of consciousness—he simultaneously allowed to haunt his philosophical voice.
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Schmidt, Melanie, and Christian Herfter. "Das Transparenzversprechen. Eine Diskursanalyse praxisinstruktiver Zeitschriftenbeiträge." Unterrichts- und Schulpraxis – Deutungsmuster und Habitusentwicklung – Inszenierungen des Lehrerberufs 9, no. 1-2020 (May 12, 2020): 142–55. http://dx.doi.org/10.3224/zisu.v9i1.11.

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Im Beitrag wird untersucht, wie Transparenz, als ein Versprechen auf Einsicht in und Beteiligung an wesentliche(n) Vollzüge(n) des unterrichtlichen Geschehens, über das Medium praxisinstruktiver Zeitschriften mit der pädagogischen Praxis vermittelt wird. Die Vermittlungen werden dabei als performative Akte gefasst und diskursanalytisch untersucht. Im Ertrag werden zwei zentrale Diskursfiguren des Transparenzversprechens präsentiert, in denen je unterschiedlich gefasst wird, welche machtvollen und wirklichkeitsstiftenden Effekte Transparenz für schulpädagogisches Handeln zeitigt. Die Untersuchung leistet so einen reflexiven Beitrag zur Diskussion um die (Un-)Möglichkeit und Attraktivität transparenter Vollzüge in der Pädagogik.
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Vogel, Benedikt. "Die geheimen Lehrschriften zur Duft-Kunst (Kōdō hidensho) – Ästhetik und Praxis der Duft-Kunst in der Edo-Zeit." Asiatische Studien - Études Asiatiques 73, no. 2 (July 26, 2019): 327–45. http://dx.doi.org/10.1515/asia-2019-0009.

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Abstract The Incense Ceremony is one of Japans traditional arts. After the early court enjoyed fragrance and incense in a playful manner (as documented by sources dating back as far as the early eighth century), it evolved during the fifteenth century into a complex ceremony. The moment of olfactory perception turned into a strict ritual, which combined performative as well as ornamental constituents. In the following Edo period (1603–1868) the Incense Ceremony is characterized by a significant rise in popularity, marked by a growing number of practitioners, who used written treatises to teach and transmit practical knowledge about the art. As one of the first printed treatises the Kōdō hidensho 香道秘伝書 (1669) reached wide circulation. Additionally, the number of comments on this specific treatise published in the century following its publication attest to its high status. While there are other treatises focusing on some aspects of the ceremony in more detail, the Kōdō hidensho does provide a solid overview on the ceremony, its material and performative constituents, its games and how they were celebrated. Consisting of nine separate parts in its entirety, the following translation presents the first two.
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Swakopf, Benjamin. "Creating more dangerous safe-spaces: A performative remedy for classroom solipsists?" Scenario: A Journal of Performative Teaching, Learning, Research X, no. 2 (July 1, 2016): 82–87. http://dx.doi.org/10.33178/scenario.10.2.7.

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“I worry more and more that we are creating an atmosphere where our students can remain in their own little worlds.” Although I cannot remember my exact turn-of-phrase, this approximates what I scribbled down on my notecard and tacked on the wall during our unit on Individual Differences and Classroom Diversity. It was nearing the end of the semester and each of us were instructed to prepare for a lively discussion of one chapter from Price’s (2011) Mad at School. Rhetorics of Mental Disability and Academic Life. My comment, casually hanging next to several others under the heading “Doubts/Questions,” was in fact more sharply directed toward some suggestions in the article we had read and not toward my colleagues, who were co-participants in the course and fellow associate instructors – I didn’t dare to think any of my compatriots would be guilty of such a thing. Price, in her chapter titled “Presence, Participation, and Resistance in Kairotic Space,” attempts to push back against what she deems overly “rationalist” assumptions in both theory and praxis as they relate to classroom accommodations. The claim is that we, as educators and theorists, tend to only consider formal accommodations for students with various disabilities ...
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Creely, Edwin. "Method(ology), pedagogy and praxis: a phenomenology of the pre-performative training regime of Phillip Zarrilli." Theatre, Dance and Performance Training 1, no. 2 (September 2010): 214–28. http://dx.doi.org/10.1080/19443927.2010.505000.

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Cabantous, Laure, and Jean-Pascal Gond. "Du mode d’existence des théories dans les organisations. La fabrique de la décision comme praxis performative." Revue française de gestion 38, no. 225 (July 28, 2012): 61–81. http://dx.doi.org/10.3166/rfg.225.61-81.

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Engel, Juliane, Michael Göhlich, Elke Möller, and Sophia Stiftinger. "Glokalisierte Klassenräume? ‚Doing Ethics‘ als Bearbeitung von Ungewissheit." Ungewissheit als Dimension pädagogischen Handelns 10, no. 1-2021 (June 29, 2021): 25–42. http://dx.doi.org/10.3224/zisu.v10i1.02.

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Das Konzept der Glokalisierung fasst die Dynamik von lokalen und globalen Entwicklungen als steigende Komplexität von Relationierungsmöglichkeiten. Mit dieser einher geht eine (produktive) Verunsicherung nicht nur von Entscheidungsprozessen, sondern auch der Verbindlichkeit von Wertvorstellungen im Rahmen jugendlicher Identitätskonstruktionen. Anhand von Unterrichtsvideographien aus dem interdisziplinären Forschungsprojekt „Glokalisierte Lebenswelten“ nimmt der Beitrag die performative Praxis ethischer Aushandlungsprozesse als doing ethics zwischen (Schul-)Alltag und dem sogenannten ‚Welthandelsspiel‘ in den Fokus. Im Anschluss an kulturund bildungstheoretische Ansätze werden Klassenzimmer und Spiel als Ermöglichungsräume und zugleich Rahmung ‚glokalisierter‘ Aushandlungsprozesse konturiert. Dargestellt wird, wie spatiale (An-)Ordnungen und Platzierungen Handlungspotentialität, Subjektivierungspraktiken sowie Identitätsbildung von Schülerinnen und Schülern in (Unterrichts-)Alltag und Spiel bestimmen.
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Casey, Edward S. "Phenomenology at the Edge of its Orbit." Journal of Chinese Philosophy 42, no. 1-2 (March 3, 2015): 213–20. http://dx.doi.org/10.1163/15406253-0420102014.

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Although cultures far away and with other languages and customs are felt to be exotic by many in one s own culture, all cultures recognize the importance of a consistent bodily praxis as a basis for ethical behavior. I show that thinkers as diverse as Aristotle, Dewey, James, Peirce, Husserl, and Merleau-Ponty all acknowledge this habitual-bodily basis as well as its deeply social character. So does Confucius, even if he emphasizes ceremonial aspects more than Aristotle, the American pragmatists, and phenomenologists. Linking these thinkers is a common emphasis on the performative dimension of reliably repetitive bodily actions that engender effective social actions and interactions.
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Sylvester, Meagan A. "Narratives of Resistance in Trinidad’s Calypso and Soca Music." Cultural and Pedagogical Inquiry 11, no. 3 (January 6, 2020): 105–16. http://dx.doi.org/10.18733/cpi29507.

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In Trinidad, the historical, socio-political and economic conditions which gave rise to the birth of Calypso are usually highlighted, in the existing literature, however, there is very little information regarding the oppositional lyrics of current Soca songs. By concentrating on the praxis of cultural resistance exemplified in the narratives of selected Carnival, Calypso and Soca songs, this article expands the existing discourse. Trinidad’s Carnival, post-emancipation, has important societal roles and functions. This article demonstrates that Carnival functions as performative rituals of resistance, individual and community awakening and identity development. Carnival’s established roles, functions and rituals are deliberately designed to disrupt the status quo.
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Roth, Sammy, and Tria Blu Wakpa. "Performativity, Possibility, and Land Acknowledgments in Academia: Community-Engaged Work as Decolonial Praxis in the COVID-19 Context." Syllabus is the Thing: Materialities of the Performance Studies Classroom 8, no. 2 (May 25, 2023): 72–93. http://dx.doi.org/10.7202/1099882ar.

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At the intersection of dance, performance, and Indigenous studies, this essay reflects on how an assistant professor at the University of California, Los Angeles—with the support of a graduate student researcher—has aimed to put an Indigenous land acknowledgment into praxis through community-engaged work. In academic settings, land acknowledgments are often given prior to an event and may circulate on written materials, such as event programs, syllabi, letterhead, departmental and research centre websites, and email signatures. Based on Indigenous protocols, these statements typically identify the original Indigenous peoples whose land the university currently occupies; they should also be created in collaboration with Indigenous leaders from the tribe(s). Indigenous land acknowledgments can be important because they directly combat the injustice of settler-capitalist, mainstream discourses that often obscure Indigenous peoples and practices or relegate them to the historical past. Yet, Indigenous people and Indigenous studies scholars have critiqued non-Native land acknowledgments as “performative.” Without direct material benefits to Indigenous peoples, land acknowledgments can serve as empty gestures that “perform” university commitments to anti-racism, equity, diversity, and inclusion. In contrast to the “performative” as an empty gesture, the fields of performance and dance studies frequently theorize “performativity” as a material action that can function both hegemonically and subversively. This essay argues that community-engaged research, teaching, and service—which the authors view holistically—are key ways to begin or further the process of putting a university’s land acknowledgment into action.
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ALCÂNTARA, VALDERÍ DE CASTRO, JOSIEL LOPES VALADARES, ALEX DOS SANTOS MACEDO, and MÔNICA CARVALHO ALVES CAPPELLE. "A SOLUTION THROUGH PRAXIS? REFLECTIONS ABOUT THE IVORY TOWER METAPHOR AND THE INDISSOCIABILITY BETWEEN THEORY AND PRACTICE IN ORGANIZATIONAL STUDIES." RAM. Revista de Administração Mackenzie 17, no. 5 (October 2016): 15–35. http://dx.doi.org/10.1590/1678-69712016/administracao.v17n5p15-35.

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ABSTRACT Purpose: The aim of the current study is to use the Ivory Tower metaphor to discuss and question the false dichotomy between theory and practice, as well as the insufficient pragmatic and performative solution towards the market logic, and to problematize the concept of praxis as a possibility through critical approaches. Originality/gap/relevance/implications: 1. the Ivory Tower demonstrates the existence of a gap in the relation between theory and practice; 2. the essay is conducted according to critical approaches; 3. the Critical Theory has the potential to deconstruct the assigned and socially constructed meanings of the Ivory Tower. Key methodological aspects: This is a theoretical essay that dialectically explores the Ivory Tower metaphor. Summary of key results: 1. the organizational science linked to the instrumental logic makes no place for praxis; 2. the Traditional Theory does not allow thinking about the relation between theory and practice through praxis, because it polarizes such categories and gives primacy to practice by demanding performance and productivity from theory; 3. based on the Ivory Tower metaphor, it is necessary to make criticisms for the sake of praxis and not for the sake of the practice understood just as technical and instrumental utility. Key considerations/conclusions: We pursuit solutions to remove the dichotomies that take the dialectical nature away from reality; it is necessary (re)constructing new ways to get in and out of the tower on behalf of emancipation, in the permanent and inseparable relation between theory and practice.
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Hofmann, Gert. "Florian Vaßen (Hg.) (2010), Korrespondenzen." Scenario: A Journal of Performative Teaching, Learning, Research IV, no. 2 (July 1, 2010): 69–71. http://dx.doi.org/10.33178/scenario.4.2.6.

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Die sogenannte „performative Wende“, der Paradigmenwechsel ästhetischer Reflexion vom Werk zum Prozess, vom künstlerischen oder literarischen Objekt zu Akt, event, happening, Aktion – kurz, zur performance – ist eine der bestimmenden Thematiken im Theoriediskurs der jüngst vergangenen Dekaden. Was das Verhältnis von Theater und Theaterpädagogik betrifft, hat dieser Paradigmenwechsel überraschenderweise erst relativ spät Raum gegriffen, obwohl ja gerade hier, im Spannungsfeld unterschiedlicher Handlungsformen, von gesellschaftlicher Praxis einerseits und künstlerischer Poiesis andererseits, die fruchtbarsten Auswirkungen zu erwarten sind. Florian Vaßen hat nun mit dem von ihm herausgegebenen Band zum ersten Mal die sich mit diesem Paradigmenwechsel ergebenden „Korrespondenzen“ zwischen künstlerischer und pädagogischer Praxis auf dem Felde des Theaters in den Mittelpunkt der Diskussion gestellt. „Dabei geht es nicht um eine ‚Entästhetisierung‘ des Theaters, bzw. um eine ‚Entpädagogisierung‘ der Theaterpädagogik, sondern um ein neues Verständnis von Kunst und Pädagogik als ästhetisches Handeln und Reflektieren.“ (7) Was der Herausgeber hier unmissverständlich und konzis formuliert, dass es nur um die Möglichkeiten einer gleichsam ästhetischen Potenzierung pädagogischen Handelns gehen kann, nicht um eine Instrumentalisierung theatraler Kunst für die Ziele einer wie auch immer beschriebenen pädagogischen Pragmatik, liegt als Argumentationsprinzip nicht allen in diesem Band enthaltenen Artikeln zugrunde. Daher lassen sich die Beiträge durchaus einteilen in ...
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Hille, Almut. "Slam Poetry and Poetry Slams im Fremdsprachen- unterricht: Erleben, Analysieren, selbst Verfassen und Präsentieren." Fremdsprachen Lehren und Lernen 52, no. 1 (March 13, 2023): 73–87. http://dx.doi.org/10.24053/flul-2023-0006.

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Slam poetry and poetry slams position a performative act at the forefront of the foreign language classroom, and thereby present numerous possibilities for linguistic, cultural and artistic teaching and learning. This allows for a form of applied language to be learned and experimented with that draws attention to the receptive and interpretive possibilities of the utterances as well as to the aesthetic dimensions of texts and the media of their presentation. Slam poetry in the foreign language classroom can enable immediate impressions and interactions, most typically among young slammers, and encourage closer analysis of texts, their performance, and the media involved in their performance. Slam poetry can also encourage students to create and perform their own texts. Such assignments promote basic communicative competencies as well as individual skill sets. This contribution will articulate these aspects on the basis of recent research on slam poetry and poetry slams in the foreign language classroom. It will also cover newer empirical studies of the successes of performative pedagogies, of poetic practice with spoken poems, and of learning to recite poetry in a foreign language. An example of such a praxis will show how learners can compose their own slam poetry and present their poems in (public) poetry slams that they organize themselves or in self-produced poetry videos.
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Nicolas, Loïc. "La fonction héroïque: parole épidictique et enjeux de qualification." Rhetorica 27, no. 2 (2009): 115–41. http://dx.doi.org/10.1525/rh.2009.27.2.115.

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Abstract The present contribution to the analysis of the rhetorical genre of eulogy and blame proposes to approach this oratorical undertaking from the point of view of its performative action on praxis. The question is to clarify the conditions of the possibility of this eminently ritual exercise of qualification of the world that attempts, by emphasizing the value of a figure that is rather singular, that of the “hero,” to express the present of a community and to program passing to the act. The goal of our reflection consists in showing how the epideictic genre, by the confirmation of a meaning actualized by the speech act, strives to establish and fix the properties of things and consecrate the symbolic forms that can present themselves as justification of a collective action.
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Houston, Donna, and Laura Pulido. "The Work of Performativity: Staging Social Justice at the University of Southern California." Environment and Planning D: Society and Space 20, no. 4 (August 2002): 401–24. http://dx.doi.org/10.1068/d344.

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In this paper we offer an alternative reading of the role of performativity and everyday forms of resistance in current geographic literature. We make a case for thinking about performativity as a form of embodied dialectical praxis via a discussion of the ways in which performativity has been recently understood in geography. Turning to the tradition of Marxist revolutionary theater, we argue for the continued importance of thinking about the power of performativity as a socially transformative, imaginative, and collective political engagement that works simultaneously as a space of social critique and as a space for creating social change. We illustrate our point by examining two different performative strategies employed by food service workers at the University of Southern California in their struggle for a fair work contract and justice on the job.
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Scriven, Richard. "Pilgrim and path: the emergence of self and world on a walking pilgrimage in Ireland." cultural geographies 27, no. 2 (September 16, 2019): 261–76. http://dx.doi.org/10.1177/1474474019876622.

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This article foregrounds the pilgrim, as a relational identity, to explore the co-emergence of self and world through embodied spatial practices. The pilgrim, as a liminal and mobile figure, is aligned with Maurice Merleau-Ponty’s phenomenological concept of the ‘flesh’, which presents subject and object as co-incipient. An auto-ethnographic study of the Croagh Patrick pilgrimage in the west of Ireland combines interview accounts from research participants and my own fieldwork experiences. This journey into the performative and liminal aspects of pilgrimages examines of how pilgrim and path emerge in an intermeshing of body and landscape, the spiritual and material and culture and praxis. In mobilising the figure of the pilgrim, this article contributes to disciplinary discussions concerning phenomenology/post-phenomenology, while highlighting the significance of pilgrimage as a purposeful performance.
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