Academic literature on the topic 'Performative proce'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Performative proce.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Performative proce"
1
Christoffersen, Erik Exe. "Intermedial Performance." Peripeti 13, no. 25 (May 28, 2021): 76–83. http://dx.doi.org/10.7146/peri.v13i25.109578.
Full textAbstract:
Hotel Pro Forma er et yderst kvalificeret bud på den performative kunst, der opstod i 90’erne. Der var primært en fokusering på materialer, mediers opførelsespraksis, en undersøgelse af kunstneriske kommunikationshandlinger i tid og rum. Hotel Pro Forma udnytter forskellige mediers opførelses- og fremstillingstraditioner, tilskuerpositioner, tekster, lys, objekter og kuratering af bevægelsesmåder. Opførelsesformer, konventioner og tilskuerpositioner bliver geniscenesat som handlinger i tid og rum. De bevæger sig mellem teater, billedkunst og udstilling, opera og rumkunst. Teatret er inden for de sidste 30 år i stigende grad blevet intermedialt og performativt orienteret og inddragelse af fx video, billedprojektioner og lysteknologi har været medvirkende til at ændre teatret. Hotel Pro Forma har bidraget til denne proces, hvor hørelse og syn, rum og billede adskilles og sættes sammen på nye måder. Det betyder at værkerne skaber et polyfont eller mangestemmigt rum, hvis grundlag er dissensus. I mange år har der været en distinktion mellem performance og teater og senere postdramatisk teater og dramatisk teater. Det går tilbage til avantgardens opgør med tekstteatret. Men disse distinktioner er vanskelige at opretholde, fordi der forekommer en konstant udveksling mellem scenekunst, som et iscenesat fællesskab og som et differensrum med en flydende dramaturgi og en permanent gentænkning af de intermediale muligheder, der opstår, idet værket tænkes performativt med vægt på den reale kommunikative handling i tid og rum mellem scene og tilskuer. Hvorfor blir' det nat mor? (1989) gør selve tilskuersituationen til en handling, som involverer flere forskellige sanser som syn, hørelse, vestibulære og proprioceptive sanser og skaber en opmærksomhed på, at interferensen mellem forskellige medier inden for samme værk, skaber en erfaring om mediers forskellige funktionsmåde, og dermed også en erfaring om at sanser og viden som sådan er medialiseret i interne hierarkier, som kan forskydes og forandres. Ekspliciteringen af mediernes forskellige funktionsmåder frisætter så at sige kunstgreb som konventioner, der kan vælges eller fravælges. Dermed bliver det også muligt at skabe modsætninger eller kontraster mellem forskellige sanse og perceptionsformer indenfor samme værk.
2
Spieker, Sven. "Price or Prize: The Artist as Vertreter." ARTMargins 4, no. 2 (June 2015): 24–47. http://dx.doi.org/10.1162/artm_a_00117.
Full textAbstract:
This article discusses different modes of delegation in Martin Kippenberger's work. Drawing both on the artist's work as a painter in post-II WW Berlin and on his performance of his own life as part of his artistic work, the article contends that Kippenberger keeps in the balance a modernist logic of art as deskilling and delegation that endorses the artist as an entrepreneur; and a postmodern position that emphasizes more performative elements in subjectivity.
3
Ellefsen, Live. "Genre and “Genring” in Music Education." Action, Criticism, and Theory for Music Education 21, no. 1 (March 2022): 55–79. http://dx.doi.org/10.22176/act21.1.56.
Full textAbstract:
In this article, I explore the theoretical and analytical potential of the concept of genring, which here refers to productive acts of temporary interpretation and signification, wherein existing classification systems and genre categories in the social are operationalized and (re)negotiated. Foucault and Butler’s theories of discursive subjection serve as a theoretical framework to consider how genring works as a performative mode of action: a discursive, reiterative, and citational practice that establishes ontological effects of truth, reality, and naturalness. This performative mode of action is not a “discursive practice” in itself; rather, it might be understood as one of the ways discourse practices itself. To probe the analytical value of the concept genring, I take as my case the field of music education, where genring seems to be a common strategy for associating music with music, music with people, and people with people for educational purposes.
4
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.
Full textAbstract:
“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 ...
5
Mackenzie, Donald. "Is Economics Performative? Option Theory and the Construction of Derivatives Markets." Journal of the History of Economic Thought 28, no. 1 (March 2006): 29–55. http://dx.doi.org/10.1080/10427710500509722.
Full textAbstract:
The thesis that economics is “performative” (Callon 1998) has provoked much interest but also some puzzlement and not a little confusion. The purpose of this article is to examine from the viewpoint of performativity one of the most successful areas of modern economics, the theory of options, and in so doing hopefully to clarify some of the issues at stake. To claim that economics is performative is to argue that it does things, rather than simply describing (with greater or lesser degrees of accuracy) an external reality that is not affected by economics. But what does economics do, and what are the effects of it doing what it does?That the theory of options is an appropriate place around which to look for performativity is suggested by two roughly concurrent developments. Since the 1950s, the academic study of finance has been transformed from a low-status, primarily descriptive activity to a high-status, analytical, mathematical, Nobel-prize-winning enterprise. At the core of that enterprise is a theoretical account of options dating from the start of the 1970s. Around option theory there has developed a large array of sophisticated mathematical analyses of financial derivatives. (A “derivative” is a contract or security, such as an option, the value of which depends upon the price of another asset or upon the level of an index or interest rate.)
6
Doré, Chantal, Jacques Caillouette, Michèle Vatz Laaroussi, Liliana Kremer, Carlos Yáñez Canal, and Linamar Campos Flores. "Genre, diversité et territoire : l’utilisation des approches narratives dans une recherche partenariale transnationale." Recherche 59, no. 1-2 (September 24, 2018): 149–68. http://dx.doi.org/10.7202/1051429ar.
Full textAbstract:
Cet article présente les objectifs, la méthodologie et les résultats d’une recherche transnationale entre le Québec, l’Argentine et la Colombie menée sur deux ans (2014-2016) et portant sur les rapports sociaux de genre, la diversité et la construction démocratique des territoires. En contribution au courant d’innovation méthodologique et théorique dans le champ des pratiques de recherche partenariale, l’exposé se penche sur la fonction performative qui a caractérisé cette recherche. En libérant des espaces de narration, de dialogues publics et de mise en lien entre le proche et le lointain, ce type de recherche ouvre de nouvelles perspectives de compréhension et d’actualisation des acteurs.
7
Blumen, Orna. "The Performative Landscape of Going-To-Work: On the Edge of a Jewish Ultraorthodox Neighborhood." Environment and Planning D: Society and Space 25, no. 5 (October 2007): 803–31. http://dx.doi.org/10.1068/d76j.
Full textAbstract:
Following recent insights into performativity and space, I explore the widespread routine of going-to-work as a capitalist ritual. Going-to-work produces a powerful yet ordinary, unspectacular landscape, whose performativity is fourfold: the compatibility of the material form and human use of it; the movements of people and the clothes they wear; the variety of individual practices of going-to-work; and the timing and spacing of this collective ritual. Generally, going-to-work is performative, because it transforms people into employees, defining productivity in terms of paid work. Hence, the prime quality of this landscape is to enhance economically productive bodies. In the second part of this paper, I examine this productive—nonproductive distinction in a unique setting on the edge of an Israeli neighborhood of ultraorthodox Jews, whose definition of men's work—unpaid religious studies—contrasts with that of the majority of the modern population. The distinctive ultraorthodox appearance, originally designed to mark a particular Jewish identity, signifies their nonproductivity as a spatial performance of Otherness. This provides an opportunity to probe going-to-work in this specific place as an arena where the ultraorthodox identity as Other intersects with their capitalist identity as Other. Short street interviews with modern and ultra-orthodox Jews show that they recognize work as the main theme of this landscape. They are also aware that work is socially defined and can be criticized on both capitalist and ultraorthodox—religious grounds, and they illustrate how the controversy over the definition of work lies within the struggle over Jewish identity. I conclude by illuminating the performative role of space in displaying identity and social ideas.
8
Petty, Sheila. "Epistolarity, Voice, and Reconciliation in Recent North African Documentaries." Área Abierta 19, no. 3 (November 4, 2019): 347–61. http://dx.doi.org/10.5209/arab.65470.
Full textAbstract:
This essay takes as its starting point Laura Rascaroli’s notion of “epistolarity as argumentation” to probe how North African filmmakers Habiba Djahnine, Drifa Mezenner, and Jawad Rhalib deploy the letter in their documentary films as a strategy to come to terms with personal alienation at a specific point in their national histories. In Letter to my Sister (2006), I Lived in the Absence Twice (2011) and The Turtles’ Song: a Moroccan Revolution (2013), working within reflexive and performative modes of documentary, the filmmakers become protagonists of their own projects and find their personal voice after years of repression or exile. Thus, they ultimately connect their voice with others of the nation as strategy of reconciliation. The essay argues that these first-person documentaries use the epistolary device to allow the filmmakers to rediscover their own voices and place within their own national histories of Algeria and Morocco.
9
Englemann, Lukas, Caroline Humphrey, and Christos Lynteris. "Introduction." Social Analysis 63, no. 4 (December 1, 2019): 1–19. http://dx.doi.org/10.3167/sa.2019.630401.
Full textAbstract:
This special issue moves beyond an understanding of diagrams as mere inscriptions of objects and processes, proposing instead to re-evaluate diagrammatic reasoning as the work that is carried out with, on, and beyond diagrams. The introduction presents this issue’s focus on ‘working with diagrams’ in a way that goes beyond semiotic, cognitive, epistemic, or symbolic readings of diagrams. It discusses recent research on diagrams and diagrammatic reasoning across disciplines and approaches diagrams as suspended between imagination and perception—as objects with which work is done and as objects that do work. Contributions to this issue probe diagrams for the work they do in the development of disciplinary theories, investigate their reworking of questions of time and scale, and ask how some diagrams work across fields and disciplines. Other authors shift the perspective to their own work with diagrams, reflecting on the practice and performative nature of diagrammatic reasoning in their respective fields and disciplines.
10
Rufford, Juliet. "‘What Have We Got to Do with Fun?’: Littlewood, Price, and the Policy Makers." New Theatre Quarterly 27, no. 4 (November 2011): 313–28. http://dx.doi.org/10.1017/s0266464x11000649.
Full textAbstract:
Joan Littlewood blamed anti-socialist prejudice for Theatre Workshop's hostile treatment by the Arts Council. Yet her failure to secure the Council's backing for the Fun Palace – an open-ended project for an arts, entertainment, and education centre she developed with architect Cedric Price – may be better expressed as a collision between anarchy and bureaucracy. Following Nadine Holdsworth's 1997 article for New Theatre Quarterly, ‘“They'd Have Pissed on My Grave”: the Arts Council and Theatre Workshop’, in this article Juliet Rufford argues that the project fell victim to a form of programme censorship because it broke the rules of culture and professionalism as defined by the major funding body for the arts. The concept of ‘fun’ is seen as vital to understanding the cynicism of the policy makers towards Price and Littlewood's proposals, but also as driving explorations of intermediality, interactive performance, and performative architecture that have since been taken up successfully by artists working within and beyond the subsidized sector. Juliet Rufford is a post-doctoral research associate at the Victoria and Albert Museum, and is co-convenor of the International Federation of Theatre Research's Theatre Architecture Working Group. She has written on theatre architecture, site-specific performance, scenography, and the politics of space for publications including Contemporary Theatre Review and the Journal of Architectural Education.
Dissertations / Theses on the topic "Performative proce"
1
CESTINO, GIOVANNI. "'USED SCORES'. LINEE TEORICHE E OPERATIVE PER L¿INDAGINE DEL RAPPORTO TRA ESECUTORI E MATERIALI PERFORMATIVI." Doctoral thesis, Università degli Studi di Milano, 2019. http://hdl.handle.net/2434/697450.
Full textAbstract:
This study provides a theoretical and analytical framework to investigate the relationship between performers and their materials (scores, parts, etc.) in the Western art music context. Whilst the literature has focused on annotation practice – and thus on the informational content of scores – the approach here is extended to the practices of reading and the material alteration of the performative support. Textual artifacts are thus considered both for their role in the performative process, and for the cultural affordance of the content they convey. Combining recent anthropological perspectives on creative processes with textual criticism methods, this study delves into each of the three practices with a constant reference to numerous sources, belonging to relevant mid-XX century performers who had a unique relationship with their materials. In order to derive some analytical tools – potentially suitable for future case studies – the dissertation focuses on an example: the materials of Berg's Lyrische Suite employed by the LaSalle Quartet and its founder, Walter Levin. On one hand, this investigation reaffirms the relevance of such sources for different scholarly perspectives, including reception history and performance practice. On the other, this study claims for a reconsideration of text-performance dichotomy by relocating it in performers’ perspectives. Lastly, it suggests a multi-disciplinary approach to textual artifacts which aims to fill the gap between opposite approaches like musical philology and performance studies, towards an 'anthropology of the musical text'.
Books on the topic "Performative proce"
1
Barbara, Green. Spectacular confessions: Autobiography, performative activism, and the sites of suffrage. New York: St. Martin's Press, 1997.
Find full text
2
Spectacular confessions: Autobiography, performative activism, and the sites of suffrage 1905-1938. London: Macmillan, 1997.
Find full text
3
Schlapbach, Karin. The Anatomy of Dance Discourse. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807728.001.0001.
Full textAbstract:
This book makes an original contribution to the newly thriving field of ancient Greek and Roman performance and dance studies. It offers a better grasp of ancient perceptions and conceptualizations of dance through the lens of literary texts. It gives attention not only to the highly encoded genre of pantomime, which dominates the stages in the Roman Empire, but also to acrobatic, non-representational dances. It is distinctive in its juxtaposition of ancient theorizations of dance with literary depictions of dance scenes. Part I explores the contact zones of ancient dance discourse with other areas of cultural expression, especially language and poetry, rhetoric and art, and philosophy and religion. Part II discusses ekphraseis of dance performances in prose and poetry. The main bulk of the book focuses roughly on the second century CE (discussing Plutarch, Lucian of Samosata, Athenaeus, the apocryphal Acts of John, Longus, and Apuleius), with excursions to Xenophon and Nonnus. Dance is performative and dynamic, and its way to cognition and action is physical experience. This book argues that dance was understood as a practice in which human beings, whether as dancers or spectators, are confronted with the irreducible reality of their own physical existence, which is constantly changing.
Book chapters on the topic "Performative proce"
1
Handschke, Diana. "Schulkind auf Probe. Übergangsgestaltung der Grundschule als performative Herstellung des ‚Schulkinds auf Probe‘." In Mythen, Widersprüche und Gewissheiten der Grundschulforschung, 117–23. Wiesbaden: Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-31737-9_13.
Full text
2
Meerzon, Yana. "Heteroglossia of a Castaway: On the Exilic Performative of Joseph Brodsky’s Poetry and Prose." In Performing Exile, Performing Self, 35–72. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230371910_2.
Full text
3
Bustamante, Nicholas, and Jessica Solyom. "Performative Niceness and Student Erasure:." In The Price of Nice, 161–82. University of Minnesota Press, 2019. http://dx.doi.org/10.5749/j.ctvpwhdfv.13.
Full text
4
Leong, Daphne. "Poetry in Structure." In Performing Knowledge, 168–200. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653545.003.0007.
Full textAbstract:
This chapter reads Milhaud’s setting of “L’Aurore” from Lucile de Chateaubriand’s Trois Poèmes en prose as a musical poem—one that supplies the “poetic” structure missing from Chateaubriand’s prose poem. This new poem’s rhythm and rhyme are created by the counterpointing of descending lines moving at different rates of speed, the surface and deeper-level rhythms they articulate, their interactions with textual stresses, and the resulting metric and hypermetric structure. The chapter begins with a brief description of the role of text in Milhaud’s oeuvre, followed by discussion of the French prose poem, Lucile de Chateaubriand, and Chateaubriand’s “Aurore.” It analyzes the song’s contrapuntal motion, describes the authors’ performative conception, and presents practical considerations, closing with the authors’ performance on video.
5
Best, Andy. "Imagining Godzilla: An Art Research Network Platform." In Situating Sustainability: A Handbook of Contexts and Concepts, 293–330. Helsinki University Press, 2021. http://dx.doi.org/10.33134/hup-14-20.
Full textAbstract:
This chapter is an extended contribution from a collection of artists headed by Andy Best and Merja Puustinen. Best and Puustinen’s project, ‘Imagining Godzilla’, turned their Polynesian-style sailing catamaran into a research vessel on the Baltic Sea. With other artists on board, the catamaran became a mobile platform for creative-research projects on topics ranging from undersea Internet cables, new materialist explorations of phosphate circulation, audio-visual technologies and knowledge, and performative/auto-ethnographic accounts that probe the boundaries of life on land and sea.
6
Johnson, Kate R. "Eternal Graffiti." In Integrating Social Justice Education in Teacher Preparation Programs, 245–75. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-5098-4.ch012.
Full textAbstract:
This chapter will rely on both poetry and prose to communicate the ideas the author teaches prospective mathematics teachers about social justice and develop their social awareness. She uses qualitative methods developed from performative autoethnography, poetic inquiry, and poetic-narrative autoethnography to accomplish three goals: 1) describe her definition of social justice education, 2) articulate the experiences that led her to use poetry in class, and 3) expand on the ways she uses poetry with prospective mathematics teachers. Further, she explores how different kinds of silence are a necessary component to developing social awareness and how poetry can foster these productive silences and allow students to break through unproductive silences.
7
Seibel, Michael, and Georgios P. Tsomis. "Ansätze einer Phänomenologie der Performativität von (Musik-)Theatertexten am Beispiel der Übertragung des Singspiels „Die Entführung aus dem Serail“ von W. A. Mozart ins Griechische." In zeta-textperformances, 343–58. Zeta Books, 2021. http://dx.doi.org/10.5840/202117.
Full textAbstract:
Western theatre production processes are historically characterized by their logos-centered approach. Therefore, the text is the starting point of all creative work. In this context, the theatrical text, as a literary phenomenon, is at the forefront of the action, whereby the “performance” of the text within a performance itself is often only perceived as a “disturbing” accessory. If, however, one entertains phenomenological thoughts in relation to the aesthetic production processes in theatre, one does not refer explicitly and exclusively to a text as a mental, cognitive construction of sense and meaning; rather, one extends the aesthetic working process to all the parameters involved in the interrelated theatre production process. The resulting theatrical expression is more than just logos in the form of a text. It is logos in an extended sense, which in turn can be perceived and experienced bodily, as well as sensually by the recipient. As a consequence, the theatre artist is offered new approaches to the performative understanding of a theatrical text. In this context, such a purposeful observation and perception of a particular appearance is of decisive importance. On the basis of these phenomenological considerations for the presentation of a theatre text on stage, we examine the libretto of W. A. Mozart’s “The Abduction from the Seraglio” in order to show how a translation of the spoken dialogues (prose) of this Singspiel into Greek allows the Greek-speaking audience a performative approach to the text.
8
Mazer, Sharon. "Learning the Game." In Professional Wrestling, 49–84. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826862.003.0003.
Full textAbstract:
To learn the game, an aspiring professional wrestler at the Johnny Rodz Unpredictable School of Professional Wrestling must do more than acquire athletic and performative skills. He must also assimilate masculine codes of behaviour to earn the right to enter and perform in the squared circle. Learning the game is an often brutal reality check, an enforced encounter with one’s own physical, intellectual, and emotional limitations experienced through the tedium of repetitive practice and the volatility of other men. It is an exercise in managing the self, as much about learning to submit as it is about dominating, and about learning to accept the demand that one lose as it is about enjoying the pleasure of winning, or at least the appearance of winning. As with many other masculine rites of passage, it is ironic that to prove their manhood wrestlers must first surrender it to the others.
9
Saglia, Diego. "‘Where shall I turn me?’: Italy and irony in Beppo and Don Juan." In Byron and Italy. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100559.003.0012.
Full textAbstract:
This chapter focuses on Byron’s ‘Italian’ satires, Beppo and Don Juan, as well as the late prose fragment ‘An Italian Carnival’. It begins by highlighting Byron’s parabasic ‘turn’ to Italy in these works in order to argue that the poet’s complex and contradictory self-positioning in Italy, during his years there, underpins the unprecedentedly multiform poetics and world view of these texts. The chapter begins by examining the ambivalences and contradictions in Don Juan’s references to Pulci, Ariosto, Dante, Petrarch and Boccaccio, showing the extent to which Italy’s literature contributes to, but is also subverted by, Byron’s constructing of his new ‘medley mode’. Turning to Beppo, the chapter considers the ways in which the figure of the cavalier servente offers the poet a crucially performative model for his Italian ‘turn’ and the parabasic nature of his satires. The chapter concludes by examining Byron’s reprise of this mode in ‘An Italian Carnival’ to delineatea final image and assessment of the country.
10
Poos, L. R. "‘His Own Father Was the Cause of His Trouble’." In Love, Hate, and the Law in Tudor England, 19—C2.P112. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192865113.003.0002.
Full textAbstract:
Abstract Roger Rishton (c.1505–c.1563), Ralph’s father, was a remarkably litigious and confrontational character: throughout his adult life he was involved in at least one major lawsuit every year. He was also prone to violence. This chapter begins by tracing the histories of the main branches of the extended Rishton family. It then introduces places that feature throughout the book and many themes regarding the ways people used law in this time, by reconstructing three major cycles of aggression by Roger, all centred upon Church Kirk, the local chapelry church near his ancestral home. In these confrontations he took the pews and seats of his antagonists out of the church and burnt them (shooting one of his rivals with an arrow), brawled over his stockpiling of weaponry and armour in the church’s tower, and violently mishandled a woman in the church in the course of a prolonged conflict over mutual defamation alleging sexual misbehaviour. Each confrontation wove its way through multiple court systems: close reconstruction demonstrates how what superficially appear to be isolated cases in reality add up to concerted dispute resolution. The cases also reveal that the Court of the Duchy of Lancaster, an equity jurisdiction sitting in Westminster, was a court of first and very rapid resort for Lancashire gentry over a wide range of matters. Much of Roger Rishton’s violence was performative and assertive of status, and workable social relations between antagonists were usually restored quickly.