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Journal articles on the topic 'Performing studies'

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Author: Grafiati
Published: 14 March 2023

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1

Panacek, Edward A. "Performing chart review studies." Air Medical Journal 26, no. 5 (September 2007): 206–10. http://dx.doi.org/10.1016/j.amj.2007.06.007.

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2

Price, Neil. "Performing the Vikings." Religionsvidenskabeligt Tidsskrift 74 (March 25, 2022): 63–88. http://dx.doi.org/10.7146/rt.v74i.132101.

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ABSTRACT: With a starting point in Jens Peter Schjødt’s studies of Ibn Faḍlān, this article explores the performative dimensions of late Iron Age ritual practice, as mediated especially through mortuary behaviour and ceremony. The interplay of textual and archaeological perspectives is in focus here, including a critical contribution to the interdisciplinary discussion on what has been termed the ‘performance turn’ in Viking studies. In several short case studies, notably the new work on the textile fragments from the Oseberg ship burial, the positive potential of this line of research is asserted as a source of considerable insight into Viking-Age world-views. RESUME: Med udgangspunkt i Jens Peter Schjødts studier af Ibn Faḍlān, undersøger denne artikel de performative aspekter af den ældre jernalders rituelle praksis som den kommer til udtryk i begravelsesadfærd og -ceremoni. Samspillet mellem skriftlige og arkæologiske perspektiver er i fokus i denne artikel, inklusiv et kritisk bidrag til den interdisciplinære diskussion omkring det, der er blevet kaldt ’the performance turn’ i studier af vikingetiden. Gennem flere korte casestudier, især nyt arbejde omkring tekstilfragmenterne fra Oseberg-skibsbegravelsen, fastslås det positive potentiale i denne form for forskning som en kilde til betragtelig indsigt i vikingetidens verdenssyn.
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3

Filipowicz, Halina. "Performing Bodies, Performing Mickiewicz: Drama as Problem in Performance Studies." Slavic and East European Journal 43, no. 1 (1999): 1. http://dx.doi.org/10.2307/309902.

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4

Messenger, Troy. "Performing Media." Liturgy 23, no. 3 (May 6, 2008): 5–12. http://dx.doi.org/10.1080/04580630802003487.

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5

Giraudeau, Martin. "PERFORMING PHYSIOCRACY." Journal of Cultural Economy 3, no. 2 (July 2010): 225–42. http://dx.doi.org/10.1080/17530350.2010.494125.

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6

Wagener, Isabell. "Performing Ploutos." ARYS. Antigüedad: Religiones y Sociedades, no. 19 (November 16, 2021): 439–60. http://dx.doi.org/10.20318/arys.2021.5251.

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The question of the relation of ritual and theatre has long been debated and may never come to a satisfying result. Nevertheless, certain features of theatrical performances, especially in the ancient Greek poleis, show a close connection of both performative acts. In particular, there is a strong interdependence of the dramatic agon and religious festivals, such as the Great Dionysia and the Lenaia. The aim of this article is to shed a new light not only on the relation of theatre and ritual, but also on the reception of theatre in the visual arts and the impact it had on religious developments of that time. I hereby focus on the heightened emergence of personifications in the middle of the 5th century BC which is reflected in a number of personifications who appear on stage in the Aristophanic comedies. One of them is Ploutos, the personified Wealth and one of the main characters in the homonymous play. By combining the representation of Ploutos in the visual arts with the literary sources on his person, a new image of this personification emerges. Through recapturing fragments and fractures of the multifaceted personification Ploutos, a process of transformation and adaption shows through that accommodates not only the relation of ritual and theatre, but also highlights the extraordinary standing of personification in the ancient Greek pantheon.
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7

Lubet, Alex. "Disability Studies and Performing Arts Medicine." Medical Problems of Performing Artists 17, no. 2 (June 1, 2002): 59–62. http://dx.doi.org/10.21091/mppa.2002.2009.

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My introduction to the emerging field of disability studies (DS) was not by accident, but by injury. A professor of music composition and theory who uses piano and computer keyboards extensively, performs on acoustic guitar, electric bass, and mandolin, and handwrites a great deal, I have coped with pain and functional limitations from spinal and upper limb injuries for years. In 1999, on disability leave, recovering from neurosurgery for cervical disk herniation, I read a call for papers on disability and the performing arts. Intrigued, I immersed myself in DS literature, and began to participate in the Society for Disability Studies and to engage in research, teaching, and creative projects on disability topics.
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8

Aparicio, Frances R. "Performing the Caribbean in American studies." American Quarterly 50, no. 3 (1998): 636–44. http://dx.doi.org/10.1353/aq.1998.0024.

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9

Duff, A. "Performing Financial Studies: a Methodological Cookbook." British Accounting Review 36, no. 2 (June 2004): 228. http://dx.doi.org/10.1016/j.bar.2003.12.001.

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10

Weber, Rachel. "Performing property cycles." Journal of Cultural Economy 9, no. 6 (August 22, 2016): 587–603. http://dx.doi.org/10.1080/17530350.2016.1212085.

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11

Bletzer, Keith V. "Performing Substitute Teaching." Urban Review 42, no. 5 (September 26, 2009): 403–21. http://dx.doi.org/10.1007/s11256-009-0137-y.

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12

Washburn, Dennis, and Atsuko Sakaki. "Performing Theory." Monumenta Nipponica 55, no. 2 (2000): 271. http://dx.doi.org/10.2307/2668430.

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13

Gibson, Michelle, and Deborah T. Meem. "Performing Transformation." Journal of Lesbian Studies 9, no. 4 (December 15, 2005): 107–28. http://dx.doi.org/10.1300/j155v09n04_08.

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14

Sandberg, Marie. "Performing the Border." Anthropological Journal of European Cultures 18, no. 1 (March 1, 2009): 107–28. http://dx.doi.org/10.3167/ajec.2009.180107.

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On the basis of fieldwork conducted in the two towns Görlitz and Zgorzelec, situated directly on the German-Polish border, this article explores how different versions of the border are enacted among Polish and German high-school pupils. As is usually the case with borders, the German-Polish border has a multiple, even ambivalent character. Inspired by the performative approach within actor-network theory, this article aims to qualify the concept of the multiple border, where multiplicity is understood as heterogeneous practices and patterns of absences and presences that constitute the border. The data, based on ethnographic fieldwork, consist of 'cartographies', maps made by the pupils, followed up by 'walking conversations' in the two towns on the border. The analysis shows that the border is not only enacted differently; also it is suggested that the performances all deal with and constitute an ambivalent border.
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15

ALLOWAY, NOLA, PAM GILBERT, ROB GILBERT, and ROBYN HENDERSON. "Boys Performing English." Gender and Education 15, no. 4 (December 2003): 351–64. http://dx.doi.org/10.1080/09540250310001610562.

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16

Mechling, Jay. "Performing Imaginary Rhetoric." American Quarterly 52, no. 2 (2000): 364–70. http://dx.doi.org/10.1353/aq.2000.0019.

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17

Draper, Jack A. "Performing Brazil: Essays on Culture, Identity, and the Performing Arts." Hispanic American Historical Review 96, no. 1 (January 28, 2016): 190–92. http://dx.doi.org/10.1215/00182168-3424240.

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18

Fox, Karen M., Elizabeth Klaiber, Sean Ryan, and Brett Lashua. "Remixing, Performing, and Producing Studies of Leisures." Leisure Sciences 28, no. 5 (September 22, 2006): 455–65. http://dx.doi.org/10.1080/01490400600851312.

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19

Conant, David A., and Thomas J. McGraw. "Case studies of two performing arts halls." Journal of the Acoustical Society of America 108, no. 5 (November 2000): 2648. http://dx.doi.org/10.1121/1.4743872.

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20

Colley, Binta M. "Teaching Social Studies Through the Performing Arts." Educational Forum 76, no. 1 (January 2012): 4–12. http://dx.doi.org/10.1080/00131725.2011.627986.

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21

Castro, Bárbara. "Performing gender at work." Cadernos Pagu, no. 35 (December 2010): 379–88. http://dx.doi.org/10.1590/s0104-83332010000200014.

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22

Payne, R. "PERFORMING THE ETHICS OF CONVERSATION." GLQ: A Journal of Lesbian and Gay Studies 15, no. 1 (January 1, 2009): 177–79. http://dx.doi.org/10.1215/10642684-2008-025.

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23

Gil-Gomez, Ellen M. "Performing ‘La Mestiza’." Journal of Lesbian Studies 4, no. 2 (June 2000): 21–38. http://dx.doi.org/10.1300/j155v04n02_03.

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24

Juris, Jeffrey S. "Performing politics." Ethnography 9, no. 1 (March 2008): 61–97. http://dx.doi.org/10.1177/1466138108088949.

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25

de Goede, Marieke, Stephanie Simon, and Marijn Hoijtink. "Performing preemption." Security Dialogue 45, no. 5 (September 29, 2014): 411–22. http://dx.doi.org/10.1177/0967010614543585.

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Nearly 15 years after 9/11, it is time to grapple with the way in which imperatives of preemption have made their way into routine security practice and bureaucratic operations. As a growing literature in security studies and political geography has argued, preparing for catastrophe, expecting the worst, and scripting disasters are central elements of contemporary, speculative security culture. One of the most-discussed findings of the 9/11 Commission Report was that US security services had insufficiently deployed their imagination to foresee and preempt the attacks. This article introduces a special issue that offers a range of in-depth empirical studies that analyse how the imperative of ‘routinizing the imagination’ plays out in practice across different policy domains. It deploys the lens of performativity in order to conceptualize and explain the materialization of preemption and its situated entanglements with pre-existing security bureaucracies. We detail the idealized traits of a ‘security of the interstice’, which include interoperability, emergence, flexibility and analytical foresight that are meant to bridge the perceived gaps of security spaces and the temporal bridges between present and possible futures. The lofty rhetoric of preparing for the worst and bridging the gaps encounters numerous obstacles, challenges and reversals in practice. As becomes clear through the notion of performativity, such obstacles and challenges do not just ‘stand in the way’ of implementation, but actively shape the materialization of preemption in different sectors.
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26

Klimt, Andrea. "Performing portugueseness in Germany." Etnografica, no. 9 (1) (May 1, 2005): 103–22. http://dx.doi.org/10.4000/etnografica.2951.

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27

Denzin, Norman K. "Performing [Auto] Ethnography Politically." Review of Education, Pedagogy, and Cultural Studies 25, no. 3 (January 2003): 257–78. http://dx.doi.org/10.1080/10714410390225894.

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28

Smith, Susan J., Moira Munro, and Hazel Christie. "Performing (Housing) Markets." Urban Studies 43, no. 1 (January 2006): 81–98. http://dx.doi.org/10.1080/00420980500409276.

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29

Smalls. "#BlackDeathsMatter: Performing Transness in Public Space." QED: A Journal in GLBTQ Worldmaking 8, no. 1 (2021): 104. http://dx.doi.org/10.14321/qed.8.1.0104.

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30

Weaver, Erica. "Performing (In)Attention." Representations 152, no. 1 (2020): 1–24. http://dx.doi.org/10.1525/rep.2020.152.1.1.

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The central regulatory document of the tenth-century English Benedictine Reform, Æthelwold of Winchester’s Regularis concordia, contains an important performance piece: the Visitatio sepulchri, which standard theater histories understand as an anomalous originary text that marks the reemergence of drama in the European Middle Ages. This article resituates it alongside the schoolroom colloquies of Æthelwold’s student Ælfric of Eynsham and his student and editor Ælfric Bata to argue that these texts together cultivated monastic self-possession by means of self-conscious performances of its absence. By staging (in)attention, they thereby modeled extended engagement in moments and spaces that could otherwise seem too quiet or empty to hold concentration for long, from the classroom to the sepulcher to the page, while also exposing the limits of “distraction” and “attention” as analytical terms.
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31

Green, Sarah. "PERFORMING BORDER IN THE AEGEAN." Journal of Cultural Economy 3, no. 2 (July 2010): 261–78. http://dx.doi.org/10.1080/17530350.2010.494376.

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32

Valle-Ruiz, Lis. "Performing Cultural Memory Through Preaching." Liturgy 35, no. 3 (July 2, 2020): 3–9. http://dx.doi.org/10.1080/0458063x.2020.1796434.

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33

Dhani, Kurnia Rahmad. "EMPTY BENCH IN INDONESIAN PERFORMING ARTS STUDIES: AUDIENCE." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, no. 2 (September 13, 2021): 83–91. http://dx.doi.org/10.24821/tnl.v18i2.5886.

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Many Indonesian performing art experts have stated that audience studies were conducted in minimal numbers. However, the exact number of research on performing art audiences in Indonesia remains unclear. The factors that influence it are still not known in detail. This paper used a literature review on seven nationally accredited performing arts journals from art institutes in Indonesia over the past ten years. The results showed that only 3 out of 1034 journal titles focusing on performing art audiences in the last ten years. From these findings, we can conclude that the study on the audiences is so scarce. This research theme is not interesting for performing art experts in Indonesia. Indonesian performing art experts and academicians have left the importance of audience studies. This paper also discusses the factors that influence the negligible of performing arts audience studies in Indonesia.
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34

Greiner, Tony. "Performing Collection Use Studies with Microsoft Excel 2007." Collection Management 35, no. 1 (December 31, 2009): 38–48. http://dx.doi.org/10.1080/01462670903404969.

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35

Anderson, Brian J., Amanda L. Potts, and David W. Herd. "Problems and pitfalls performing pharmacokinetic studies in children." Paediatric and Perinatal Drug Therapy 8, no. 1 (April 26, 2007): 4–17. http://dx.doi.org/10.1185/146300907x167781.

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36

Morris, Charles E. "Performing/Rhetorical Studies: Differential Belonging across Intradisciplinary Borders." Text and Performance Quarterly 34, no. 1 (December 10, 2013): 104–7. http://dx.doi.org/10.1080/10462937.2013.849813.

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37

Bednarz, James E., Richard H. Marcus, and Roberto M. Lang. "Technical guidelines for performing automated border detection studies." Journal of the American Society of Echocardiography 8, no. 3 (May 1995): 293–305. http://dx.doi.org/10.1016/s0894-7317(05)80040-9.

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38

Grewcock, Duncan. "Performing heritage (studies) at the Lord Mayor’s show." International Journal of Heritage Studies 20, no. 7-8 (June 14, 2013): 760–81. http://dx.doi.org/10.1080/13527258.2013.807434.

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39

Jackson, Shannon. "Rhetoric in Ruins: Performing literature and performance studies." Performance Research 14, no. 1 (March 2009): 6–16. http://dx.doi.org/10.1080/13528160903113148.

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40

Lakens, Daniël. "Performing high-powered studies efficiently with sequential analyses." European Journal of Social Psychology 44, no. 7 (August 15, 2014): 701–10. http://dx.doi.org/10.1002/ejsp.2023.

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41

Wu, Kuan, Roy Soetikno, and George Triadafilopoulos. "Studies of nurses performing colonoscopy have been performed." Gastrointestinal Endoscopy 71, no. 7 (June 2010): 1336. http://dx.doi.org/10.1016/j.gie.2009.09.007.

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42

Borland, M., P. Rice, and K. Jamison. "6.6.5 Performing Trade Studies in the CERCLA1 Environment." INCOSE International Symposium 12, no. 1 (August 2002): 1215–22. http://dx.doi.org/10.1002/j.2334-5837.2002.tb02593.x.

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43

Green, E. Mara. "Performing gesture." Gesture 16, no. 2 (December 31, 2017): 329–63. http://dx.doi.org/10.1075/gest.16.2.07gre.

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Abstract This article focuses on a signed performance by a deaf Nepali man who communicates in natural sign, which is similar to home sign but with greater cross-signer conventionality. The signer skillfully employs pantomimic (“gestural”) and lexical (“linguistic”) repertoires for distinct pragmatic purposes. In the narrative frame, he uses pantomime to vividly enact his morning routine; in the metanarrative frame, he utilizes lexical signs to directly address the audience. By examining the two repertoires’ formal characteristics and their relationship to different frames, this analysis showcases the signer’s communicative competency, demonstrates the relevance of pragmatics and genre to studies of all signed communicative modes, and challenges the idea that gesture is what language leaves behind.
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44

Hubman, Melinda. "Performing Masculinities." Journal of Homosexuality 43, no. 3-4 (April 29, 2003): 323–27. http://dx.doi.org/10.1300/j082v43n03_22.

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45

Lee, Katja. "Performing Lives, Producing Life." Persona Studies 8, no. 1 (September 14, 2022): 1–4. http://dx.doi.org/10.21153/psj2022vol8no1art1642.

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This special issue on life writing and persona marks the 15th issue of Persona Studies and the culmination and end point of my eight years working as one of four Managing Editors of the journal. It is both fitting and very exciting then, to be able to wrap up this journey with an exploration of two fields that have long fascinated me: Life Writing Studies and Persona Studies. Indeed, life writing seems both an obvious and natural home for studying persona. The study of life writing has always involved the analysis of identities put into play and, it has become increasingly clear to me over the years, scholars of persona are equally fascinated by the kinds of persona work that life writing can do. Over the past fourteen issues, every single issue has had at least one contribution (often several) that used or drew upon life-writing texts.
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46

Belgrad, D. "Performing Lo Chicano." MELUS: Multi-Ethnic Literature of the United States 29, no. 2 (June 1, 2004): 249–64. http://dx.doi.org/10.2307/4141828.

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47

Stucky, Nathan. "Performing Master Han." Cultural Studies ↔ Critical Methodologies 5, no. 1 (February 2005): 52–64. http://dx.doi.org/10.1177/1532708603254895.

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48

Holder, Heidi J. "Performing Queer Modernism." Nineteenth-Century Contexts 40, no. 4 (June 8, 2018): 413–14. http://dx.doi.org/10.1080/08905495.2018.1481642.

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49

Weaver, Lois. "Performing Butch/Femme Theory." Journal of Lesbian Studies 2, no. 2-3 (July 2, 1998): 187–99. http://dx.doi.org/10.1300/j155v02n02_14.

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50

Norman, Moss Edward, and John Bryans. "Performing the Norm: Men in the Performing Arts and the Materialization of White, Heteronormative Masculinity." Journal of Men’s Studies 28, no. 3 (February 28, 2020): 281–300. http://dx.doi.org/10.1177/1060826520907923.

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There is a relatively robust body of scholarship examining popular cultural representations of masculinity, yet there is comparatively little research on the men who take up and perform these representations. Based on interviews with 12 men in the performing arts, including dance, theater, film, and television, we examine the everyday lived experiences of men in the arts, with a specific focus on the complex and dynamic processes by which normative masculine performances are materialized. Using Judith Butler’s theory of performativity, we argue that performances of normative masculinity in the arts are not nearly as stable and certain as we might imagine. Rather, normative masculinity is continuously formed and re-formed within an assemblage of discursive and nondiscursive relations that performatively materialize the seemingly stable white, heteronormative masculine subject.
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