Livres : « PERFORMATIVE RESEARC »

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Performative listening : Hearing others in qualitative research. New York : Peter Lang, 2015.

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J, Gergen Kenneth, dir. Playing with purpose : Adventures in performative social science. Walnut Creek, CA : Left Coast Press, 2012.

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Performing the sentence : Research and teaching in performative fine arts. Berlin : Sternberg Press, 2014.

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Dupré, Sven, Anna Harris, Julia Kursell, Patricia Lulof et Maartje Stols-Witlox, dir. Reconstruction, Replication and Re-enactment in the Humanities and Social Sciences. NL Amsterdam : Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463728003.

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Performative methods are playing an increasingly prominent role in research into historical production processes, materials, bodily knowledge and sensory skills, and in forms of education and public engagement in classrooms and museums. This book offers, for the first time, sustained, interdisciplinary reflections on performative methods, variously known as Reconstruction, Replication and Re-enactment (RRR) practices across the fields of history of science, archaeology, art history, conservation, musicology and anthropology. Each of these fields has distinct histories, approaches, tools and research questions. Researchers in the historical disciplines have used reconstructions to learn about the materials and practices of the past, while anthropologists and ethnographers have more often studied the re-enactments themselves, participating in these performances as engaged observers. In this book, authors bring their experiences of RRR practices within their discipline into conversation with RRR practices in other disciplines, providing a basis for interdisciplinary cross-fertilization.

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Huber, Annegret, Doris Ingrisch, Therese Kaufmann, Johannes Kretz, Gesine Schröder et Tasos Zembylas, dir. Knowing in Performing. Bielefeld, Germany : transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839452875.

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How can performing be transformed into cognition? Knowing in Performing describes dynamic processes of artistic knowledge production in music and the performing arts. Knowing refers to how processual, embodied, and tacit knowledge can be developed from performative practices in music, dance, theatre, and film. By exploring the field of artistic research as a constantly transforming space for participatory and experimental artistic practices, this anthology points the way forward for researchers, artists, and decision-makers inside and outside universities of the arts.

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Ferreri, Mara. The Permanence of Temporary Urbanism. NL Amsterdam : Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462984912.

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Temporary urbanism has become a distinctive feature of urban life after the 2008 global financial crisis. This book offers a critical exploration of its emergence and establishment as a seductive discourse and as an entangled field of practice encompassing architecture, visual and performative arts, urban regeneration policies and planning. Drawing on seven years of semi-ethnographic research, it explores the politics of temporariness from a situated analysis of neighbourhood transformation, media representations and wider political and cultural shifts in austerity London. Through a longitudinal engagement with projects and practitioners, the book tests the power of aesthetic and cultural interventions and highlights tensions between the promise of vacant space re-appropriation and its commodification. Against the normalisation of ephemerality, it presents a critique of the permanence of temporary urbanism as a glamorisation of the anticipatory politics of precarity which are transforming cities, subjectivities and imaginaries of urban action.

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Jones, Kip. Doing Performative Social Science. Taylor & Francis Group, 2021.

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Jones, Kip. Doing Performative Social Science. Taylor & Francis Group, 2021.

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McRae, Chris. Performative Listening : Hearing Others in Qualitative Research. Lang AG International Academic Publishers, Peter, 2014.

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McRae, Chris. Performative Listening : Hearing Others in Qualitative Research. Lang AG International Academic Publishers, Peter, 2014.

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Hill, Dominique C., Durell M. Callier, Bryant Keith Alexander et Mary E. Weems. Performative Intergenerational Dialogues of a Black Quartet. Taylor & Francis Group, 2022.

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Performative Intergenerational Dialogues of a Black Quartet. Taylor & Francis Group, 2022.

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Giardina, Michael D., et Norman K. Denzin. Qualitative Inquiry at a Crossroads : Political, Performative, and Methodological Reflections. Taylor & Francis Group, 2019.

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Performative Science and Beyond : Involving the Process in Research. Springer, 2006.

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Giardina, Michael D., et Norman K. Denzin. Qualitative Inquiry at a Crossroads : Political, Performative, and Methodological Reflections. Taylor & Francis Group, 2019.

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Playing with Purpose : Adventures in Performative Social Science. Taylor & Francis Group, 2016.

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Playing with Purpose : Adventures in Performative Social Science. Taylor & Francis Group, 2016.

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Østern, Anna-Lena, et Kristian Nødtvedt Knudsen. Performative Approaches in Arts Education : Artful Teaching, Learning and Research. Taylor & Francis Group, 2019.

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Østern, Anna-Lena, et Kristian Nødtvedt Knudsen. Performative Approaches in Arts Education : Artful Teaching, Learning and Research. Taylor & Francis Group, 2019.

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Østern, Anna-Lena, et Kristian Nødtvedt Knudsen. Performative Approaches in Arts Education : Artful Teaching, Learning and Research. Taylor & Francis Group, 2019.

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Østern, Anna-Lena, et Kristian Nødtvedt Knudsen. Performative Approaches in Arts Education : Artful Teaching, Learning and Research. Taylor & Francis Group, 2019.

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Jones, Kip. Doing Performative Social Science : Creativity in Doing Research and Reaching Communities. Taylor & Francis Group, 2021.

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Doing Performative Social Science : Creativity in Doing Research and Reaching Communities. Taylor & Francis Group, 2021.

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Jones, Kip. Doing Performative Social Science : Creativity in Doing Research and Reaching Communities. Taylor & Francis Group, 2021.

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Greve, Martin, Ulas Özdemir et Raoul Motika, dir. Aesthetic and Performative Dimensions of Alevi Cultural Heritage. Ergon Verlag, 2020. http://dx.doi.org/10.5771/9783956506413.

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This volume examines the aesthetic and performative dimensions of Alevi cultural heritage from past to present, in an interdisciplinary framework and using a wide range of approaches. The chapters analyse traditional, contemporary and transnational developments of Alevi cultural expression including modern adaptations, local and regional practices, Alevism in a wider context, textual sources and materiality. The perspectives of the various authors, including Robert Langer, Nicolas Elias, Sinibaldo De Rosa, Jérôme Cler, Judith Haug, Janina Karolewski and others, each coming from different disciplines, demonstrate the complexity of socio-historical and socio-cultural dynamics. To conclude, the present volume is intended as a first approach to a complex issue, which definitely deserves further research and analysis.

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Hill, Dominique C., Durell M. Callier, Bryant Keith Alexander et Mary E. Weems. Performative Intergenerational Dialogues of a Black Quartet : Qualitative Inquiries on Race, Gender, Sexualities, and Culture. Taylor & Francis Group, 2022.

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Performative Intergenerational Dialogues of a Black Quartet : Qualitative Inquiries on Race, Gender, Sexualities, and Culture. Taylor & Francis Group, 2022.

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Gallagher, Kathleen, Dirk J. Rodricks et Kelsey Jacobson. Global Youth Citizenry and Radical Hope : Enacting Community-Engaged Research Through Performative Methodologies. Springer Singapore Pte. Limited, 2021.

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Gallagher, Kathleen, Dirk J. Rodricks et Kelsey Jacobson. Global Youth Citizenry and Radical Hope : Enacting Community-Engaged Research through Performative Methodologies. Springer, 2020.

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Wissen Formen : Performative Akte Zwischen Bildung, Wissenschaft und Kunst. Erkundungen Mit Dem Theater der Versammlung. Transcript Verlag, 2018.

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Simpson, Barbara, et Line Revsbæk, dir. Doing Process Research in Organizations. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192849632.001.0001.

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Abstract This edited book takes up the challenge that process philosophy and process ontology pose to conventional, entity-based empirical research, even daring to question the relevance of ‘methodology’ in contemporary process organization studies. A process ontology demands re-imagining and ongoing re-invention of how researchers inquire into and engage with the movements and moments of a morphing world, and this in turn requires us to notice differently in our empirical engagements. Contributors to this book share a commitment to research that is more-than-representational in its concern to notice and act-with the latencies and diversities of living experience. Drawing inspiration from process philosophies, posthuman subjectivities, post qualitative inquiry, art, poetics, cinematics, and aesthetics, the chapters actively manifest the doing, reading, and writing of process research by attuning to occasions, moments, atmospheres, affects, agencements, with-ness, difference, and multiplicity. In bringing these ideas alive, the authors engage with their own empirical unfoldings by means of communing, corresponding, caring, performative writing, depersonalization, subject proliferation, mindfulness, relating, slow seeing, rhythmanalysis, listening, chromatic empiricism, and diffraction. Each chapter offers a unique worlding constituted in the particular elements it brings together, and affording a style of reading that is oriented towards sensing rather than knowing or mastery. The chapters can be read in any order, alone or with and through each other. Collectively they evoke a mycelial web of resonance travelling across, between, and beyond the contents of this book.

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Austa, Luca, dir. The Forgotten Theatre II. Rombach Wissenschaft, 2020. http://dx.doi.org/10.5771/9783968210018.

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This book contains the lectures given at the second international conference on ancient and fragmentarily preserved drama called The Forgotten Theatre, which was held in Turin in 2018. All these contributions have been reworked according to the discussions at the conference and previously published research literature on this subject, and have been subjected to a peer review. Through interdisciplinary cooperation, these conferences, which take place annually, aim to advance academic research into fragmentary texts from not only ancient Greek and Roman theatre but also from other performative traditions from the Mediterranean region beyond the disciplines which traditionally engage in the study of antiquity, while taking into account the methodological discussions on dealing with text fragments and contemporary performances that have been conducted in recent years.

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Göllner, Michael, Jens Knigge, Anne Niessen et Verena Weidner, dir. 43. Jahresband des Arbeitskreises Musikpädagogische Forschung / 43rd Yearbook of the German Association for Research in Music Education. Waxmann Verlag GmbH, 2022. http://dx.doi.org/10.31244/9783830996125.

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Der 43. Jahresband des Arbeitskreises Musikpädagogische Forschung versammelt mit Beiträgen der Jahrestagung 2021 ganz unterschiedliche Forschungsthemen und -zugänge. Als größere Themenkomplexe werden fünf Bereiche erkennbar: Das forschungsgeleitete Nachdenken über die Anbahnung musikkultureller Teilhabe in schulischen und außerschulischen Kontexten, die Auseinandersetzung mit professionsbezogenen Einstellungen und Wissensbeständen von Musiklehrenden, die Erkundung und Rekonstruktion musikbezogener Lernprozesse und -praktiken, die Weiterentwicklung theoretischer Modellierungen (u. a. zur Erfassung kreativer Denkprozesse oder zum Zusammenhang von Professionswissen und dem Handeln von Lehrenden) sowie die Bearbeitung von Fragestellungen, die um die Fachlichkeit musikpädagogischen Handelns selbst kreisen. Mit Musik-AGs, musikbezogenen Praktiken junger Erwachsener, digitalen Musikinstrumenten oder Aspekten performativer Bedeutungskonstruktionen geraten dabei auch bislang wenig beleuchtete Forschungsgegenstände in den Blick. Darüber hinaus dokumentiert der Band, der erstmals sowohl im Open-Access-Format als auch als Printversion gleichzeitig erscheint, das breite Spektrum gegenwärtiger musikpädagogischer Forschung und zeigt Anknüpfungspunkte zukünftiger wissenschaftlicher Arbeiten auf.

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Möller, Frank. Politics and Art. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935307.013.13.

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Art can be understood as a form of political discourse; as a descriptive, an interpretive, or an explicitly critical approximation; or as a vehicle with which to transcend the political. Art complicates our understandings and perceptions of the world, altering the discursive frames within which the political is negotiated. Research on politics and art explores art’s engagement with politics and its vision of the world; it analyzes art’s contribution to both our understanding of politics and problem solving. Current research also explores art’s critical and emancipatory potentialities, as well as participatory art and social activism in light of new forms of political communication. Such research is interdisciplinary and open to methodological pluralism and innovation. This article discusses artistic and performative imaginations of the political; knowledge production through art; art’s engagement with violence and peace; the art-audience interface; ethics and aesthetics of political art; and art’s function as a political witness.

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De Souza, Jonathan. Beethoven’s Prosthesis. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190271114.003.0002.

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This chapter takes performances by the deaf Beethoven as an instance of body-instrument interaction. Prior research in music theory, drawing on cognitive linguistics, suggests that Beethoven’s music was shaped by conceptual metaphors, which are both culturally specific and grounded in the body. Yet this chapter shows that players’ experience is not simply embodied but also technical. To that end, the chapter explores cognitive neuroscience, ecological psychology, and phenomenology. Patterns of auditory-motor coactivation in players’ brains are made possible by the stable affordances of an instrument. These auditory-motor connections support performative habits, and they may be reactivated and recombined in perception and imagination—supporting Beethoven’s auditory simulations after hearing loss, for example.

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De Souza, Jonathan. Voluntary Self-Sabotage. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190271114.003.0005.

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When musicians alter their instruments, they may open up new sonic possibilities. Yet instrumental alteration can also induce dynamic remapping of players’ auditory-motor associations, subverting habitual connections between performative action and sonic effect. Instrumental alteration, at this level, affects players’ perception. This chapter considers experimental research on altered auditory feedback in instrumental performance, then turns to a series of case studies related to guitar improvisation. It distinguishes between three kinds of instrumental alteration—retuning, preparation, and redesign—that affect action-sound coupling and instrumental space in different ways. Drawing on Emmanuel Levinas’s phenomenological reflections on touch, the chapter ultimately argues that the remapping stimulated by instrumental alteration reveals forms of aesthetic or sensual contact with instruments.

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Pérez-Milans, Miguel. Metapragmatics in the Ethnography of Language Policy. Sous la direction de James W. Tollefson et Miguel Pérez-Milans. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190458898.013.7.

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This chapter traces briefly the origins and development of the ethnography of language policy. It argues that, although this tradition has put ethnography firmly on the language policy and planning (LPP) research agenda since the turn of the twenty-first century, it has not yet sufficiently addressed some persistent problems. Against this background, metapragmatics is presented as a suitable epistemological framework, one that draws from two contemporary shifts in the study of texts, contexts, and meanings in linguistic anthropology and sociolinguistics: (1) a departure from emphasis on denotational meanings, toward closer description of performative actions; and (2) a shift in the analytical entry point, from communicative events to trajectories of identification. These shifts are examined with reference to existing work and illustrated via ethnographic research that is revisited through the lens being proposed. Some of the implications for the study of LPP processes in conditions of late modernity are also addressed.

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Johnson, Tom. Legal History and The Material Turn. Sous la direction de Markus D. Dubber et Christopher Tomlins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198794356.013.27.

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This chapter considers the implications of the ‘material turn’ in the humanities and social sciences for the study and writing of legal history. It suggests three paths forward for how legal historians might incorporate these insights into their research. These approaches are labelled as ‘categorizing’, ‘materializing’, and ‘filing’. ‘Categorizing’ refers to the possibility of redrawing ontological categories which could open up new ways of understanding law in the past. ‘Materializing’ looks at an analytical approach in which law is understood as a phenomenon composed of the material things it draws into itself. ‘Filing’ looks at the materiality of legal systems, both through their processes of record creation and their performative praxis, focusing attention on the co-constitutive nature of law and its material-bureaucratic apparatus.

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Decolonising Gender : Literature, Enlightenment and the Feminine Real (Routledge Research in Postcolonial Literatures). Routledge, 2007.

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Santoro, Daniella. The Dancing Ground. Sous la direction de Blake Howe, Stephanie Jensen-Moulton, Neil Lerner et Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.17.

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The performative traditions of New Orleans second line parades offer profound insight into localized expressions of health and disability. As public, festive, and symbolic spaces of music, dance and movement, second lines privilege the body as a site of knowledge production and individual improvisation within a collective tradition. This essay focuses on the relationship between dance and disability as observed during second line parades in New Orleans from 2010 to 2013. The narratives of those participants who are marked as disabled by age or circumstance reveal how the public space of dance and embodied movement at a second line parade enables a rewriting of ableist scripts about the body and its potential. This research focuses on the corporeal landscape and how musical traditions inscribe embodied knowledge, and embolden social commentary on the wider workings of race and disability in contemporary New Orleans.

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Altonen, Heli, Vigdis Aune, Kathy Barolsky, Ellen Foyn Bruun, Nanna Edvartsen, Rikke Gürgens Gjærum, Courtney Helen Grile et al. Theatre and Democracy : Building Democracy in Post-war and Post-democratic Contexts. Sous la direction de Petro Janse van Vuuren, Bjørn Rasmussen et Ayanda Khala. Cappelen Damm Akademisk - NOASP, 2021. http://dx.doi.org/10.23865/noasp.135.

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Theatre and Democracy: Building Democracy in Post-war and Post-democratic Contexts is the outcome of a longstanding collaboration between two centers of applied theatre education and research in South-Africa and Norway, respectively (2017–2022). It presents knowledge, critical conversations and artistic work related to issues of democracy, both historical and contemporary. Within the global framework of our current (post)democracies, thirteen chapters contain stories and analyses from artists and researchers who all study, understand and facilitate theatre as a political-performative medium in dealing with community-specific democratic issues. The reader encounters studies and reports from specific cases of applied theatre, community culture development and performance activism in countries such as South-Africa, Pakistan, Zimbabwe and Norway. There is a common interest in theatre as a platform for active citizenry, as well as several attempts to explore theatre as a platform for “political subjectivation” (Rancière).

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Lombardi, Elena. Francesca and the Others. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198818960.003.0006.

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This chapter discusses the most famous episode of medieval reading—the moment in which Francesca da Rimini and her lover Paolo simultaneously kiss and fall into perdition while reading the story of Lancelot in Inferno 5, which has long been at the centre of my research. Here I investigate further aspects of this rich episode of reading, such as the connection to the visual (for instance, to illuminations of the scene of the kiss in the Lancelot) and the highly nuanced ways in which Dante has Francesca using literary texts in her speech. Next, I explore the ways in which ‘reading together’ has performative effects in medieval courtly literature, and then I contextualize Francesca’s reading within a genealogy of unconventional women readers: Heloise and Alyson of Bath, Mary and Flamenca, bringing to light the force of their heterodox, bodily, and creative ways of reading ‘as a woman’.

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Riches, Gabby. Feeling Part of the Scene. Sous la direction de Roger Mantie et Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.17.

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What does it mean to be an extreme band in northern England? How do female and male metal musicians come to feel part of a scene that is continuously splintering into spatial fragments and social circles? What sorts of sensual and affective intensities emerge during these music making performances and practices? These questions, which remain peripheral within popular music, leisure, and metal music studies, are central to this chapter. Drawing upon the author’s ethnographic research of Leeds’s extreme metal scene, this chapter draws on feminist poststructuralism to examine how the fluctuating socio-spatial landscape of Leeds’ metal scene has impacted the lives of fourteen metal musicians in regards to their interpersonal band relationships, class and gendered identities, affective engagements in the scene, and commitments to their music making practices. A performative, nonrepresentational approach is used to highlight the multiplicity of ways leisure identities and music making practices and performances are experienced, produced, challenged, and emotionally negotiated.

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Gotman, Kélina. Médecine Rétrospective. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.003.0007.

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Neurology emerged as a transdisciplinary field of research, allying iconographic collage, clinical experimentation, performative re-enactment, narrative, and historiography. Jean-Martin Charcot and his colleagues at the Salpêtrière Hospital in Paris engaged in what they called ‘retrospective medicine’, an archival exercise that involved compiling images from the past depicting convulsive gestures that represented, they thought, hysteria, epilepsy, and ‘hysteroepilepsy’, a theatrical form of acting out they considered stemmed from the patient’s imagination. From the Convulsionaries of Saint-Médard to maenads on Greek vase paintings and ecstatic figures depicted in religious frescoes, Charcot and his collaborators collected artefacts resembling their patients’ dance-like gestures: arches of the back and other attitudes passionnelles re-enacted on the lecture-hall stage. This exuberant comparativism, and iconographic excavation, paved the way for ethnographic fieldwork (and eventually anthropology), as one neurology student took it into his hands to visit the reportedly still living remains of choreomania in a nearby dancing procession.

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Titus, Barbara. Hearing Maskanda. Bloomsbury Publishing Inc, 2022. http://dx.doi.org/10.5040/9781501377792.

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Hearing Maskanda outlines how people make sense of their world through practicing and hearing maskanda music in South Africa. Having emerged in response to the experience of forced labour migration in the early 20th century, maskanda continues to straddle a wide range of cultural and musical universes. Maskanda musicians reground ideas, (hi)stories, norms, speech and beliefs that have been uprooted in centuries of colonial and apartheid rule by using specific musical textures, vocalities and idioms. With an autoethnographic approach of how she came to understand and participate in maskanda, Titus indicates some instances where her acts of knowledge formation confronted, bridged or invaded those of other maskanda participants. Thus, the book not only aims to demonstrate the epistemic importance of music and aurality but also the performative and creative dimension of academic epistemic approaches such as ethnography, historiography and music analysis, that aim towards conceptualization and (visual) representation. In doing so, the book unearths the colonialist potential of knowledge formation at large and disrupts modes of thinking and (academic) research that are globally normative.

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Wheeldon, Marianne. Debussy's Legacy and the Construction of Reputation. Oxford University Press, 2018. http://dx.doi.org/10.1093/acprof:oso/9780190631222.001.0001.

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This book examines the vicissitudes of Debussy’s posthumous reception in the 1920s and early 1930s and analyzes the confluence of factors that helped to overturn the initial backlash against his musical aesthetic. In tracing this overarching narrative, this study enters into dialogue with research in the sociology of reputation and commemoration, examining the collective nature of the processes of artistic consecration. Key in this regard is identifying the networks of influence that had to come together and act in several spheres—textual, performative, material—to safeguard the composer’s legacy. Today, Debussy’s position as a central figure in twentieth-century concert music is secure: this book examines how and why this seemingly inevitable state of affairs came about. Although this study focuses on one particular instance of reputation building, its scope is also broader in that it addresses the more general processes by which reputations are constructed, contested, and consolidated. And by analyzing the forces that came to bear on the formation of Debussy's legacy, this book contributes to a greater understanding of the interwar period—the cultural politics, debates, and issues that confronted musicians in 1920s and 1930s Paris.

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Bächtiger, André, et John Parkinson. Mapping and Measuring Deliberation. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199672196.001.0001.

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Deliberative democracy has challenged two widely accepted nostrums about democratic politics: that people lack the capacities for effective self-government; and that democratic procedures are arbitrary and do not reflect popular will; indeed, that the idea of popular will is itself illusory. On the contrary, deliberative democrats have shown that people are capable of being sophisticated, creative problem solvers, given the right opportunities in the right kinds of democratic institutions. But deliberative empirical research has its own problems. In this book two leading deliberative scholars review decades of that research and reveal three important issues. First, the concept ‘deliberation’ has been inflated so much as to lose empirical bite; second, deliberation has been equated with entire processes of which it is just one feature; and third, such processes are confused with democracy in a deliberative mode more generally. In other words, studies frequently apply micro-level tools and concepts to make macro- and meso-level judgements, and vice versa. Instead, Bächtiger and Parkinson argue that deliberation must be understood as contingent, performative, and distributed. They argue that deliberation needs to be disentangled from other communicative modes; that appropriate tools need to be deployed at the right level of analysis; and that scholars need to be clear about whether they are making additive judgements or summative ones. They then apply that understanding to set out a new agenda and new empirical tools for deliberative empirical scholarship at the micro, meso, and macro levels.

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Wilson, Christopher R., et Mervyn Cooke, dir. The Oxford Handbook of Shakespeare and Music. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190945145.001.0001.

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This compendium reflects the latest international research into the many and various uses of music in relation to Shakespeare’s plays and poems, the contributors’ lines of inquiry extending from the Bard’s own time to the present day. The coverage is global in its scope, and includes studies of Shakespeare-related music in countries as diverse as China, the Czech Republic, France, Germany, India, Italy, Japan, Russia, South Africa, Sweden, and the Soviet Union, as well as the more familiar Anglophone musical and theatrical traditions of the United Kingdom and the United States. The range of genres surveyed by the book’s team of distinguished authors embraces music for theatre, opera, ballet, musicals, the concert hall, and film, in addition to Shakespeare’s ongoing afterlives in folk music, jazz, and popular music. The authors take a range of diverse approaches: some investigate the evidence for performative practices in the Early Modern and later eras, while others offer detailed analyses of representative case studies, situating these firmly in their cultural contexts, or reflecting on the political and sociological ramifications of the music. As a whole, the volume provides a wide-ranging compendium of cutting-edge scholarship engaging with an extraordinarily rich body of music without parallel in the history of the global arts.

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49

Tsoukas, Haridimos. Philosophical Organization Theory. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794547.001.0001.

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When it comes to the field of organization and management theory, a philosophical perspective enables us to conduct organizational research imbued with the attitude of “wonder”; it helps researchers question dominant images of thought underlying mainstream thinking, and provides fresh distinctions that enable the development of new theory. In bringing together a collection of key essays by Haridimos Tsoukas, this volume explores fundamental concepts, such as organizational routines, that have gained currency in the field, as well as revisiting traditional concepts such as change, strategy, and organization. It discusses organizational knowledge, judgment, and reflection-in-action, and, at the meta-theoretical level, suggests complex forms of theorizing that seek to reflect the complexity of organizations. The conceptual attention throughout is on process and practice, underlain by performative phenomenology and an emphasis on agents’ lived experience. This provides us with the language to appreciate the dynamic character of organizational behaviour, the embeddedness of action, and the complexity of organizational life. The theoretical claims presented in this volume have important implications for scholarly practice, insofar as they help retrain our attention: from seeing structures and individuals, we can now appreciate processes, experiences, and practices. A phenomenological attitude makes organization theory more open, more creative, and more reflexive, and this book will be essential reading for researchers and students in the field of organization studies.

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50

Martin-Fiorino, Víctor, Carlos Arturo Ospina Hernández, María Victoria Cadavid-Claussen, Sandra Ligia Ramírez-Orozco, Diana Constanza Nossa-Ramos, Francesco Ferrari, Darwin Arturo Muñoz Buitrago et al. Persona y felicidad : aportes desde la educación, la filosofía, la historia, la ética, la política, el derecho y la bioética. Sous la direction de Dalia Jaqueline Santa Cruz-Vera. Editorial Universidad Católica de Colombia, 2021. http://dx.doi.org/10.14718/9789585133679.2021.

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The book includes a collection of articles resulting from research carried out by teachers of the Department of Humanities and whose thematic center is the relationship between people and happiness. Each chapter provides answers from a specific disciplinary field, through a qualitative methodology, the anthropological and ethical problem of achievement of happiness or personal human fulfillment. From education and ethics, the transition from some informative humanities to other performative ones is proposed, which integrate moral formation and values that advocate empathy and solidarity as a human path to happiness. From the anthropological keys of Leonardo Polo, the person can give meaning to their presence in the world, beyond the satisfaction of happiness itself, since human beings has a personal sense capable of manifesting themselves in the hopeful task. Likewise, from the personalistic anthropology, happiness is studied as a life project, moving from the conflict towards spirituality and proposing chose political educational transformations. In the field of historical sciences, the use of the concepts of person and happiness in the Magisterium of John xxiii underlines the perspectives suggested by the Pope and collected by successive pontiffs. From the law, the relationship is analyzed between justice and happiness, applied to the so-called “right to die with dignity”; and from the bioethics, reflections on procreation and happiness are raised based on the current debate on surrogacy.

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Livres sur le sujet « PERFORMATIVE RESEARC »

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