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Articles de revues sur le sujet « PERFORMATIVE RESEARC »

Auteur : Grafiati
Publié le 9 mars 2023
Mis à jour le 10 mars 2023

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1

Moiseeva, Anna. « THE ROLE OF THE CONCEPT OF PERFORMATIVITY IN THE CONTEXT OF INDIRECT COMMUNICATION RESEARCH ». Respublica literaria, RL. 2021. vol.2. no. 1 (29 mars 2021) : 48–61. http://dx.doi.org/10.47850/rl.2021.2.1.48-61.

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The article traces one of the lines of influence of the analytic philosophy of language on the humanities, in particular, on linguistics – the line that is associated with the perception of the concept of performativity and the corresponding view of language in studies of indirect communication. The distinction between illocutionary and perlocutionary speech act formulated by J. Austin is applied to the case of indirect communication, as a result of which it is concluded that the performative properties of language can manifest themselves not only in illocution, but also in perlocution. It is shown that many examples of indirect communication function like performatives – the concept of an indirect performative is introduced to denote them – and can be described from the point of view of a performative approach.
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Fernandes, Ciane, Líria De Araújo Morais, Melina Scialom et Alba Pedreira Vieira. « Imersão Cristal : Princípios, recorrências e reverberações. » ouvirOUver 13, no 1 (25 mai 2017) : 48. http://dx.doi.org/10.14393/ouv20-v13n1a2017-4.

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O artigo resulta de mesa apresentada no IX Congresso da ABRACE na Universidade Federal de Uberlândia, em novembro de 2016, em que integrantes do Coletivo A-FETO compartilharam e teceram considerações sobre suas vivências na obra Cristal (MAC-SP, junho de 2016). Cristal é uma Imersão somático-performativa com participação do público, que acontece a partir de Padrões de Crescimento, de Mudança ou Padrões Cristal. Este princípio composicional da Abordagem Somático-Performativa foi inspirado na mutabilidade inerente às formas cristalinas das teorias de Rudolf Laban. Coerente com essa perspectiva em crescimento inerente ao próprio movimento criativo, a obra é uma instalação-performance que inclui dança, escrita, projeções, paisagem sonora em tempo real, e que aconteceu durante os dias da exposição Vesica Piscis (sob curadoria de Maria Mommensohn), como uma obra de tempo continuado. O público não foi apenas um visitante, mas também trouxe suas contribuições cristal. Do mesmo modo, as reflexões aqui apresentadas contribuem para desdobramentos e sistematizações performativas e integradas, conectando vivências pessoais e coletivas, criação e(m) pesquisa. ABSTRACT The article results of a roundtable presented at the IX ABRACE Congress at Federal University of Uberlândia, in November 2016, in which members of the Collective A-FETO shared and developed considerations regarding their experience in Cristal (MAC-SP, June 2016). Cristal is a somatic-performative merger with audience participation that is based on Growth Patterns, Change Patterns or Crystal Patterns. This compositional principle of the Somatic-Performative Approach was inspired on the inherent mutability of the crystal forms of Rudolf von Laban’s theories. Coherent with this growing perspective – which is also inherent to creative movement -, the piece is a performance-installation that includes dance, writing, projection, soundscape in real time, and that happened during the days of the exhibition Vesica Piscis (curated by Maria Mommensohn) as a continuous durational piece. The audience is not only a visitor to the installation, but they can also bring their own crystal contributions. In the same way, the current reflections presented here contribute to performative and integrative unfolding and systematizations, connecting personal and collective experience, creative processes and/in research. KEYWORDS Merger, Somatic-performative approach, Crystal patterns, performance-installation.
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Pérez Antúnez, Cynthia Jeannette. « Reflexiones sobre la epistemología dancística desde el baile flamenco ». Investigación Teatral. Revista de artes escénicas y performatividad 13, no 21 (13 juin 2022) : 156–68. http://dx.doi.org/10.25009/it.v13i21.2705.

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La investigación performativa establece estrechos lazos entre propuestas teóricas y metodológicas, así como con la subjetividad y la objetividad. La autora aborda el baile flamenco con una metodología performativa de corte epistemológico que le permite acercarse al fenómeno desde su cuerpo. En el texto lanza cuestionamientos sociales, antropológicos, corporales, históricos, estructurales y afectivos. La investigación performativa está relacionada con el ejercicio crítico y reflexivo del quehacer del investigador como persona y ejecutante. La propuesta apunta a la producción de conocimiento desde el propio cuerpo.Palabras clave: cuerpo; performatividad; reflexividad; danza; antropología; Sevilla. Notes on Dance Epistemology from the Viewpoint of FlamencoAbstractPerformative research links theoretical and methodological tools with issues of subjectivity and objectivity. The author addresses flamenco dance from an epistemological and performative perspective grounded in her body. She poses a set of social, anthropological, bodily, historical, structural, and affective questions. Performative research is closely related to reflexivity, which is the critical exercise of the researcher’s work as a person and performer. The article calls for the production of knowledge from the body. Recibido: 14 de febrero de 2021Aceptado: 06 de junio de 2021
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Morales López, Julio Ulises. « La condición trans y lo performativo de la vida transnacional para el etnógrafo ». RIEM. Revista internacional de estudios migratorios 7, no 4 (5 avril 2018) : 335. http://dx.doi.org/10.25115/riem.v7i4.1973.

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Introducción: Este texto explica un concepto de autoría propia llamado la condición trans o lo trans. Dicho concepto espera contribuir a la comprensión de los procesos subyacentes de desterritorialización en las sociedades transnacionales; se propone reflexionar sobre el cuerpo transnacionalizado mediante las prácticas del lenguaje en los enunciados performativos acción-enunciación, que permitan acopiar mayores elementos parta estudiar otros ámbitos de la vida de los migrantes transnacionales en el llamado tercer espacio. Basado en reflexiones derivadas del trabajo de campo, el texto también explora el marco de referencia geoespacial como una práctica performativa del etnógrafo transnacional al situarse en un campo etnográfico como espacio social disperso y desbordado, de esta forma, la percepción del investigador deberá ser consecuente con esa condición trans. Como conclusión, se destaca la importancia de los marcos de referencia para comprender los procesos de la vida transnacional tanto de los interlocutores (informantes) como de los investigadores especializados en la etnografía en contextos desterritorializados.Método: Es una investigación de corte etnográfico con un campo social transnacional, el énfasis central es profundizar en el tercer espacio mediante la reflexión del cuerpo a través de los enunciados performativos. La investigación sintetiza experiencias de trabajo de campo de diversas investigaciones propias durante los años 2002-2011, realizadas con transmigrantes mexicanos indígenas y no indígenas, al igual que con indígenas ecuatorianos dispersos en la Unión Europea.Resultados: El análisis de los enunciados performativos puede construir un mejor entendimiento de los procesos de desterritorialización dentro de las sociedades transnacionales, así como también, el concepto de condición trans o lo trans, puede aportar reflexiones concernientes a los marcos de referencia en la etnografía transnacional. Lo anterior, resulta fundamental ya que la simultaneidad o sincronía obligan a adoptar marcos analíticos que expongan un campo etnográfico en tetradimensionalidad fuera de la lógica euclidiana.Discusiones: el concepto de condición trans o lo trans posee los siguientes argumentos a discutir: atención central en la desterritorialización, el uso del lenguaje a través de los enunciados performativos para comprender la cultura, la importancia de los marcos de referencia para el estudio de las sociedades transnacionales, la simultaneidad o sincronía como elemento integrador de lo trans y la transnacionalidad.Introduction: This text explains a concept of self-authorship called the trans or trans condition, this concept hopes to contribute to the understanding of the underlying processes of deterritorialisation in transnational societies; it is proposed to reflect on the body through the language practices of the action-enunciation performative statements, that allow to gather more elements to study other areas of life of transnational migrants in the so-called third space. But also, the text explores the geospatial framework as a performative practice of the transnational ethnographer as it is placed in an ethnographic field as a dispersed and overflowing social space, so the researcher's perception must be consistent with this trans condition.Method: It is an ethnographic research with a transnational social field, the central emphasis is to deepen the third space through the reflection of the body through the performative statements. The research synthesises fieldwork experiences of several own investigations during the years 2002-2011, with Mexican and non-indigenous Mexican transmigrants as well as Ecuadorian indigenous people scattered throughout the European Union.Results: The analysis of performative statements can build a better understanding of the processes of deterritorialisation within transnational societies, as well as the concept trans or trans condition, can provide reflections concerning the frames of reference in transnational ethnography. This is fundamental because the simultaneity or synchrony forces to adopt analytical frameworks that expose an ethnographic field in four-dimensionality outside Euclidean logic.Discussions: The concept of trans or trans condition has the following arguments to discuss: central focus on deterritorialisation, use of language through performative statements to understand culture, the importance of frames of reference for the study of Transnational societies, simultaneity or synchrony as an integrating element of trans and transnationality.
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Douglas, Kitrina, et David Carless. « An Invitation to Performative Research ». Methodological Innovations Online 8, no 1 (avril 2013) : 53–64. http://dx.doi.org/10.4256/mio.2013.0004.

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

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This paper stresses the importance of materiality in accounting and organization studies. Accounting and organization studies have overlooked the ways in which accounting and organizing is bound up with the material forms and spaces through which humans act and interact. To incorporate the materiality concept in accounting and organization research, an agential realism research approach is proposed in this paper (Barad 2007). The paper concludes that agential realism can at least make three contributions to the literature. First, Baradian studies can contribute by illustrating the importance of material relations in the constitution of accounting and management practices. By interrogating the rich variety of materialities involved in the practices of measurement or making of innovation, Baradian studies expand the methodological choices available to practice-theoretic accounts of accounting or innovation work. It is the entanglement of many types of matter that perform and affect (sometimes in a disruptive way) the making of accounting measures or innovation. Second, Baradian studies can contribute by reframing the causal relations from which accounting measurements and innovations are made. Baradian studies can illustrate the intra-dependencies that exist between the things represented and constituted, and the representations made. Finally, Baradian studies can contribute by illustrating the ways in which properties of abstract concepts and ideals (e.g. liabilities, innovation) are the consequence, not of human-based practice, but of socio-material re-configurings.
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Haseman, Brad. « A Manifesto for Performative Research ». Media International Australia 118, no 1 (février 2006) : 98–106. http://dx.doi.org/10.1177/1329878x0611800113.

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Researchers in the arts, media and design often struggle to find serviceable methodologies within the orthodox research paradigms of quantitative and qualitative research. In response to this and over the past decade, practice-led research has emerged as a potent strategy for those researchers who wish to initiate and then pursue their research through practice. This paper examines the dynamics and significance of practice-led research, and argues for it to be understood as a research strategy within an entirely new research paradigm: performative research. Taking its name from J.L. Austin's speech act theory, performative research stands as an alternative to the qualitative and quantitative paradigms by insisting on different approaches to designing, conducting and reporting research. The paper concludes by observing that, once understood and fully theorised, the performative research paradigm will have applications beyond the arts and across the creative and cultural industries generally.
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Cornago Bernal, Óscar. « El texto y la situación. Fragmentos de una exposición imaginaria sobre performatividad y metodologías de investigación en la obra de Dora García. » Philologia hispalensis 2, no 35 (2021) : 55–74. http://dx.doi.org/10.12795/ph.2021.v35.i02.04.

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Análisis de la obra de Dora García en el contexto de la recuperación de las prácticas performativas a partir de los años 90 y en relación con el auge de la microsociología y el concepto de situación. El protagonismo de la palabra, los libros y la literatura en su trabajo, dirige el foco de análisis de los recursos performativos a las formas de uso de los textos y las situaciones generadas por estas formas de uso: leer/interpretar, escribir/contar, conversar, anunciar/escuchar, repetir. La conclusión es que las prácticas artísticas, revisadas en términos de performatividad, han conducido a unos modos de conocimiento ligados a una economía de los medios y los recursos, que es también una ecología de los saberes y los cuerpos.
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Bauer-Nielsen, Birgitte. « The Choreographer’s View ». Nordic Journal of Dance 8, no 1 (1 juin 2017) : 32–39. http://dx.doi.org/10.2478/njd-2017-0005.

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Abstract In 2016, I published a book in Danish ‘Koreografens blik – En performativ koreografisk metode til skabelse af en interkulturel forestilling’. This article is a short presentation of this book. The book qualifies the choreographer’s view, that is, it examines and articulates the choreographic process from idea to product. Because of my dual role as choreographer and scholar, my analysis takes practice-based research and artistic research as its points of departure. On the basis of courtship dances, I have created an intercultural dance performance entitled ‘Sommerfuglen’ (‘The Butterfly’). The performers are dancers and musicians from Tanzania, Vietnam and Denmark. Courtship dances have a ritual status in all three cultures. I analyse the translocal process of the development of an intercultural dance performance in which local Tanzanian courtship dance features are analysed. The focal point of the translocal analysis are artistic and social practices that support the dance performance. What changes occur from translocal practice and/or dialogue? How can they be used in a global dialogue? The theories and methods used to analyse performative choreographic practice have their origins in performative anthropology, performance studies and theories of performativity.
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Vickers, David Andrew, Alice Moore et Louise Vickers. « Performative narrative and actor-network theory – a study of a hotel in administration ». International Journal of Organizational Analysis 26, no 5 (5 novembre 2018) : 972–83. http://dx.doi.org/10.1108/ijoa-03-2018-1385.

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Purpose This study aims to weave together narrative analysis (hereinafter NA) and Actor-Network Theory (hereinafter ANT), in order to address recent calls for performative studies to combine approaches and specifically to use ANT. Particularly, they address how a conflicting narrative is mobilised through a network of internal–external and human–nonhuman actors. Design/methodology/approach A fragment of data, generated from a longitudinal case study, is explored using NA and ANT in combination. Findings By engaging with ANT’s rejection of dualisms (i.e. human–nonhuman and micro–macro) and its approach to relationality, the authors inform NA and performative studies. They also add to the limited literature addressing how conflicting antenarratives are mobilised and shape the organisation’s trajectory. Research limitations/implications Generalizing from a single case study is problematic, although transferability is possible. Generalisability could be achievable through multiple performative studies. Practical/implications By demonstrating how counter networks form and antenarrative is constructed to supplant hegemonic narrative, the authors are able to problematise the taken for granted and highlight the possibilities offered by divergent voices. Originality/value The performation provides a deeper understanding of organisational performance through our NA-ANT combination, and the authors provide insight into the mobilisation of conflicting narratives in organisation studies.
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Burkette, Jay. « The Research Interview : A Performative Reinterpretation ». Qualitative Inquiry 28, no 3-4 (11 octobre 2021) : 300–311. http://dx.doi.org/10.1177/10778004211051060.

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The shift from positivistic to interpretive and critical paradigms within qualitative research entails a certain messiness in its methodology and analyses. This aligns with an entailed abandonment of objectives to arrive at absolute truth. I argue in this article that the same levels of messiness and uncertainty should apply to the definition and characterizations of perhaps the primary knowledge-producing activity within qualitative inquiry, the research interview. Untethering this concept from unnecessary delimitation might, or so I argue, allow for fresh perspectives concerning its uses and analyses, revealing less positivistically “loaded” deployment strategies and opening up vast vistas for future research.
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Rodriguez, Katrina L., et Maria K. E. Lahman. « Las Comadres : Rendering Research as Performative ». Qualitative Inquiry 17, no 7 (22 juillet 2011) : 602–12. http://dx.doi.org/10.1177/1077800411413996.

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Christner, Carl Henning, et Ebba Sjögren. « How accounting creates performative moments and performative momentum ». Accounting, Auditing & ; Accountability Journal 35, no 9 (6 septembre 2022) : 304–29. http://dx.doi.org/10.1108/aaaj-02-2018-3378.

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PurposeThis paper aims to analyse the longitudinal performative effects of accounting, focusing on how accounting shapes the stability/instability of economic frames over time.Design/methodology/approachTo explore the performative effects of accounting over time, a longitudinal case study narrates the transformation of a large, listed manufacturing company's financial strategy over 20 years. Using extensive document collection, the authors trace the shift from an “industrial” frame to a “shareholder value” frame in the mid-1990s, followed by the gradual entrenchment of this shareholder value frame until its decline in the wake of the financial crisis in 2008.FindingsOur findings show how accounting has different performative temporalities, capable of precipitating sudden shifts between different economic frames and stabilising an ever-more entrenched and narrowly defined enactment of a specific frame. We conceptualise these different temporalities as performative moments and performative momentum respectively, explaining how accounting produces these performative effects over time. Moreover, in contrast to extant accounting research, the authors provide insight into the performative role of accounting not only in contested but also “cold” situations marked by consensus regarding the overarching economic frame.Originality/valueOur paper draws attention to the longitudinal performative effects of accounting. In particular, the analysis of how accounting entrenches and refines economic frames over time adds to prior research, which has focused mainly on the contestation and instability of framing processes.
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Caldeborg, Annica, et Marie Öhman. « Intergenerational touch in physical education in relation to heteronormativity : Female students’ perspectives ». European Physical Education Review 26, no 2 (30 juillet 2019) : 392–409. http://dx.doi.org/10.1177/1356336x19865556.

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Research within the field of intergenerational touch has shown that there is a tension between the need to use physical contact as an obvious pedagogical tool, and the no-touch discourse. Within this tension physical contact between physical education teachers and students has also been shown to be a gender/ed issue with heteronormative points of departure. The aim of this study is to investigate how young adult female students’ talk about physical contact between teachers and students in physical education is related to heteronormativity. The study takes its starting point in Foucault’s work on discourses and Butler’s performative perspective. Thirteen female students in upper secondary school were interviewed in four focus groups using photo elicitation. In the findings, three performatives are identified that show how the students’ talk about physical contact between teacher and student in physical education is related to heteronormativity. The three performatives are: (a) gendering with age; (b) being wary of men; and (c) feeling sympathy for men. The paper discusses the effects the heteronormative discourse has on young adult female students and male teachers in relation to physical contact in physical education.
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MacDonald, Shauna M. « Performative listening : hearing others in qualitative research ». Text and Performance Quarterly 36, no 2-3 (2 juillet 2016) : 186–88. http://dx.doi.org/10.1080/10462937.2016.1223878.

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Hansen, Allan. « Relating performative and ostensive management accounting research ». Qualitative Research in Accounting & ; Management 8, no 2 (21 juin 2011) : 108–38. http://dx.doi.org/10.1108/11766091111137546.

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Schoonenboom, Judith. « A Performative Paradigm for Mixed Methods Research ». Journal of Mixed Methods Research 13, no 3 (31 juillet 2017) : 284–300. http://dx.doi.org/10.1177/1558689817722889.

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Mouritsen, Jan. « Problematising intellectual capital research : ostensive versus performative IC ». Accounting, Auditing & ; Accountability Journal 19, no 6 (novembre 2006) : 820–41. http://dx.doi.org/10.1108/09513570610709881.

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Gthlund, Anette, et Ulla Lind. « Intermezzo A performative research project in teacher training ». International Journal of Education Through Art 6, no 2 (1 octobre 2010) : 197–212. http://dx.doi.org/10.1386/eta.6.2.197_1.

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Hughes, Janette M. « The Performative Pull of Research with New Media ». International Journal of Qualitative Methods 7, no 2 (juin 2008) : 16–34. http://dx.doi.org/10.1177/160940690800700202.

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Mukhopadhyay, Maitrayee, et Elisabeth Prügl. « Performative technologies : agricultural research for development and gender ». International Feminist Journal of Politics 21, no 5 (28 mars 2019) : 702–23. http://dx.doi.org/10.1080/14616742.2018.1555004.

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Wieser, Bernhard, et Sandra Karner. « Deliberating Genome Research : Discursive Strategies and Performative Roles ». Science as Culture 19, no 3 (septembre 2010) : 327–49. http://dx.doi.org/10.1080/09505430903281293.

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Kliemann, Peter. « Performativer Religionsunterricht ? » Zeitschrift für Pädagogik und Theologie 66, no 4 (1 décembre 2014) : 366–75. http://dx.doi.org/10.1515/zpt-2014-0409.

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Abstract The article is written from the perspective of a German post graduate teacher education institute („second phase of teacher education“) and discusses the implementation of so-called „Performative Religious Education“ in German grammar schools. The author compares different types of the performative approach and draws attention to possible misunderstandings and forms of abuse on the way from the theoretical concept to the classroom. The article closes with three proposals for further clarification and research.
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Baker, Dallas J. « Queering Practice-Led Research : Subjectivity, performative research and the creative arts ». Creative Industries Journal 4, no 1 (janvier 2011) : 33–51. http://dx.doi.org/10.1386/cij.4.1.33_1.

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

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The article consists of an analysis of two Bulgarian contemporary artworks: by Simeon Stoilov and Atanas Totlyakov from 2021. In addition, the text discusses а work of the author, Yanitsa Fendulova, from the same year, realized as a result of a practical research in the field of performance art. The article is part of a larger study discussing the performative dimensions and values of installation works of art, the term “performative installation”.
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Singler, Samuel. « Biometric statehood, transnational solutionism and security devices : The performative dimensions of the IOM’s MIDAS ». Theoretical Criminology 25, no 3 (13 juillet 2021) : 454–73. http://dx.doi.org/10.1177/13624806211031245.

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This article contributes to border criminology and transnational criminal justice research into the role of transnational actors in shaping practices of global justice, punishment and control, as well as to the criminological analysis of penal technologies. I examine the performative effects of the Migration Information and Data Analysis System (MIDAS) developed by the International Organization for Migration (IOM), and I argue that these effects are multidimensional. For beneficiary states, the deployment of MIDAS constitutes a performance of sovereign territorial power, affirming membership in the international society of (biometrically capable) states. For the IOM, the development and deployment of MIDAS and carrying out training sessions operate as pedagogical interventions legitimizing the organization as a neutral, technical expert of migration management. Finally, MIDAS itself performatively acts upon its targets, constituting ‘the migrant’ as a governable, potentially risky subject and constituting ‘migration’ as a problem amenable to depoliticized techno-solutionist interventions.
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Hjorth, Daniel. « Critique nouvelle – an essay on affirmative-performative entrepreneurship research ». Revue de l’Entrepreneuriat 16, no 1 (2017) : 47. http://dx.doi.org/10.3917/entre.161.0047.

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Arıdağ, Levent. « A Performative Research with The Eco-Parametric Architectural Design ». Iconarp International J. of Architecture and Planning 9, no 2 (21 décembre 2021) : 565–83. http://dx.doi.org/10.15320/iconarp.2021.172.

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Boedker, Christina. « Ostensive versus performative approaches for theorising accounting‐strategy research ». Accounting, Auditing & ; Accountability Journal 23, no 5 (22 juin 2010) : 595–625. http://dx.doi.org/10.1108/09513571011054909.

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Fernandes, Ciane. « Somatic‐Performative Research : Artistic practices, pedagogical processes, methodological principles ». Journal of Dance & ; Somatic Practices 12, no 1 (1 août 2020) : 61–76. http://dx.doi.org/10.1386/jdsp_00013_1.

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Somatic‐performative research (SPR) is a mode of Artistic Practice as Research I have been developing in the past fifteen years. Major influences of SPR have been Laban/Bartenieff Movement Analysis, Authentic Movement, dance theatre and performance. Performativity in a somatic perspective is a constant state of change, between pulsing and resting, innovation and balance, in a process of merging, differentiating and growing. In SPR, the research subject and its enquiries are alive and pulsing in contrasting forces. We merge into them to move with and be moved by them, in dynamic relationship with an inter-artistic creative environment. The association of somatic and performative research implies specific pedagogical choices, strategies and activities. As part of an academic moving field, the SPR encompasses the integration of inner attunement and coherence with artistic exploration, sensorial merger and critical analysis, creativity and social relevance.
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Stockman, Caroline, et Fred Truyen. « Cultural Studies as Performative Research in a Digital Age ». European Review 22, no 2 (mai 2014) : 309–20. http://dx.doi.org/10.1017/s1062798714000131.

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This paper aims to explore the nature of digital culture research, and the fitting methodology. Although it is still felt to be a novelty, it is not so different from the more general domain of Cultural Studies. The aim of research for both domains is meaning, or the challenge to understand the dynamics of the encoding and decoding process. Both domains endorse a wide variety of subjects, although typically the concrete methodology of Cultural Studies still remains restricted to qualitative approaches. The question of quantitative data and their analysis is highlighted in digital culture, and we should consider both its opportunities and limitations for the research at hand. In our reflection, Cultural Studies research emerges as a performative enterprise, and this is one of its unique distinctions as a research domain.
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Lingard, Bob, et Jill Blackmore. « The ‘performative’ state and the state of educational research ». Australian Educational Researcher 24, no 3 (décembre 1997) : 1–22. http://dx.doi.org/10.1007/bf03219652.

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Oikarinen-Jabai, Helena. « Toward Performative Research : Embodied Listening to the Self/Other ». Qualitative Inquiry 9, no 4 (août 2003) : 569–79. http://dx.doi.org/10.1177/1077800403254227.

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Bernsen, Rachel. « Movement Improvisation and Somatic Research : Entwined Practices of Freedom ». Journal of Speculative Philosophy 36, no 4 (1 novembre 2022) : 417–35. http://dx.doi.org/10.5325/jspecphil.36.4.0417.

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ABSTRACT This article looks at how the practice of dance improvisation and somatic movement modalities inform and transform our experience of being in our bodies (via embodied knowledge, kinaesthetic awareness). In both individual and collective practice, these modalities offer alternative means for engaging with ourselves and others that allows us to transcend individual and social constraints within certain conditions. I discuss these practices as an ongoing process or state of freedom in the performative space, in daily “non-performative” life, in the many spaces in-between, and the conditions necessary to thrive.
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Chamberlain, Franc. « Eating Words : a Performative Banquet ». New Theatre Quarterly 20, no 4 (25 octobre 2004) : 391–93. http://dx.doi.org/10.1017/s0266464x04210260.

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Personal memories – and lapses of memory – two months after a unique event arranged by Richard Gough and the Centre for Performance Research for the SCUDD Annual Conference at the University of Wales, Aberystwyth, on 3 April 2004.
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Martínez López, Carolina. « Una experiencia encarnada de investigación escénica en estudios teatrales universitarios ». eari. educación artística. revista de investigación, no 10 (20 décembre 2019) : 116. http://dx.doi.org/10.7203/eari.10.14309.

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Resumen. Este artículo presenta una propuesta pedagógica y de investigación en estudios teatrales universitarios basada en el análisis teórico y en la experiencia física, intelectual y emocional de procesos creativos escénicos. A lo largo del mismo, veremos cómo la dificultad de los estudios teatrales para integrarse en el terreno científico y en la academia puede utilizarse para construir nuevas vías docentes y creativas, atendiendo a la especificidad del teatro, vivo y efímero por naturaleza. Transitaremos para ello el camino de la Investigación Basada en las Artes, la A/r/tografía (rama de la IBA) y las experiencias previas de Investigación Basada en el Teatro. Aunaremos una visión organicista y holística basada en la idea del arte como experiencia encarnada, y la aproximación a la investigación como un trabajo en proceso permanente. En cuanto a lo estético, primará una percepción transversal de lo escénico en el marco de las denominadas “teatralidades expandidas” ligadas al concepto de “performativo”. En una segunda fase, enlazaremos esta teoría con la descripción y el análisis de casos prácticos llevados a cabo en el Grado de Artes Escénicas de la Universitat de Girona (EU ERAM), para intentar valorar la eficacia de la propuesta, además de buscar ir asentando unos parámetros válidos para su evaluación. Palabras clave: estudios universitarios de Artes Escénicas, Investigación Basada en las Artes, experiencia encarnada, A/r/tografía, performativo Abstract. This article presents a pedagogical and research proposal in Performing Arts university studies based on theoretical analysis, and on physical, intellectual and emotional experience of scenic creative processes. Throughout it, we will see how the difficulty of Performing Arts studies to integrate into the scientific field and into the Academy can be used to build new educational and creative paths, taking into account the specificity of Theater, alive and ephemeral by nature. We will go through the path of Arts-Based Research, A / r / tography (branch of ABR) and previous experiences of Theater-Based Research. We will combine an organic and holistic vision based on the idea of art as an embodied experience, and the approach to research as a work in permanent process. As for the aesthetic, a transversal perception of theatre will prevail within the framework of the so-called “expanded theatricalities” linked to the concept of “performative”. In a second phase, we will link this theory with the description and analysis of practical cases carried out in the Degree of Performing Arts of the University of Girona (EU ERAM), to try to assess the effectiveness of the proposal, in addition to seeking to settle valid parameters for evaluation. Keywords: Performing Arts university studies, Art-based Research, embodied experience, A/r/tography, performative DOI: http://dx.doi.org/10.7203/eari.10.14309
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Jeffrey, Bob, et Geoff Troman. « The Construction of Performative Identities ». European Educational Research Journal 10, no 4 (1 janvier 2011) : 484–501. http://dx.doi.org/10.2304/eerj.2011.10.4.484.

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The influence of policy texts upon learners depends largely on how much influence such texts wield. Policy discourses are one of the main means whereby policy texts, in the settings in which they operate, influence the value, the implementation and the inscribing of those texts on learners. The Economic and Social Research Council-based research project described in this article examines the ways in which Lyotard's performative practices affect the identities of primary school learners and how they are constructed by Key Stage exam process; it also examines performative progression through a system of learning targets. It uses a Foucauldian approach to show how learners are influenced by performativity discourses and how they take part in constructing these performative identities. Employing an ethnographic approach, it illustrates how Foucault's social relations characteristic of extra/intra/inter dependencies is explicated through governmentality and the construction of knowledge and subjectivity, which act as major relays through which learners' performative identities become embedded.
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Jogschies, Bärbel, Manfred Schewe et Anke Stöver-Blahak. « Recommendations for Promoting a Performative Teaching, Learning, and Research Culture in Higher Education ». Scenario : A Journal of Performative Teaching, Learning, Research XII, no 2 (1 juillet 2018) : 52–56. http://dx.doi.org/10.33178/scenario.12.2.6.

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The twenty-first century is the century of the performative.1 Claire Colebrook (2018) A performative teaching, learning, and research culture can emerge wherever an academic discipline enters into a constructive dialogue with the performing arts. Many challenges of the 21st century (see the Sustainable Development Goals of the UN)2 require creative solutions. Creativity is, however, not yet sufficiently promoted at universities, thus an artistic reorientation in teaching and research is imperative. As early as 2006, at the UNESCO World Congress in Lisbon and again in Seoul in 20103, there were calls to strengthen the role of the arts in education. Implementation of these recommendations has, however, been very limited thus far. Studies in cognitive science show that performative teaching and learning cultivates a deeper understanding of content and improved long-term retention of knowledge.4 In fact, it has been shown that the use of performative teaching and learning approaches leads to more creative, better learning outcomes; students relate more strongly to their studies and drop-out rates decrease. In addition, overall willingness to learn within the university context has been documented, as well as increased complexity and closer connection to practice in higher education, thus affording graduates better job placement opportunities. At the ...
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Moiseeva, Anna Yu, et Alina S. Zaykova. « Ludwig Wittgenstein and Performative Turn ». Epistemology & ; Philosophy of Science 57, no 3 (2020) : 44–49. http://dx.doi.org/10.5840/eps202057339.

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This article is a response to the thesis of K.A. Rodin about the exclusively conceptual influence of Wittgenstein and the problem of following the rule on social research. The authors argue that along with the methodological line traced by K.A. Rodin, one should single out a purely scientific line of influence of Wittgenstein's ideas, the result of which was the so-called performative turn in social sciences.
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Merkus, Sander, Jaap De Heer et Marcel Veenswijk. « Decision-making as performative struggle ». Journal of Organizational Ethnography 3, no 2 (12 août 2014) : 224–45. http://dx.doi.org/10.1108/joe-12-2012-0058.

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Purpose – The purpose of this paper is to introduce the concept of performative struggle through the use of an interpretative case story focussed on a strategic decision-making process concerning infrastructural development. Performativity is about “world-making” (Carter et al., 2010), based on the assumption that conceptual schemes are not only prescriptions of the world, for the practices flowing from these abstract ideas bring into being the world they are describing. The focus on agency and multiplicity in the academic debate on performativity in organizational settings are combined, resulting in the conceptualization of a multitude of performative agents struggling to make the world. Design/methodology/approach – The methodological approach of this paper is based on an interpretative analysis of contrasting narratives that are told by political-executives in a strategic decision-making process. These narratives are based on in-depth interviews and participant observation. The interpretative case story, exhibiting the strategic decision-making practices of Aldermen, Delegates and Ministers – focusses on the moments of performative struggle based on strategic narrative practices. Findings – The interpretative case story will exhibit the way in which a multiplicity of agents reflects on the performative dimension of the decision-making process, anticipates on its performative effects and attempts to manipulate the strategic vision that is actualized into reality. Moreover, the agents are not primarily concerned with the actualization of a specific infrastructural project; they are more concerned with the consequences of decision making for their more comprehensive strategic visions on reality. Research limitations/implications – The notion of performative struggle has not yet been explicitly studied by scholars focussing on performativity. However, the concept can be used as an appropriate lens for studying meaning making within ethnographic studies on organizational processes such as for instance culture change intervention and strategy formation. The concept of performative struggle is especially useful for understanding the political dimension of meaning making when studying an organizational life-world through the use of ethnographic research. Originality/value – The originality of this paper lies in the innovative conceptualization of struggle between a multiplicity of reflexive agents in the debate on performative world-making. Moreover, the incorporation of the perspective of performative struggle within organizational ethnographic research is valuable for the development of organizational ethnographic methodology.
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Piazzoli, Erika, et Manfred Schewe. « Arts education in Ireland : Visions of a performative teaching, learning and research culture ». Journal de recherche en éducations artistiques (JREA), no 1 (17 janvier 2023) : 72–83. http://dx.doi.org/10.26034/vd.jrea.2023.3586.

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In this paper we offer an overview of the arts in education in Ireland, making a case for a performative approach. We discuss theory, research and practice – situating the developments in Ireland within a multicultural context. We begin by offering our own definition of Arts (in) Education research, drawing on seminal policies and interrogating various art classifications, from a historical and etymological perspective. Next, we consider their impact at a global and regional level and we examine how policy has influenced the curriculum. Following this, we reflect on the ramifications of theatre and drama in education, highlighting the fragmentation in the field. In the main argument of the paper, we make a case for performative education, illustrating our vision for performative language teaching and research. We suggest that theory of aesthetic experience can be a useful framework, and close with remarks on our contemporary society.
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Fernandes, Ciane. « Moving Studies : Somatic-Performative Research in a Wide Dance Field ». Congress on Research in Dance Conference Proceedings 2014 (2014) : 75–82. http://dx.doi.org/10.1017/cor.2014.9.

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This is a presentation of the principles of somatic-performative research with application to the audience's research. The proposal has been developed over ten years of artistic-scientific research at the Graduate Program of Performing Arts of Federal University of Bahia, Salvador BA, Brazil. The approach associates Somatic Education and Performance in dance research, especially regarding inner impulse in relation to the environment and collective awareness in a micro-macro political attitude.While quantitative and qualitative research deals with practice as an object of study, in performative research, practice is in itself a research method (Haseman 2006). Somatic-performative research is defined and organized by thesomatic practice (“experienced body”), transforming the ephemeral nature of dance into the research'smodus operandi. From the starting point of inter-artistic moving principles with/in the environment, the object of study becomes a creative, live, and relational subject. Therefore, studies and methods become contaminated by the subject's dynamic nature, melting any prejudice ora priorisettings. In an unpredictable, autonomous, yet integrated, pulsing that destabilizes borders, discourses, and manners, dance becomes a spread-out medium of studies (rather than something to be studied).As an integrated “soma,” dance research constantly dis-re-organizes “the way we form things,” subverting power relationships and discourses over art and the body. Somatic-performative exploration dilutes the separation and conflict between practice and theory, body and mind, art and science, dynamic multidimensional movement and fixed linear record, human and environment, place and non-place, matter and energy. In a connecting quantumspacetime, “being” is permanently perceived and reinvented as trans-cellular intelligence in movement or creative somatic wisdom in a “culture of becoming” with/in a “deep ecology.”
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J. Weltsek, Gustave. « Journeying into the Complexities and Possibilities of Performative Pedagogical Practice, Research and Analysis ». Scenario : A Journal of Performative Teaching, Learning, Research XI, no 2 (1 juillet 2017) : 32–50. http://dx.doi.org/10.33178/scenario.11.2.3.

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In the United States, there is an obsession with high stakes testing, and performative pedagogues are challenged to prove that their work is valuable to increased scores. Educators who work through performative pedagogies are also expected to articulate the ways the work encourages and supports socio-cultural growth. In this article, the author calls into question trying to validate performative pedagogies based upon what they produce and or do and rather explores the complexities and possibilities of our work made manifest within observable discourses. Data was collected over the course of a year from a process drama with 20 pre-school students. Three students’ stories provided the researcher the opportunity to articulate multiple ways in which student identities began to emerge. An articulation was made possible based upon how individual discourses were observable as students interpreted and acted upon the various social needs within both an institutionalized world of their school and the fictional world of a pioneer journey.
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Boydell, Katherine. « Using Performative Art to Communicate Research : Dancing Experiences of Psychosis ». LEARNing Landscapes 13, no 1 (13 juin 2020) : 77–85. http://dx.doi.org/10.36510/learnland.v13i1.1004.

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This paper highlights a collaborative effort to bring art and science together. In the field of arts-based research, collaboration between social scientists and artists is critical.1Horsfall and Titchen state that “critical creativity as methodology disrupts traditional edges and enables participation of people in the research who are unlikely to engage in philosophical, theoretical and methodological study, but who can understand its assumptions through embodied experience … [It] opens up endless spaces for genuine democratization of knowledge creation” (156). It was this type of democratized space that we wanted to create. We believed that bringing artists and scientists together would contribute to minimizing boundaries that often exist between these two worlds. We found that our collaboration provided a chance for meaningful dialogue and partnership. Additionally, as Jones states, “reaching across disciplines and finding co-producers for our presentations can go a long way in insuring that, rather than amateur productions, our presentations have polish and the ability to reach our intended audiences in an engaging way” (71).
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Boydell, Katherine. « Using Performative Art to Communicate Research : Dancing Experiences of Psychosis ». Canadian Theatre Review 146 (avril 2011) : 12–17. http://dx.doi.org/10.3138/ctr.146.12.

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Kitchen, Jennifer, et Kate McCarthy. « Scenario Forum First International Conference : Performative teaching, learning and research ». Research in Drama Education : The Journal of Applied Theatre and Performance 19, no 4 (2 octobre 2014) : 419–21. http://dx.doi.org/10.1080/13569783.2014.959754.

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

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Kennedy, Barbara. « Performative Spaces : the intersticial places of creative practice and research ». Journal of Media Practice 2, no 2 (1 janvier 2001) : 126–32. http://dx.doi.org/10.1386/jmpr.2.2.126.

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

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Boydell, Katherine. « Using Performative Art to Communicate Research : Dancing Experiences of Psychosis ». Canadian Theatre Review 146, no 1 (2011) : 12–17. http://dx.doi.org/10.1353/ctr.2011.0042.

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