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Bibliographies thématiques / Praxis performative / Livres

Livres sur le sujet « Praxis performative »

Pour voir les autres types de publications sur ce sujet consultez le lien suivant : Praxis performative.

Auteur : Grafiati

Publié le 19 juillet 2023

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1

Politisierung und Ent-Politisierung als performative Praxis. Münster : Westfälisches Dampfboot, 2006.

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2

Baxen, Jean. Performative praxis : Teacher identity and teaching in the context of HIV/AIDS. Bern : Peter Lang, 2010.

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3

Performative praxis : Teacher identity and teaching in the context of HIV/AIDS. Bern : Peter Lang, 2010.

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4

Theater als Zeitmaschine : Zur performativen Praxis des Reenactments : theater- und kulturwissenschaftliche Perspektiven. Bielefeld : Transcript, 2012.

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5

Performativer Humanismus : Die Auseinandersetzung mit Philosophie in der literarischen Praxis von Witold Gombrowicz. Dresden : Thelem, 2007.

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6

Gall, Alfred. Performativer Humanismus : Die Auseinandersetzung mit Philosophie in der literarischen Praxis von Witold Gombrowicz. Dresden : Thelem, 2007.

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7

Performativität und Praxis. München : Fink, 2003.

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8

Baxen, Mary Jean. Performative Praxis : Teacher Identity and Teaching in the Context of HIV/AIDS. Lang AG International Academic Publishers, Peter, 2011.

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9

Hempfer, Klaus W., et Jörg Volbers. Theorien des Performativen : Sprache - Wissen - Praxis. eine Kritische Bestandsaufnahme. Transcript Verlag, 2014.

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10

Lehmann, Irene, Rainer Simon et Katharina Rost. Staging Gender - Reflexionen Aus Theorie und Praxis der Performativen Künste. Transcript Verlag, 2019.

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11

Lehmann, Irene, Katharina Rost et Rainer Simon, dir. Staging Gender - Reflexionen aus Theorie und Praxis der performativen Künste. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839446553.

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Lehmann, Irene, Katharina Rost et Rainer Simon, dir. Staging Gender - Reflexionen aus Theorie und Praxis der performativen Künste. transcript Verlag, 2019. http://dx.doi.org/10.1515/9783839446553.

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13

Staging Gender : Reflexionen aus Theorie und Praxis der performativen Künste. Bielefeld : Transcript, 2019.

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14

Wehrle, Annika. Passagenräume : Grenzverläufe Alltäglicher und Performativer Praxis Im Theater der Gegenwart. Transcript Verlag, 2015.

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15

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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Otto, Ulf, et Jens Roselt. Theater Als Zeitmaschine : Zur Performativen Praxis des Reenactments. Theater- und Kulturwissenschaftliche Perspektiven. Transcript Verlag, 2014.

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17

de Vries, Hent. Phenomenal Violence and the Philosophy of Religion. Sous la direction de Michael Jerryson, Mark Juergensmeyer et Margo Kitts. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199759996.013.0034.

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This chapter offers the example of a philosophy that began with Jacques Derrida, the genesis and structure of whose overall thinking, writing, and interpretative praxis it reviews. Derrida, who has played an influential role as a groundbreaking thinker, speaks of an unconditional affirmation, an absolute performative, whose contours are not established. The neologism mondialatinisation captures the old-new and new-old taken as a total social phenomenon and one that is “at the same time hegemonic and finite, ultra-powerful and in the process of exhausting itself.” Derrida determines that if religion was ever dead and overcome, in its resurrected form it is much less localizable and predictable than ever before, most manifestly in the “cyberspatialized or cyberspaced wars of religion” or “war of religions.” Religion, the political religions, and religious wars and terrorisms in the contemporary world resist their very own demise or rumors thereof.

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Blum, Reinhard, et Johannes Steiner, dir. Klavierpraxis und Selbstbegleitetes Singen. Waxmann Verlag GmbH, 2020. http://dx.doi.org/10.31244/9783830992691.

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Schulpraktisches Klavierspiel und Selbstbegleitetes Singen sind für einen lebendigen Musikunterricht von zentraler Bedeutung. Lange als Zusatz in traditionellen Ausbildungscurricula positioniert, wird diesem Bereich zunehmend mehr Gewicht und Bedeutung im fachlichen und didaktischen Diskurs zugemessen. In diesem Band werden Aspekte des künstlerisch-performativen Potenzials sowie innovative Zugänge zum Schulpraktischen Klavierspiel und Selbstbegleiteten Singen behandelt. Das Spektrum der Beiträge reicht von spezifischen klavier(praxis)bezogenen Konzepten über schulmusikalisch relevante Fragestellungen hin zu Umsetzungsmodellen für die Lehramtsausbildung.

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Idema, Wilt L. The Pitfalls of Piety for Married Women. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501758362.001.0001.

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This book shows how problematic the practice of Buddhist piety could be in late imperial China. Two thematically related “precious scrolls” (baojuan) from the Ming dynasty, The Precious Scroll of the Red Gauze and The Precious Scroll of the Handkerchief, illustrate the difficulties faced by women whose religious devotion conflicted with the demands of marriage and motherhood. These two previously untranslated texts tell the stories of married women whose piety causes them to be separated from their husbands and children. While these women labor far away, their children are cruelly abused by murderous stepmothers. Following many adventures, the families are reunited by divine intervention and the evil stepmothers get their just deserts. While the texts in The Pitfalls of Piety for Married Women praise Buddhist piety, they also reveal many problems concerning married women and mothers. The text translations are preceded by an introduction that places these scrolls in the context of Ming dynasty performative literature, vernacular literature, and popular religion. Set in a milieu of rich merchants, the texts provide a unique window to family life of the time, enriching our understanding of gender during the Ming dynasty. These popular baojuan offer rare insights into lay religion and family dynamics of the Ming dynasty, and their original theme and form enrich our understanding of the various methods of storytelling that were practiced at the time.

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Birenbaum Quintero, Michael. Rites, Rights and Rhythms. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199913923.001.0001.

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Colombia has the largest black population in the Spanish-speaking world, but Afro-Colombians have long remained at the nation’s margins. Their recent irruption into the political, social, and cultural spheres is tied to appeals to cultural difference, dramatized by the traditional music of Colombia’s majority-black Southern Pacific region, often called currulao. Yet that music remains largely unknown and unstudied despite its complexity, aesthetic appeal, and social importance. Rites, Rights & Rhythms: A Genealogy of Musical Meaning in Colombia’s Black Pacific is the first book-length academic study of currulao, inquiring into the numerous ways that it has been used: to praise the saints, to grapple with modernization, to dramatize black politics, to demonstrate national heritage, to generate economic development, and to provide social amelioration in a context of war. The author draws on both archival and ethnographic research to trace these and other opinions about how currulao has been understood, illuminating a history of struggles over its meanings that are also struggles over the meanings of blackness in Colombia. Moving from the eighteenth century to the present, this book asks how musical meaning is made, maintained, and sometimes abandoned across historical contexts as varied as colonial slavery, twentieth-century national populism, and neoliberal multiculturalism. What emerges is both a rich portrait of one of the hemisphere’s most important and understudied black cultures and a theory of history traced through the performative practice of currulao.

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