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1
Şiray, Mehmet. "Performance and Performativity /." Frankfurt am Main [u.a.] : Lang, Peter,, Internationaler Verlag der Wissenschaften, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017150783&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Şiray, Mehmet. "Performance and performativity." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/992408210/04.
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Norman, Taryn Louise. "Queer Performativity and Chaucer's Pardoner." Fogler Library, University of Maine, 2006. http://www.library.umaine.edu/theses/pdf/NormanTL2006.pdf.
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Grabner, Sarah M. "Art Games: Performativity and Interactivity." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1523973549005374.
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Brady, Anita, and n/a. "Constituting queer : performativity and commodity culture." University of Otago. Department of Communication Studies, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080429.113540.
Testo completoAbstract (sommario):
This thesis foregrounds a question unanswered in queer theory�s account of the ongoing reproduction of heteronormativity. In Gender Trouble, Judith Butler asks "From where does the performative draw its force, and what happens to the performative whose task it is to undo" that discursively legitimated enacting? (Bodies That Matter 224-5). While queer theory offers a compelling account of how the normative fictions of identity privilege heterosexuality, the first part of Butler�s question remains relatively under-theorised. This thesis addresses this gap and argues that to understand the source of performative authority, we must address the intimate relationship between gay identity and commodity culture. Thus, I investigate the connections between the marketing industry, an historically politicised gay press, and a lesbian and gay politics imagined through the paradigm of identity, and argue that they combine in a citational feedback loop to performatively produce gay identity as the "ideal consumer." I then undertake case studies of two media texts, the website Gay.com and the television series Queer Eye for the Straight Guy, in order to demonstrate how the white, male, middle-class gay aesthete functions hegemonically as gayness in culture.
My analysis then turns to the second part of Butler�s question -"what happens to the performative whose task it is to undo?"- and examines the consequences of the absence of an analysis of commodity culture for the notion of queer. To that end, I suggest that alongside their repetitions of gay normativity, both Gay.com and Queer Eye perform queer possibility. However, the case studies I undertake, along with the critical reception of Queer Eye and the internet technologies behind Gay.com, suggests that these media texts fall short of the promise of queerness. This apparent failure to disturb heteronormative reproduction is connected in these critiques to each text�s commercial imperatives. This thesis argues that such critiques tend to rely on determinations of the authenticity of queer performance, and emphasise veracity over queer theory�s potential to exploit the critical potential of deliberate indeterminacy. I argue, instead, that a key part of queer theory�s contingency is its capacity to respond to the changing performative contexts of the normative repetitions it seeks to undo. To put this more simply: If consumer desire defines contemporary gayness, then it is with consumer desire that queer theory must contend. It is precisely the indeterminacy of queer that enables such shifts in its strategies of subversion. Recognition of how queer�s indeterminacy enables those subversive moves returns us to the importance to queer theory of a sustained consideration of the constitutive capacities of commodity culture. What I suggest in this thesis is that if we do no ask "From where does the performance draw its force?" then we cannot answer "And what happens to the performative whose task it is to undo?" the normative framework of identity.
6
Nilsson, Nina. "Gender Performativity and Motherhood in Coraline." Thesis, Umeå universitet, Institutionen för språkstudier, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-160255.
Testo completoAbstract (sommario):
Coraline by Neil Gaiman has several characters who in many ways break gender norms. The main protagonist of the novel, Coraline, acts more in accordance with masculine gender norms, and the mother figures are mothers who do not fully conform to the traditional mother role. The purpose of this study is to look at how Coraline and the mother figures perform their gender, and in which ways this breaks with or aligns with traditional gender norms. The analytical approach is based on Judith Butler’s theory of gender performativity, and on masculine and feminine gender schemas defined by John Stephens. For the analysis of motherhood, gender performativity has also been used, and works by Adrienne Rich and Einat Natalie Palkovich. This study shows that the protagonists challenge traditional gender role norms of masculinity and femininity, whereof motherhood is part. The study also shows that there is a lack of female role models for the young protagonist, and that acting according to masculine gender norms is desirable and necessary in the novel. But for the mothers, breaking gender norms is undesirable, dangerous, and even punished. A conclusion of the study is that even though Coraline appears to be a feminist novel, the underlying message is not entirely so.
7
Perryman, Jane. "Inspection and performativity : life after special measures." Thesis, Goldsmiths College (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.719164.
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Phibbs, Suzanne. "Transgender identities and narrativity: Performativity, agency corporeality." Thesis, University of Canterbury. Sociology, 2001. http://hdl.handle.net/10092/4635.
Testo completoAbstract (sommario):
A study of transgender embodiment provides a unique vantage point from which to examine how people take up, and are constituted by, ideas about sex and gender. Discontinuities between the anatomical bodies and social identities of transgendered people trouble conventional understandings about bodies and selves. At the same time people who use gender reassignment technologies attach considerable authority to normalising discourses about bodies and identities, masculinity and femininity. This thesis explores subjectivity, agency, citizenship and community through analyses of conversations with 'transgendered' people in Australia and New Zealand.
The thesis consists of distinct but interrelated essays that explore the relationship between global technologies and the local achievement of identities. It illustrates how conversations about identity in transgendered social spaces are also discussions about the medicalisation of sex and gender and the social/institutional expectations associated with particular gender identities. Attention to the situated dimensions of social interaction suggests that it is not just discourses, but also corporeality and spaces, that make certain subject positions available to actors. Holding 'public stories' and the particularistic features of personal narratives in play, I argue that both stories and identities emerge from interaction - shifting and changing according to the spaces and times in which they are embedded.
9
Throp, Mo. "Trauma, performativity, and subjectivity in art practice." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/2039/.
Testo completoAbstract (sommario):
Abstract: This is a practice based PhD of predominantly video works/installations which seek to examine, alongside the accompanying reflective writing on these works, a particular dynamic set up between the artwork and the spectator which allows a rethinking of the model of the subject's relation to the 'other'. This investigation which is lead by my ongoing practice (presented as six artworks) is informed and underpinned by feminist theoretical concerns seeking a way out of the deadlock of Lacanian thinking which characterises the feminine as problematic (the other of the other). Though I make reference to psychoanalytic theories (as well as the writings of Deleuze), I will not give accounts of this background (though I will footnote key terms); I am therefore presuming a certain knowledge of these theories by my reader. The thesis (as practice and dissertation) explores more enabling accounts for the construction of identity which move beyond the fixed, traumatic model to propose that the encounter with the artwork enables more positive accounts of the self as fluid and open to change. This shift which now proposes a more productive relation to desire and otherness has been opened up, particularly by Elizabeth Grosz and Rosi Braidotti, through a consideration of Gilles Deleuze's notion of 'becoming' as a creative flow, an active force of connections and relations. This challenge to dominant accounts (both psychoanalytic and philosophical) that characterize desire negatively as a longing for something lost (tragically and impossibly), allows me to propose (theoretically and practically) the artwork as allowing us to 'become' by creating affect, where, immersed in a creative ongoing flow of connections and relations we 'become-hybrid' through an encounter with the other. As my contribution to knowledge and understanding, my thesis explores this affirmation of a new subjectivity through a sense of self as interactive (mobile) in the process of viewing; an inter-subjectivity which allows a freeing of the subject from the impulse to complete the self, allowing an engagement that does not set the subject against itself but produces new possibilities especially in a consideration of sexual difference. My practice argues for an engagement and creative response which allows for a dialogue of difference as non-oppositional; sensuous and expansive, the artwork proposes a new relation to gender, as beyond hierarchical (traumatic and fixed) oppositional accounts of the self. This shifts from an account of sexuality as problematic (or not) to one where the viewer is open to a renegotiation with questions of otherness and difference that underpin any notions of identity) to become productive of fluid accounts of the self.
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Vaschel, Tessa. "Happy Problems: Performativity of Consensual Nonmonogamous Relationships." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1510941420190496.
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Dickinson, Christine. "Aspects of Performativity in New Orleans Voodoo." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1600041.
Testo completoAbstract (sommario):
<p> The aim of this thesis is to study the practices and background of Voodoo in New Orleans through a holistic lens. This holistic lens includes researching the history of Voodoo in New Orleans, previous research done on Voodoo practice in New Orleans, contacting current practitioners and performing informal interviews, and participant-observation of New Orleans Voodoo rituals. This work is divided into three sections; the first delves into the history and current state of Voodoo of New Orleans. The second section discusses how Voodoo has influenced other cultural areas in New Orleans. The third section discusses how Voodoo and tourism interrelate with one another. The conclusion of this work addresses how through out history, influences on other areas of New Orleans culture, and tourism, the original ideas of Voodoo in New Orleans has stretched out beyond the original spectacle of Voodoo into the various ways individuals think about Voodoo. This also influences how practitioners view their own practice by reacting to how non-practitioners view Voodoo. It is like the metaphor of the snake eating his own tail, how Voodoo is practiced and then perceived by outsiders keeps feeding into each other.</p>
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Ferreira, Carlos Eduardo Martins. "Performativity and pluralities of biodiversity offsetting experiments : towards a synthesis of economy as instituted process and economy as performativity." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/performativity-and-pluralities-of-biodiversity-offsetting-experiments-towards-a-synthesis-of-economy-as-instituted-process-and-economy-asperformativity(420f27c6-55a4-480d-813f-f58c1d1f11e7).html.
Testo completoAbstract (sommario):
Development and land use change diminish the quantity of natural habitat, impacting negatively on the number of animal and plant species – biodiversity. Concern about the consequences of these losses has led to calls for mechanisms which allow development to proceed only when no net loss of biodiversity can be assured, such as biodiversity offsets. Markets for biodiversity offsets are being tried as mechanisms for achieving this societal objective in the most efficient manner possible. Theoretically, this thesis develops a framework connecting the Polanyi-inspired notion of the economy as an instituted process, and concepts developed by Callon and colleagues in the Social Studies of Finance literature. This framework is used to analyse the emergence, development and expansion of markets for biodiversity offsets. Using qualitative methodologies, the research examines in detail three existent biodiversity offset markets: Species Banking (United States), Impact Mitigation Regulations (Germany) and Biodiversity Offsets (England). The emergence of markets for biodiversity offsets is shown to be the result of performativity of economics. Changing representations of biodiversity, anchored on economic sciences, lead to policies which create economic experiments, such as markets for biodiversity offsets. Because these markets are historical and geographically contingent, the economic experiments emerge in the context of preexisting regulations and traditions, resulting in variety of forms of organising biodiversityoffset markets. To bring biodiversity to the market involves measuring and quantifying externalities. This requires the creation and development of market agencements – assemblages of agents and market devices – to commodify biodiversity. These agencements constitute the technical infrastructures upon which the markets are built, but they too are contingent of pre-market practice. This creates tensions between the role of agents and the role of devices inside the market infrastructure. Biodiversity offsets are shown to not maintain their commodity status beyond certain geographical and geopolitical boundaries. The result is the creation of mutually exclusive market nodes, between which no trade takes place. Despite common origins and infrastructures, the local markets do not exchange between themselves. This thesis contributes a framework for the analysis of market emergence, in which two literatures are used to complement each other’s limitations. As a result, the thesis is able to conceptualise how a common generative mechanism results in variety of economic organisation. It also demonstrates that it is possible for markets to share a regulatory and technical infrastructure, but not exchange between themselves and expand.
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Tigerlily, Diana L. "Homeplace of Hands: Fractal Performativity of Vulnerable Resistance." Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1968468121&sid=2&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Hiwatari, Yasutaka. "Anglicisms, globalisation and performativity in Japanese popular culture." Thesis, University of Leeds, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550813.
Testo completoAbstract (sommario):
This thesis examines the ways in which English is used to produce and reproduce new meanings and identities in the Japanese context. The study of language contact with English in Japan is far from new in Japanese sociolinguistics, and a number of studies have been conducted in this area. However, I argue that previous studies are marked by two main oversights: firstly, previous studies were conducted on data collected from limited genres; secondly, in the previous studies, English was examined on the basis of a restricted contact setting. Thus, the earlier studies provided a limited view of the ways in which the use of English functions in the Japanese context, overlooking the variety of the ways in which new meanings and identities are created. This study provides a more comprehensive picture of the ways in which the use of English functions performatively within the Japanese setting. It does this by conducting three case studies on data collected from three largely overlooked genres of Japanese popular culture, namely Japanese rap, manga, and a Japanese online Bulletin Board System website (BBS). Drawing on the theoretical framework based on the concepts of globalisation and performativity (Pennycook, 2007), this study focuses on the dynamic process by which English is embedded and re-embedded in local contexts within Japanese popular culture. Accordingly, it highlights the ways in which the use of English performatively creates and recreates new meanings and identities. This thesis argues that the process in which English is embedded is multidimensional within the Japanese context, and that this process corresponds to the ways in which English is performative in constructing multidimensional identities. Furthermore, viewing the use of language as a 'transmodal performance' (Pennycook, 2007), this study examines how the use of English works performatively in parallel with other modes of performative act, such as singing and drawing pictures.
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Joffe, Megan. "An exploration of medical director identity and performativity." Thesis, Birkbeck (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.556749.
Testo completoAbstract (sommario):
This research explores how medical directors discursively construct their identity in the challenging context of the National Health Service (NHS). The role of NHS medical manager was created as a hybrid bringing together the conflicting roles of doctor and manager and to help overcome medical resistance to management. The medical director, as the most senior doctor-manager, is a board appointment with responsibility for medical affairs. While this is presented as a high status position allowing doctors to take responsibility for managing their institutions the different demands and identifications could be a site for conflict between the role of doctor and manager within the medical director identity construction. The experience of medical director identity is explored through social identity theory (SIT) (Tajfel & Turner, 1986) and Butler's (1999) theory of performativity. This allows exploration of identity as both enduring and fleeting. Documents outlining the medical director role were examined and several conferences aimed at medical directors observed to provide context. Twenty incumbents were interviewed to explore how they understand their role and experience their identity. Discourse analysis was used to uncover identity experiences and to highlight power struggles enacted through the hybrid. The analysis reveals that the medical director role is ambiguous, that medical identity is robust and that medical management is difficult compared to clinical work. Managerial identity in general, is constructed negatively and from the perspective of doctors. In authoring their own managerial identity medical directors emphasise the positive intellectual challenges of the role but struggle with relationships with their medical colleagues, particularly those in difficulty. The importance of maintaining clinical credibility is both embraced and contested as a resource which bolsters and maintains medical identity and so distinguishes medical directors from the taint associated with the pejorative managerial identity that doctors construct of managers. Medical directors identify themselves as a bridge between management policies and medical professionalism. However, analysis of this discourse demonstrated the ways in which it might maintain separation and preserve medical uniqueness. In conclusion, while the identity of doctor is best understood through SIT as powerful, desirable and stable, medical director identity is seen to be a less stable performative achievement. The hegemonic struggle is localised in the identity of the medical director where the dominant discourse of medicine retains its ascendant status in the very role designed to reduce the divide between medicine and management.
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Quentmeyer, Patrick. "Origin Myths| Performativity and the Geography of Meaning." Thesis, Georgetown University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10810094.
Testo completoAbstract (sommario):
<p> Origin myths tell the founding of a place. They signify membership and locate in time and space by providing a context and etiology for identity that is historical, theological, social, and geographic. This identity, however, does not remain static as origin myths take on a performative quality because of the values they express. This thesis seeks to explore what origin myths reveal about the human relationship with place in an effort to understand the human values at stake in these myths. </p><p> As complex narratives, origin myths demand an analysis that accounts for their density. This thesis applies Heath’s concept of centrifugal poetics to unpack the thematic plurality of origin myths, focusing on Thebes and including both the Cadmus and the Amphion and Zethus stories. My analysis exposes the human values embedded in those themes and considers the implications of myth’s role in perpetuating these values. </p><p> This thesis starts with a survey of ancient Greek origin myths, finding they recast the beginning of a place in the present through memory, meaning, and metaphor to tie the contemporary character of a place to how it began. I then offer to reconcile philosophy and poetry by arguing origin myths engender belief rather than reveal truth. Next, I investigate the values exhibited in the foundation of Thebes. Finally, this thesis identifies aspects of origin myth performativity alluded to by Aeschylus’ <i>Seven Against Thebes</i>.</p><p>
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Ng, Chak Kwan. "Lived space and performativity in British Romantic poetry." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/11701.
Testo completoAbstract (sommario):
In Romantic studies, Romanticism is regarded as a reaction against modernity, or more accurately, a self-critique of modernity. There have been critical debates over the nature of the preoccupation of the Romantics with the past and the natural world, whether such concern is an illustration of the reactionary tendency of Romanticism, or an aesthetic innovation of the Romantics. This study tries to approach this problem from the perspective of space. It draws from the spatial theory of Henri Lefebvre, discussed in the Production of Space, in which Lefebvre conceives a spatial history of modernity, and sees Romanticism as the cultural movement that took place at the threshold of the formation of abstract space. The poetry of three British Romantic writers, William Wordsworth, S. T. Coleridge and Joanna Baillie, is examined. This study analyses how the writers’ thinking and poetry writing are interactive with the formation of social space during the Romantic period. Their poetry embodies the lived experience of the time. The writers show an awareness of the performative aspect of poetry, that poetry is a kind of linguistic creation instead of mere representation, which can be used to appropriate the lived space of reality. This awareness is particular to these Romantic writers because their poetic tactics are socially contextualized. Poetry is their method, as well as manner of life, for confronting the unprecedented social changes brought by modernity. By using Merleau-Ponty’s phenomenology, an examination of the significance of the body and perception in Romantic poetry is also employed to show how, through the use of performative poetic language, the writers re-create their lived space so as to counter the dominance of abstract space.
18
Mousavi, Baygi Seyed Reza. "Three essays on the material enactment of social movements through social media." Thesis, Cergy-Pontoise, Ecole supérieure des sciences économiques et commerciales, 2019. http://www.theses.fr/2019ESEC0001.
Testo completoAbstract (sommario):
En accord avec l’intérêt récent porté aux mouvements sociaux dans la théorie des organisations et la littérature des systèmes d’information et face à la numérisation croissante des sociétés, j’adopte dans cette thèse de doctorat une perspective performative et post-humaniste pour étudier la matérialisation des mouvements sociaux avec, à travers et par les médias sociaux. Cette thèse doctorale contribue à la littérature organisationnelle et aux systèmes d'information. Plus précisément, dans chaque essai, je développe une compréhension “matérielle-discursive” du sujet, basée sur la pratique, qui est utile pour engager, étudier et donner un sens aux phénomènes liés à l'organisation des médias sociaux et à leurs conséquences. La nouveauté et la pertinence de ma contribution pour la littérature en théorie des organisations provient de la prise en compte du rôle constitutif de la matérialité dans les processus organisationnels, tandis que la nouveauté et la pertinence de ma thèse pour la littérature en systèmes d'information provient de la prise en charge des problèmes de contestation, de politique et d'agence collective vis à vis des médias sociaux. Finalement, j'apporte une contribution particulière en enquêtant le contexte peu étudié des mouvements de droite<br>In line with recent interest in social movements in OT and IS literatures and vis-à-vis the increasing digitalization of societies, in this dissertation I study the material enactment of social movements with, through, and by social media. In so doing, instead of separating social media and social movements to study their interactions—a maneuver that forecloses investigation into the situated constitution of both—I adopt a posthumanist performative perspective and shift my analytical gaze on the everyday actions and practices entailed in social media activism. This dissertation contributes to both OT and IS literatures. Specifically, in each essay I develop a practice-based material-discursive understanding of the subject matter that is useful in engaging, investigating, and making sense of phenomena entailed in social media organizing and their consequences. The novelty and relevance for the OT literature comes from attending to the constitutive role of materiality in organizing processes, while, an additional novelty and relevance for the IS literature comes from attending to issues of contestation, politics, and collective agency vis-à-vis social media. Finally, I make a distinctive contribution by attending to the understudied context of right-wing movements
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Bradbury, Victoria. "The performativity of code in participatory new media artworks." Thesis, University of Sunderland, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.715117.
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Anderson, Samantha. "Gender performativity and ritual performance in South-east China." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23706.
Testo completoAbstract (sommario):
This thesis explores issues of subjectivity and gender around ritual activity in Xianyou county, Fujian Province, China. It focuses on three groups of women: Buddhist nuns, mediums and village women engaged in the ritual caretaking of their families. It also examines a spirit writing text from the late Qing dynasty (1644-1911). It is suggested that subject positions and kin positions are to a certain extent coextensive and that participation in certain rituals is what constitutes one as a gendered subject (as a "woman") and in certain kin roles (as wife, daughter-in-law, etc.). Other gendered subject positions (such as that of melancholic lover) are explored in an attempt to complicate any simple determinism that might accompany to easy a correspondence of kin position with sex role.
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Chase, Zachary J. "Pacha and performativity: the colonial conversion of prehistoric Huarochirí." Pontificia Universidad Católica del Perú, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/113297.
Testo completoAbstract (sommario):
In this chapter I consider the religious conversion of Indian populations as the primary objective of Catholic evangelization during the first two centuries of the Spanish colonial period in Huarochirí (in the highlands east of Lima). I demonstrate how these activities were performative acts aimed at the conversion of space, which had implications for the conversion of the Andean past. Due to its unique Quechua manuscript, Huarochirí has been an epicenter both for studies of evangelization and for the reconstruction of the culture and history of the prehispanic and colonial indigenous world. However, the prevalence of ethnohistoric studies and the lack of systematic archaeology in the central axis of the manuscript’s composition has hindered deeper understandings of Huarochirí’s past and the different historicities employed in its reconstruction. Here history is combined with recent systematic archaeological research to provide a view of the different ways the past was understood, codified, and communicated in Huarochirí’s past–evident both in the material record and in the contents of the manuscript itself. The evidence presented challenges the prevalent ethnohistorical reconstruction of Huarochirí’s prehistory, demonstrating how both the contents and the very concept of history were converted as narrative sequences were conflated with historical sequences, obscuring culturally distinct forms of understanding, codifying, and communicating the past in the indigenous Andes. Additional archaeological and historical data provide a glimpse of an «Andean historicity».<br>En este capítulo, considero la conversión religiosa de los indios como objetivo principal de la evangelización católica durante los primeros dos siglos de la Colonia en Huarochirí (sierra de Lima). Demuestro cómo estas actividades eran «presentaciones formales» dirigidas a la conversión del espacio y, por lo tanto, a la conversión del pasado andino (además de la conversión de la gente indígena misma). Debido a su manuscrito quechua de carácter único, Huarochirí ha sido un epicentro tanto del estudio de la evangelización como de la reconstrucción de la cultura e historia prehispánica y colonial. Sin embargo, la prevalencia de estudios etnohistóricos y la falta de investigaciones arqueológicas sistemáticas en el eje central de la composición del manuscrito han impedido una comprensión más profunda de la prehistoria de Huarochirí y sus modos de historicidad asociados. Aquí, se combina historia con arqueología sistemática recientemente hecha en Huarochirí para permitir una visión de ciertas características culturales del entendimiento, codificación y comunicación del pasado, tanto en el registro arqueológico como en el contenido del mismo manuscrito. Las evidencias presentadas desafían la reconstrucción (etno) histórica prevalente del pasado huarochirano, lo que demuestra cómo el contenido y el mismo concepto de la historia fueron convertidos cuando las secuencias narrativas fueron interpretadas como secuencias históricas, lo cual ha ofuscado formas culturalmente distintas de entender, codificar y comunicar el pasado en los Andes indígenas. Datos históricos y arqueológicos adicionales proveen vistas de una «historicidad andina».
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Edgington, U. "Performativity & affectivity : lesson observations in England's further education colleges." Thesis, Canterbury Christ Church University, 2013. http://create.canterbury.ac.uk/13011/.
Testo completoAbstract (sommario):
Teaching and learning observations (henceforth ‘observations’) are commonly used in a broad range of educational environments to assess teaching quality and support professional development. Research centred on observations in England’s Further Education colleges (FE), suggests these strategies are often ineffective because of tensions between ‘authentic’ teaching and the inherent performativity required by some managerialist policies (Ball 2003). This psychosocial study draws on interpretive interactionism (Denzin 1989) to explore lived emotional experiences of FE staff involved in observations and perceptions of embodied ‘performativity’. My research involved in-depth semi-biographical interviews with FE staff (n=14) which explored emotional experiences of teaching and learning within the context of their roles as observer and/or observee. Using my personal reflections as an FE teacher, together with my creative writing skills, fictionalised accounts are presented to demonstrate anonymised consolidations of the participants’ narratives (Sparkes 2002). Using conceptual tools from Bourdieu (1991) and the lens of psychoanalysis (Mollon 2002) I draw on Richardson’s (1997) ‘writing as a method of inquiry’ and Ochberg’s (2002) non-linear approach to data analysis to explore shared and disparate themes within the accounts, reflections and fictionalised texts. Vocational and personal learning experiences are argued to form a fundamental aspect of the professional habitus of FE staff (James, Biesta 2007). Outcomes from my innovative approach, illuminates this interplay of factors, specifically within the affectivity in the performativity of observations. Hence these findings provide an original contribution to knowledge in this area, by demonstrating how the potential tension in observations is situated in the personal significance of perceptions of an ‘in/authentic self’, rather than the performativity per se. Fictionalisation could be a useful tool to further explore lived emotional experiences of teaching and learning. Indeed, raising awareness of the perceived performativity intrinsic within the affectivity of observations could hold benefits for teaching practice more widely.
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Ertür, Başak. "Spectacles and spectres : political trials, performativity and scenes of sovereignty." Thesis, Birkbeck (University of London), 2015. http://bbktheses.da.ulcc.ac.uk/110/.
Testo completoAbstract (sommario):
Political trials are generally understood as extraordinary events in the life of liberal democracies, dramatically staging claims to and contests over political authority and legitimacy. Notably, political trials often attract commentary on their theatrics whereby the spectacle becomes a matter of uneasy scrutiny, despite the tacit crosscultural acknowledgment that the trial is an inherently theatrical form. This thesis is an attempt to conceptualise the political operations and effects of the relation between performance and performativity in trials, treating these as separate but related terms. It proposes a new framework for studying political trials by drawing on theories of performativity (J.L. Austin, Jacques Derrida, Judith Butler, Shoshana Felman, Stanley Cavell) which assist not only in rethinking the role and effects of performance in trials, but also in introducing a multivalence to the meaning of ‘political’ in political trials. In other words, performative theory allows the formulation of the politics of trials beyond its standard conception in terms of the utilisation of legal procedure for political ends or expediency, instead attuning us to the unconscious processes, inadvertent gestures, ghostly operations, structural infelicities and other similar dynamics that recast the political effects of legal proceedings. This thesis is therefore an attempt to conceptualise the spectacles and spectres of justice at the intersection of law and politics. In addition to incorporating brief discussions of various 20th and 21st century political trials to develop this theoretical framework, it offers close studies of three cases: the 1921 Berlin trial of Soghomon Tehlirian, and two contemporary ‘deep state’ trials from Turkey – the Ergenekon trial, and the Hrant Dink murder trial. A sustained concern is with legacies of political violence, how they are addressed or contained by law, and how they are perpetuated by law.
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Taylor, Allan S. "Performance, photography, performativity : what performance 'does' in the still image." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13431/.
Testo completoAbstract (sommario):
Auslander (2006) states that images generated from performance documentation and practices stemming from performance to camera could be considered ‘performative’ if they are meant to be seen as happening in the ‘now’ they are viewed, with the spectator as the current intended audience. This thesis takes Auslander’s supposition and situates the term performativity within an established academic discourse as a social, political or cultural ‘doing’ and questions what, apart from performing, performance ‘does’ in its transcription to a photographic image. I propose a ‘doing’ occurs because the intentional performance of a given act invokes the power of citation, in turn setting in motion broader cultural references. The contribution to knowledge this thesis makes is the proposition that aspects of the agency of performativity cannot be fully present in the moment of performance, but can be subsequently revealed by the photographic image as it affords the différance [distance/deferral] the spectator requires to consider the action within a wider structural unconsciousness. Originating from a conceptualist tradition of using ‘art as experiment’, the hypothesis is tested heuristically using a practice-based method of performance to camera. This is presented in the manner of autoethnographic fieldwork, which explores the time-based tensions between performance and photography in three different ways. Firstly, through instantaneous performance actions and the subsequent withdrawal of motion in the still image; secondly, the staging of one-off performance interventions and how they are perceived outside of the time and place in which they occurred via the photograph; and lastly, how repetition is used as a visual device to allow the spectator to ‘revisit’ their framework of understanding. By connecting critical reflection of these photographic investigations to theoretical perspectives, each chapter concludes how viewing the performance outside of the live act in the form of a photograph uncovers the ‘doing’ of its performativity. The final conclusion reviews why performativity surpasses the presence/absence binary previously perceived in photographic documentation, and how we might revise our usage of the term ‘performative’ in the area of performance to camera and studies of performance documentation in the light of these discoveries.
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Nimarkoh, Virginia. "Shadow boxing : governmentality, performativity and critique in contemporary art practice." Thesis, Goldsmiths College (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428004.
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McKinley, Kathy. "Ritual, performativity and music : Cambodian wedding music in Phnom Penh /." View online version; access limited to Brown University users, 2002. http://wwwlib.umi.com/dissertations/fullcit/3050934.
Testo completoAbstract (sommario):
Thesis (Ph.D.)--Brown University, 2002.<br>Available in film copy from University Microfilms International. Vita. Thesis advisor: Jeff T. Titon. Includes bibliographical references (leaves 278-286). Also available online.
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Bowers, Kerry. "Gender matters : performativity and its discontents in women's science fiction /." Full text available from ProQuest UM Digital Dissertations, 2009. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1801444221&SrchMode=1&sid=7&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1268678127&clientId=22256.
Testo completoAbstract (sommario):
Thesis (Ph.D.)--University of Mississippi, 2009.<br>Typescript. Vita. "May 2009." Dissertation director: Natalie M. Schroeder Includes bibliographical references (leaves 168-177). Also available online via ProQuest to authorized users.
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Nash, Louise. "Members only : place and performativity in the City of London." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/19757/.
Testo completoAbstract (sommario):
Through its focus on the City of London as a particular work sector and setting, the thesis emphasizes the symbolic and material significance of place to understanding organizational life. The analysis, drawing primarily on Lefebvre’s theorisation of space as socially produced and on his work on rhythms, emphasizes how the socio-cultural and material aspects of the City are co-constitutive and both compel and constrain particular behaviours. These are explored with reference to fieldwork based upon photographic and interview data, as well as through embodied, immersive research methods. The thesis extends analyses of organizational space by asking how people both sense the wider space in which they work and how they make sense of it through their lived experience, and it enhances our understanding of the day to day experience of working life by extending the boundaries of what we usually think of as organizations. Asking what is particular about certain work places, both materially and culturally, and what this means for those who work within them, it begins with a review of the literature which discusses organizational space and place, the City of London as organizational setting, and the role that gender plays here. The methodological approach to the research is rooted in embodied, sensory methods based on experiencing the rhythms of place. The thematic findings are presented in two sections, and the discussion chapter moves from the empirical to a conceptual and theoretical analysis. In combination, the insights invite analysis of the conditions of membership – and the price of belonging– to the City of London. Arguing that places dominated by one particular industry sector can function as clubs, in that they have conditions of membership based upon being ‘fit for purpose’, what this means for those who are both ‘in’ and ‘out’ of place here is the main focus of the research.
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Orr, Katherine. "Roller Derby Performativity: Utilizing Alt Narratives in the Composition Classroom." CSUSB ScholarWorks, 2018. https://scholarworks.lib.csusb.edu/etd/750.
Testo completoAbstract (sommario):
Identity is not fixed but rather performed through interactions. The eminent philosopher and gender theorist, Judith Butler famously investigates performativity in her research on gender. Butler asserts that “gender is not a performance that a prior subject elects to do, but gender is performative in the sense that it constitutes as an effect the very subject it appears to express” (314, emphasis original). She believes that gender identity is performative because it constitutes itself though actions, gestures, and speech. This project seeks to investigate the performative nature of roller derby personas, highlighting the identities of the characters in the movie Whip It and the comic series “Slam!” to help students learn to perform an academic identity in writing. Reading roller derby texts through the lens of performativity can be a useful pedagogical tool because it helps students see that a writer’s identity can be carefully crafted into an academic persona. In this project, I examine these texts to discover how roller derby personas are constructed and performed. The texts introduce freshmeat skaters to roller derby and explore how their new derby persona is negotiated and informed by the derby community. By creating a new persona, the characters are able to constitute it through their performance. Students in First Year Composition are undergoing a similar process to the freshmeat skaters: they are learning to craft an academic identity when they enter the university. Ultimately, a performative academic identity can lead to greater agency both in and out of the classroom because it helps students take a stance and control their performance as writers.
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Trimboli, Daniella. "Mediating everyday multiculturalism : performativity and precarious inclusion in Australian digital storytelling." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/56911.
Testo completoAbstract (sommario):
This dissertation examines the intersection of everyday multiculturalism and digital
storytelling in Australia. Using Judith Butler’s theory of performativity amongst others, the
dissertation addresses the question: what are the ways in which Australian digital
storytelling projects engage with concepts of “cultural diversity” to create complex and
resistant material possibilities for “ethnic Australians”? Digital stories have become a
popular tool in community-based arts projects, representative of an overall turn to the
everyday in Australian contemporary arts practice. The growing popularity of everyday
experiences in art is paralleled by the growing scholarship of everyday multiculturalism; a
new field of study that explores the lived experiences of multicultural encounters in
Australia. Digital stories thus form a social technology at the intersection of key
movements in cultural studies. The dissertation analyses ACMI’s digital storytelling
programme alongside Big hART’s Junk Theory to consider how ethnic bodies are
constructed and mobilised in everyday Australian life in relation to the performative force
of normative whiteness. It then moves to consider the capacity for digital storytelling to
accommodate slippages in the performative chain. The new media practices of Curious
Works are used to illustrate how the discursive force of whiteness can be disrupted via
digital storytelling, making way for a reconstitution of a more complex “ethnic” body in
everyday life.<br>Arts, Faculty of<br>English, Department of<br>Graduate
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Willis, Victoria E. "From Orators to Cyborgs: The Evolution of Delivery, Performativity, and Gender." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_diss/66.
Testo completoAbstract (sommario):
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The purpose of this project is to provide a thorough account of delivery by tracing the history and evolution of delivery from antiquity to the present day in order to expose the spread and transmission of proto-masculine ideologies through delivery. By looking at delivery from an evolutionary perspective, delivery no longer becomes a tool of rhetoric, but the technology of rhetoric, evolving over time in the same way the system of rhetoric itself has evolved. Contemporary scholarship on delivery continues to look at delivery as a tool—as the ink, the paper, the computer screen, the keyboard, the font, the hypertext, the web design, and so forth—of communication. Contemporary scholarship re-works the classical definition of delivery to fit into a contemporary context, and consequently ignores the proto-masculinity embedded into classical delivery and its spread from public speaking to all speaking situations—and the larger consequence of this approach is that proto-masculinity remains embedded and idealized.
Focusing specifically on delivery’s history and evolution into a post-human, cyborg technology demonstrates how proto-masculinity has operated within delivery and how proto-masculinity has been spread through delivery instruction. The importance of re-situating delivery within the rhetorical canons affects rhetoric as a whole because it demonstrates that not only is delivery still crucial to rhetoric, and possibly still the most important rhetorical canon, but also because it de-naturalizes the proto-masculine imperatives embedded within delivery and conveyed through delivered language performances.
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Whalley, Michael A. "Legitimising educational management identity : seductive discourses of professionalism, masculinity and performativity." Thesis, Keele University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.545760.
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Bieszczad-Roley, Karolina. "Photo-performance : a study of the performativity of Butoh dance photography." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/4492.
Testo completoAbstract (sommario):
This thesis analyses the detailed performativity and the intuitive act of photographing the Japanese dance form Butoh. It argues that the photographer’s embodied experience constitutes an ‘inner’ performance and introduces new terms: the photo-performance and the photo-actor. The author argues that the photo-performance, similarly to Butoh dance, manifests itself not only in physically apparent (visually perceived) movements but also within the multi-modal pre-reflective consciousness of the reciprocal interaction between the photo-actor and a Butoh dancer.Butoh has been widely photographed since it began in 1959 in Japan. However studies formalising the relationship between dancers and photographers have been largely absent in academic research so far. Butoh photographers such as Nourit Masson-Sekine (1988, 2006, 2008) or Maja Sandberg (2003) suggest that their photographic act places them closer to the performers than the rest of the audience and, as a result, they become part of the dance itself. However, Butoh dancers including Yoshito Ohno (1938 - ) and Tatsumi Hijikata (1928 – 1986) amongst others, express their concerns as to whether photographs can capture the essence of their art. This thesis confronts the tensions between the fields of dance and photography by elucidating the performative dimension of dance photography.This thesis brings the qualities of the Butoh photographer’s performative act to the forefront by using interdisciplinary methods to attain an intersubjective knowledge of the nature of the photographer’s experience. The methods include: a practical research presented in a form of case studies of the photographic projects carried out by the author in London with various Butoh dancers; an analysis of the structure of the photographer’s subjective experience through the use of first-person methodologies (an explicitation interview); an analysis of theories of theatre represented by Tadeusz Kantor (1915 – 199) and Jerzy Grotowski (1933 – 1999) whose work helps to develop the notion of a performative body; and a description of the photo-performance aesthetic and the performative potential of photographic documents informed by cognitive phenomenology. This thesis argues that drawing attention to the performativity of Butoh photography would contribute greatly to the pedagogical aspects of photography and performing arts.
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Aly, Ramy Mounir Kamal. "Be(com)ing Arab in London : performativity between structures of subjection." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/7093/.
Testo completoAbstract (sommario):
This thesis is based upon eighteen months of ethnographic fieldwork in London undertaken between January 2006 and July 2007. It explores the discourses and practices which (re)produce notions of gender, race, ethnicity and class among young people born or raised in London to migrants from Arab states. Instead of taking the existence of an Arab community' in London as self-evident, this thesis looks critically at the idea of Arab-ness in London and the ways in which it is signified, reiterated and recited. Taking the theorising of performative gender as a starting point I explore the possibilities of a sequential reading of ‘gender' and ‘race' and the practices and discourses which produce that which they name ‘Arab woman,' Arab man,' ‘British- Arab'. By looking at discourses, practices and political context, ‘ethnicity' and ‘race' appear to be less about an inner fixity or even multiple identities, instead they can be significantly attributed to a discursive and corporeal project of survival and social intelligibility between structures of subjection which create imperatives to enact and reproduce notions of ‘race' and ‘gender'. In this sense it is no longer satisfactory to see ethnicity as something that one possesses – but something that one does and embodies imperfectly, constantly adding, reinforcing and disrupting its presumed structure. Looking at what it means “to do” Arab-ness in London provides opportunities to look at the underlying normative and psychical structures that inform the doing of ethnicity in a particular setting. The shift from foundationalist and “epistemological account[s] of identity to [those] which locate[s] the problematic within practices of signification permits an analysis that takes the epistemological mode itself as one possible and contingent signifying practice” (Butler 1990: 184). Through the Shisha cafe, ‘Arabic nights', images and narratives I explore the discursive and corporeal acts that signify Arab-ness in London at a particular historical moment.
35
Savard, Ashley Elizabeth. "Dublin in drag : cultural performativity in the works of James Joyce." Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12284/.
Testo completoAbstract (sommario):
This study engages in both an examination of Judith Butler’s theories of gender performativity and how they might be applied to culture as well as a reading of cultural performance in James Joyce’s works. The dual-nature of this study provides an opportunity to utilize literary works in the reading of theoretical texts and is not simply a reading of Joyce’s works through a lens of Butlerian performativity. In doing so, this thesis will explore a wide range of performances, from Joyce’s own performative identity as an “exile”, to the performative relationships initiated by naming rituals, the performative use of catechistic question and answer, as well as the fluidity of performative identities in Joyce’s array of cultural characters. At the heart of this study is the sense that Joyce’s characters are uniquely self-conscious in the way that they take up culture and can therefore be utilized in a re-examination of drag performance in Butler. The developmental aim of this thesis is not only to study cultural performativity in James Joyce’s works and the unique position of the Irish as self-consciously performative, but also to provide a new means for reading cultural performativity through a theory of cultural drag. The theatricalization of culture through “drag” performance allows for a distinctly self-conscious method of performing culture which does not rely on reactionary performances of “Us/ Them” in traditional colonial binaries. Keeping in mind the various cultural pressures, including colonialist and nationalist interpretations of the cultural being, cultural drag maintains a degree of agency within identity construction, presenting spectrums of cultural performances and the degrees of “belonging” that might be attributed to them. Cultural drag explores and celebrates divergence – the reading of an identity as performative – by examining the performative relationships between actor and audience: the cultural being and the observer’s perception of that being.
36
Zaidka, N. (Neha). "Gender construction and performativity in religious folklore:insights from Hindu vrat kathas." Master's thesis, University of Oulu, 2019. http://jultika.oulu.fi/Record/nbnfioulu-201901121042.
Testo completoAbstract (sommario):
Abstract. Gender has proved to be an important category of analysis in religious studies. Religions have been criticized by feminists over the decades for the oppression of women. Hinduism, the world’s third largest religion, with a strong story tradition, has a wide cast of characters, both men and women, who display normative views on what it is to be a woman or a man in Hindu society. The Hindu story tradition dates back to Upanishads written during 500 BCE. Today’s vrat kathas are Hindu stories that are a part of the rich folklore tradition. During the last four decades, written pamphlets consisting of vrat kathas have become popular and reading them out loud in a group or alone is central to the widely practised vrat ritual. Hence, these texts are a major touchpoint for many practising Hindus. While a lot of gender-analysis textual research has been conducted on the classic Hindu epics, the textual research on vrat kathas is scarce. Using qualitative thematic content analysis, and lens of karma and dharma along with Butler’s theory of performativity, this study explores gender construction and gender performativity in vrat kathas. Data for the thesis is a set of weekly vrat kathas, which consist of ten different stories. This study concludes that binary categories of women and men are constructed in contrast to each other, where on one hand women are depicted as compassionate and obedient while their desires are limited to the family members and household. Men, on the other hand, are depicted as individualistic characters having ultimate authority while being detached from their families. The results indicate that vrat kathas mirror the Hindu dharmic value system. However, it is essential to note that even some independent and empowered women stand out in the studied texts.
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Ganji, Iman [Verfasser]. "Performativity and the Altermodernities: Occupy, Bodies and Time-Spaces / Iman Ganji." Berlin : Freie Universität Berlin, 2021. http://d-nb.info/1227925972/34.
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Guo, Man [Verfasser]. "Performativity, Corporate Behavior, Institutional Change and Rituals in China / Man Guo." Aachen : Shaker, 2014. http://d-nb.info/1060623072/34.
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McNeilly, Kathryn. "The universality of human rights in (cultural) translation : subjectivity, performativity, livability /." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.675434.
Testo completoAbstract (sommario):
The universality of human rights has been a fiercely contested issue throughout the twentieth century and into the twenty-first. This thesis critically engages with the universality of human rights, not as a static characteristic or attribute of rights, but as an ongoing process using Judith Butler's concept of cultural translation. A practice through which universal concepts are dialectically worked and reworked by entering into dialogue with competing assertions of themselves, cultural translation is explored as a productive way in which rights politics can be read and consciously engaged in by radical political groups, feminist groups in particular, to work human rights beyond their current liberal conceptualisations. In this investigation Butler's ontological tools of performativity and livability are also engaged to consider the way in which the universalisation of human rights interacts with discourses of gender subjectivity and, crucially, may offer opportunities to open up wider possibilities for gendered life. The culmination of this thesis, paying attention to the links between the work of Butler and that of Ernesto Laclau and Chantal Mouffe, advances the model of cultural translation as a potential centrepiece in a contemporary . radical democratic theory and practice of human rights. Exploration of the possibilities of cultural translation in this way is carried out via two case studies considering the universal human rights concepts of "non-discrimination", thought in relation to gendered violence, and "life", thought in relation to the politics of abortion, as they translate from the international to the local level, annotating investigation at the latter level with insights from rights politics in the context of Northern Ireland.
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Proctor-Thomson, Sarah. "Creative differences : the performativity of gender in the digital media sector." Thesis, Lancaster University, 2009. http://eprints.lancs.ac.uk/61629/.
Testo completoAbstract (sommario):
The digital media sector is a site for competing claims about women’s equality in employment. On the one hand, commentators have claimed that the digital media sector is exemplary as an open and egalitarian domain for all workers, including women. On the other hand, feminist researchers have identified persistent inequalities in the quality and quantity of women’s participation in this sector. I use this apparent paradox as a starting point to develop an analysis of the performativity of gender in the digital media sector in the North West of England, during the period 2001–2007. Previous feminist research has addressed this paradox by arguing that gender inequalities in the creative and digital industries are obscured by emancipatory accounts of new forms of work. I take an alternative route. Drawing on the work of Judith Butler, I investigate how positive articulations of work in the digital media sector might ‘perform’ gender inequalities. The theory of gender performativity employed in this study views gender as produced through repetitive discursive practices. In this study I analyse qualitative data from four sites in the ‘discursive field’ of the digital media sector. These data consist of: 1) statements in policy documentation from UK government agencies; 2) textual and visual representations of workers in careers and recruitment literature; 3) field notes from a participant observation of a digital industries training event; and 4) interviews with 23 female and male industry brokers and practitioners working in and around the digital media sector. I distinguish four apparently progressive articulations of work and women’s participation in these sites. These address changing skills requirements, shifting images of work and workers, and increased recognition and valuing of ‘difference’ and ‘diversity’ for creativity in the digital industries. I denaturalise these pervasive articulations by showing the discursive practices involved in their formation. I argue that there are shifts away from the sector’s previous characterisation as an exclusively technical, ‘geeky’ and male domain and that there has recently been a proliferation of possible worker subject positions in this work domain. Moreover, in a context of increasing attention to creativity, women are identified as ‘different’ and thus as potentially valuable creative workers. Yet, despite these shifts, women workers continue to be marginalised through repeated differentiation from some of the most valued subject positions in the sector. While women are seen to bring ‘difference’ and ‘diversity’ into the digital media sector, they also bring gender. Differences attributed to women are consistently devalued and are seldom recognised as ‘creative differences’. My thesis contributes an analysis of gender to debates about work in the creative economy. It also contributes to the development of feminist investigations of gender, work and organisation by providing a case study of the discursive construction of ideal and normalised workers in the creative work domain of the digital media sector.
41
Todd, Emerson A. "Creative Gender Expression Performativity As a Coping Mechanism for Minority Stress." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/591.
Testo completoAbstract (sommario):
Creative Gender Expression Performativity may be a coping mechanism for dealing with minority stress in sexual and gender minority populations. The current study suggests the creation of a new scale that measures effortful presentation rather than directional presentation. Rather than examining whether someone identifies as masculine or feminine – the proposed model would instead look at how much effort an individual is putting into their gender expression. In this mixed methods study, participants (N = 187) completed a survey based on gender expression, minority stress, and mental health, while 10 participants completed a qualitative post-survey interview via email. Multiple regressions were performed to examine the relationships between gender expression and negative health outcomes. Tests performed examined relationships amongst factors such as positive gender expression outlook, gender congruence, and self-esteem; and outcomes including depression, anxiety, and anticipated discrimination. Multiple regression analyses revealed that positive perceptions of gender expression acted as a buffer to anticipated discrimination. TGNC individuals experienced lower self-esteem and higher depression levels than cisgender individuals. Qualitative themes uncovered motives behind gender expression, such as coping with minority stress.
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Long, Khalid Yaya. "PEARL CLEAGE’S A SONG FOR CORETTA: CULTURAL PERFORMATIVITY AS HISTORIOGRAPHICAL DOCUMENTATION." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1311293741.
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Harper, Todd L. "The Art of War: Fighting Games, Performativity, and Social Game Play." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1283180978.
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Parson, Kathryn Taylor. ""Across the threshold" queer performativity and liminality in Edith Wharton's Summer /." View electronic thesis (PDF), 2009. http://dl.uncw.edu/etd/2009-1/parsonk/kathrynparson.pdf.
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Gunn, Anthony C. "This Is SportsCenter: Performance and Performativity in Sports Broadcasting and Punditry." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3421.pdf.
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Hales, Robert. "People, power and the state : Performativity and the Traveston Crossing Dam." Thesis, Griffith University, 2010. http://hdl.handle.net/10072/365617.
Testo completoAbstract (sommario):
This dissertation uses a case study of the recently proposed dam on the Mary River at Traveston Crossing in South-East Queensland to consider how individuals can become empowered to effect change in the environmental decision-making processes of the state through citizen action in the public sphere. The theoretical framework chosen to guide the analysis is an adaptation of Judith Butler’s theory of performativity (1997) that I refer to as political performativity. I also draw on social movement theory and media theory to examine how the processes of performativity help explain the practices involved in the public sphere actions taken to stop the Queensland Government’s proposed dam. The case study demonstrates that the initial speech acts of the state government’s announcement, and the way in which these were carried out, impacted on the life worlds of people involved. The protesters’ actions were not only symbolic of their struggle but also part of the creation of an alternative life world vastly different to that imposed upon them through the various speech acts of the Queensland Government. Lessons for the future include the development of more conscious strategies for activists in public sphere actions. Potential research resulting from this study includes a closer examination of the relationship between speech acts, emotions and public sphere action. The usefulness of political performativity in understanding emotions, public sphere action and power may better be served through participatory research methodologies. Further research directions are outlined.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>School of Humanities<br>Arts, Education and Law<br>Full Text
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Riegle, Allison E. "Rieglematica: Re-Imagining the Photobooth Through Female Performativity and Self-Portraiture." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/328.
Testo completoAbstract (sommario):
This paper explores the historical significance and advancements of automatic photobooth portraiture from the late 1800s onwards, focusing specifically on the intention behind the photobooth’s creation and the significance and cultural implications of its introduction into society. As it gradually became a staple of modern society, regularly visited by citizens to have their portraits taken, numerous artists sought out the photobooth as both a studio and a stage in which to document performative self-portraiture. The space and aesthetics of the photobooth have inspired artists to re-envision the confines of the booth and use its automatic function as a point of inspiration. I will also highlight the significance of female self-portraiture and the significance of women performing within and occupying specific spaces. My work is a combination of these histories, providing me with the opportunity to continue the discussion of women’s self-representation and the unique artistic space the photobooth provides between public and private spheres.
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Akurugu, Constance Awinpoka. "Marriage, power and performativity : theorising gender relations in rural northern Ghana." Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3794.
Testo completoAbstract (sommario):
Most studies on gendered relations of power in Ghana have focused on formal and policy issues such as gender parity in education and political representation. Where attention has been paid to marriage relations, it has often been fragmentary, centering on, for instance, male spousal violence or inheritance patterns, rather than targeting holistically the socio-cultural dynamics that engender and reproduce unequal power relations and violence against women. This study directly addresses this deficit. This thesis develops a poststructuralist feminist framework to analyse the rules and expectations of normative gendered behaviour in Ghanaian marriage practices. I pay particular attention to how such gendered norms within this exogamous society are accepted, re-enacted, and/or challenged. Theories of gender performativity have been mainly employed to address relations of heteronormativity and heteropatriarchy and the violence they exact on non-heterosexual subjectivities in European and North American contexts. I deploy these theories to make sense of heterosexual marriage relations in Ghana. I explore Dagaaba norms regarding femininities and masculinities and the violence that they engender for women in marriage. I employed a feminist ethnographic methodology to study the daily life and ritual performances in a Dagaaba village called Serekpere, north-west Ghana. This thesis illustrates that theories of gender performativity resonate profoundly with Dagaaba marriage practices, as well as with their conceptions of femininity: the Dagaaba notion of femininity is contingent upon discursive practices and the performance of gender-segregated roles within marriage. More specifically, I argue that femininity in this context can be understood as forming a continuum, namely: ‘ideal woman’, ‘woman’ and ‘beyond woman’. On the basis of my analysis, I contend that women within Dagaaba marriage arrangements exercise agency and resistance in complex ways despite unambiguously representing themselves in public acts and discourses as vulnerable victims of male, exogamous and supernatural forces and violence.
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Larroque, Florent. "La performativité du langage constitutionnel." Thesis, Montpellier, 2016. http://www.theses.fr/2016MONTD035/document.
Testo completoAbstract (sommario):
Depuis Austin et ses travaux sur les énoncés performatifs, il est d’acception commune que le langage ne sert plus seulement à décrire une réalité mais aussi à agir, à créer sa propre réalité. Si le droit est d’abord un langage avant d’être une norme, cette dernière dépendrait, tant dans sa nature que dans sa force, d'une faculté spécifique de son énonciation. Tel est le point de départ de l’étude sur la performativité du langage constitutionnel, une performativité qui en ferait un langage spécifique, pour un droit singulier. Sa particularité viendrait ainsi d’un acte de langage qui serait propre au dire constituant, un dire créateur d’un état de chose qui ne tiendrait son existence que de lui. Cette capacité créatrice du langage fait apparaître le langage constitutionnel comme un langage qui constitue un monde, un ordre juridique, plutôt qu’il le régulerait. La norme constitutionnelle se présente comme une norme qui n’est pas comme les autres, chargée d’une normativité atypique. C’est ici l’apport de la distinction searlienne entre les règles constitutive et normative. La règle constitutionnelle se singularise donc in fine vis-à-vis de la règle inférieure par sa dimension constitutive, indépassable, intransgressable, que le juge constitutionnel accepte et entretient à travers sa jurisprudence<br>Since Austin and his work on performative sentences, it has been commonly accepted that language is no longer used only to describe a real fact, but also to act and create one’s own reality. If law is first and foremost a language before being a norm, the latter is likely to depend, both in its nature and its force, upon specific speech production. Such is the starting point of the research on the performativity of the constitutional language, a kind of performativity which can be regarded as language-specific for a particular type of law. Thus, its specificity may come from a speech act proper to constitutional statements and creating a situation which may only exist by it. This creative capacity of language shows the constitutional language as a language which constitutes a world, not simply to control it, but rather to order it legally. The constitutional norm appears to be a different one, full of atypical normativeness. This appertains to Searle’s distinction between constitutive and normative rules. In fine, the constitutional rule, therefore, calls attention to the inferior rule by its constitutive, impassable, and unbreakable dimension which the constitutional judge accepts and maintains through his jurisprudence
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Пархоменко, В. О. "Експліцитно-перформативні висловлювання в англійській мові". Thesis, Сумський державний університет, 2013. http://essuir.sumdu.edu.ua/handle/123456789/30500.
Testo completoAbstract (sommario):
Розвиток лінгвістики вже з середини минулого століття йде шляхом інтеграції суміжних наукових дисциплін, у результаті чого виникли і розвиваються прагмалінгвістика, психолінгвістика, соціолінгвістика тощо. На сучасному етапі лінгвістика зробила рішучий поворот від системно-структурних досліджень у бік досліджень мови в живому функціонуванні у різних сферах комунікації, до вивчення функціонування мови як знаряддя, засобу спілкування та мовленнєвого впливу.
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