Articoli di riviste: "Performativity"

1

Hall, Kira. "Performativity". Journal of Linguistic Anthropology 9, n. 1-2 (giugno 1999): 184–87. http://dx.doi.org/10.1525/jlin.1999.9.1-2.184.

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Gerdes, K. "Performativity". TSQ: Transgender Studies Quarterly 1, n. 1-2 (1 gennaio 2014): 148–50. http://dx.doi.org/10.1215/23289252-2399866.

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Miller, J. H. "Performativity as Performance / Performativity as Speech Act: Derrida's Special Theory of Performativity". South Atlantic Quarterly 106, n. 2 (1 aprile 2007): 219–35. http://dx.doi.org/10.1215/00382876-2006-022.

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Maldini, Aditya Rico, e Ali Mustofa. "Performativity and Sexuality Orientation on Characters in Out in the Dark (2012) Movie: Postcolonial Performativity". Bahasa: Jurnal Keilmuan Pendidikan Bahasa dan Sastra Indonesia 5, n. 1 (28 giugno 2023): 33–44. http://dx.doi.org/10.26499/bahasa.v5i1.344.

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People who identify as lesbian, gay, bisexual, or transgender (LGBT) are beginning to proliferate worldwide. People become gay for various reasons, such as personal ones, cultural ones, and environmental ones. By employing Butler's postcolonial performativity theory, this study explores the topic of sexualism that differed from the movie Out in the Dark (2012). The study's goals are to demonstrate Nimr and Roy's performative identities, the problems between Israel and Palestine that affect their relationship and background, and what Nimr and Roy experience as homosexual residents of that area. This study uses the postcolonial performativity theory to analyze movies. The research method used is a descriptive qualitative method. The researcher will watch the movie numerous times and examine the two characters in the movie by gathering the words, dialogues, and scene screenshots. The findings show that performativity, environment, culture, surroundings, and nation, are what lead Nimr and Roy to become gay or homosexual. Although Nimr became gay because he was fed up with persecution in Israel yet the LGBT community there did not notice any distinctions, Roy became gay because his surroundings and culture enabled him to be gay. AbstrakLesbian, Gay, Biseksual, dan Transgender (LGBT) telah menyebar ke seluruh dunia. Ada banyak alasan seseorang menjadi homoseksual, termasuk alasan pribadi, budaya, dan lingkungan sosial mereka. Penelitian ini membahas tentang isu seksualitas dalam dalam ranah “queer studies” dalam film Out in the Dark (2012) dengan teori performativitas pascakolonial Butlerian. Penelitian ini bertujuan menunjukkan identitas performativitas pada Nimr dan Roy dan alasan mereka menjadi homoseksual, isu Israel dan Palestina yang memengaruhi hubungan serta latar belakang mereka, dan apa yang mereka alami sebagai homoseksual saat tinggal di kedua negara. Metode penelitian yang digunakan ialah metode kualitatif deskriptif. Penelitian ini menggunakan teori performativitas pascakolonial untuk menganalisis film. Peneliti akan menonton film berkali-kali lalu menganalisis kedua karakter dalam film tersebut dengan mengumpulkan kata-kata, dialog, dan tangkapan layar adegan. Hasil penelitian menunjukkan alasan Nimr dan Roy bisa menjadi gay atau homoseksual tidak lepas dari kondisi seperti lingkungan, budaya, masyarakat sekitar, dan negara. Kemudian cara mereka hidup di dunia heteroseksual sebagai homoseksual. Alasan Roy menjadi homoseksual adalah karena lingkungan dan budayanya yang membuat dia memutuskan untuk menjadi gay; sedangkan Nimr menjadi gay karena dia teralienasi atas diskriminasi di Israel, meskipun kaum LGBT di Tel Aviv tidak mempermasalahkan perbedaan.

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Syukur, Andi Abd khaliq, Aquarini Priyatna e Lina Meilinawati Rahayu. "KEMATIAN DAN PERASAAN KEHILANGAN: KONSTRUKSI IDENTITAS QUEER DALAM EMPAT KARYA YOSHIMOTO (Death And Sense of Loss: Queer Identity Construction in Four Yoshimoto’s Works)". METASASTRA: Jurnal Penelitian Sastra 8, n. 2 (6 giugno 2016): 193. http://dx.doi.org/10.26610/metasastra.2015.v8i2.193-210.

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Empat novelet Yoshimoto, yaitu Kitchen (1988), Moonlight Shadow (1988), Hardboiled (2001), dan Hardluck (2001) menghadirkan kematian dan perasaan kehilangan di awal narasi. Kematian dan perasaan kehilangan membuka probabilitas baru sebagai bagian konstruksi identitas queer, seperti kematian sebagai pemutusan matrix heteroseksual, perasaan kehilangan sebagai perubahan identitas gender, penerimaan orang asing sebagai anggota keluarga, hubungan bersifat inses, homoseksualitas perempuan, transgenderisme, dan perubahan peran dalam anggota keluarga. Penelitian ini dilakukan untuk menganalisis cara kematian dan perasaan kehilangan membuka probabilitas identitas queer dalam narasi Yoshimoto. Sedangkan untuk melihat bentuk identitas queer, penelitian ini menggunakan teori performativitas dari Butler untuk menunjukkan ketaksaan identitas gender dan seks.Hasil penelitian menunjukkan kematian dapat membuka probabilitias yang mengarah pada penghadiran identitas queer dan performativitas identitas queer menyajikan performativitas tokoh yang terus-menerus berubah, bergerak, dan tidak memiliki pusat.Abstract: Four novelettes of Yoshimoto’s, which are Kitchen (1988), Moonlight Shadow (1988), Hardboiled (2001), and Hard Luck (2001) bring death and sense of loss in the beginning of the narrative. The death and sense of loss give new probabilities as parts of the queer identity constructions, for instance the death as the partition of the heterosexual matrix, the loss feelings as a gender identity alteration, agree to accept foreigners as members of the family, the relationship tend to be incest, female homosexuality, transgenderism, and change the family members role. This study conducted to analyze the way of death and loss feelings give probabilities of queer identity in the Yoshimoto’s narration.As for seeing theshape ofqueeridentity, The research applies Butler’s thinking on gender performativity to analyze how ambiguous sexual and gender identities are presented. The research finds that the probabilityof deathcanopen upleads toqueeridentity and the analysis of queer identity’s performativity on character’s performativity in the novelettes renders it possible for sexual and gender construction to be constantly changing and everlastingly displaced performances.

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Zhang, Ruichen. "Understanding the performativity of COVID-19". Ethnographic Edge 6, n. 1 (9 settembre 2022): 14–29. http://dx.doi.org/10.24135/ethnographic-edge.v5i1.234.

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Since the COVID-19 outbreak in January 2020, the pandemic has been changing rapidly with shifting social norms. This autoethnography of my lockdown experiences in China and the UK in 2020 illustrates how I adjusted my daily acts to the shifting social norms in different situations and how these adjustments changed me as a self-regulated subject and reshaped my understanding of COVID-19. Drawing on Butler’s theory of performativity, I analyse how acts of self-protection created a physical relationship between my embodied subject self and COVID-19. As these acts kept changing with shifting norms, this relationship was constantly redefined, constituting a fluid subject status in close relation to an equally fluid concept of COVID-19. This study suggests a two-fold performativity of COVID-19: 1) the subject self in the pandemic, 2) the dimension of COVID-19 as a social construct. Both are performatively constructed as individuals practice regulatory norms through repetitive acts in concrete social contexts.

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Agustina, Pradipta, e Maimunah Maimunah. "Queering The Construction Of Gender Identity In Chris Columbus’ Movie Mrs. Doubtfire". ATAVISME 16, n. 2 (30 dicembre 2013): 141–52. http://dx.doi.org/10.24257/atavisme.v16i2.89.141-152.

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The construction of traditional gender roles has affected the understanding of being feminine and masculine. This understanding seems to influence gender performance in the film Mrs. Doubtfire. This onehourandfiftysevenminute film was directed by Chris Columbus. This study is conducted to examine how gender performativity is illustrated in the film and what ideology lies within the film. Queer theory, especially gender performativity by Judith Butler is used as the framework of the study. The study is done by observing and analysing chosen scenes from the film focusing on the performance of Daniel Hillard as Euphegenia Doubtfire. Narrative aspect of the film is not only the main concern; the nonnarrative is also part of the analysis especially on costume, makeup, performance and color. The main finding of this study is this film in one hand celebrates traditional gender roles but on the other hand promotes gender as performance. Femininity is pictured as fluid. Therefore, it is also a performativity. The contestation between those two opposing ideas is smoothly wrapped through amusing film such as Mrs. Doubtfire. Abstrak: Film Mrs. Doubtfire karya Chris Columbus menampilkan konstruksi yang berbeda dengan konstruksi peran gender yang telah menjadi mainstream. Berdurasi 1 jam dan 57 menit, film ini menampilkan konstruksi maskulinitas dan femininitas yang dapat saling bertukar, cair, dan tidak baku. Studi ini mengkaji dua pertanyaan utama. Pertama, bagaimana konstruksi peran gender digugat melalui performativitas gender? Kedua, ideologi apa yang terdapat dalam film? Teori Queer terutama gender performativitas yang dikemukakan oleh Judith Butler menjadi kerangka penelitian ini. Penelitian ini dilakukan dengan mengobservasi dan menganalisis adegan terpilih dengan berfokus pada penampilan Daniel Hillard sebagai Euphegenia Doubtfire. Aspek naratif dalam film bukan satusatunya perhatian utama. Aspek nonnaratif juga menjadi bagian analisis kostum, tata rias, penampilan, dan warna. Penelitian ini menyimpulkan bahwa film ini pada satu sisi mengonfirmasi peran gender yang tradisional, tetapi di lain pihak juga mencoba menawarkan performativitas gender. Ideologi film ini menggambarkan femininitas sebagai sesuatu yang cair sehingga femininitas juga sesuatu yang sifatnya performativitas. Kontestasi antara kedua hal tersebut disajikan dengan menarik dalam film Mrs. Doubtfire. KataKata Kunci: konstruksi gender; performativitas gende; teori queer

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Gambetti, Zeynep. "Queering Performativity". Representations 158, n. 1 (2022): 64–76. http://dx.doi.org/10.1525/rep.2022.158.7.64.

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Morris, T. "Rakim's Performativity". boundary 2 36, n. 3 (1 settembre 2009): 49–61. http://dx.doi.org/10.1215/01903659-2009-019.

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Bacchus, Ruth. "SATIAND PERFORMATIVITY". Australian Feminist Studies 28, n. 76 (giugno 2013): 155–76. http://dx.doi.org/10.1080/08164649.2013.789577.

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Rinehart, Robert E. "Antipodean Performativity". Cultural Studies ↔ Critical Methodologies 12, n. 1 (29 dicembre 2011): 3–7. http://dx.doi.org/10.1177/1532708611430478.

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Baker, Max, e Sven Modell. "Rethinking performativity". Accounting, Auditing & Accountability Journal 32, n. 4 (24 maggio 2019): 930–56. http://dx.doi.org/10.1108/aaaj-11-2017-3247.

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PurposeThe purpose of this paper is to advance a critical realist perspective on performativity and use it to examine how novel conceptions of corporate social responsibility (CSR) have performative effects.Design/methodology/approachTo illustrate how the authors’ critical realist understanding of performativity can play out, the authors offer a field study of an Australian packaging company and engage in retroductive and retrodictive theorising.FindingsIn contrast to most prior accounting research, the authors advance a structuralist understanding of performativity that pays more systematic attention to the causal relationships that underpin performative tendencies. The authors explain how such tendencies are conditioned by pre-existing, social structures, conceptualised in terms of multiple, intersecting norm circles. The authors illustrate their argument empirically by showing how specific conceptions of CSR, centred on the notion of “shared value”, were cemented by the interplay between the causal powers embedded in such norm circles and how this suppressed alternative conceptions of this phenomenon.Research limitations/implicationsThe findings draw attention to the structural boundary conditions under which particular conceptions of CSR can be expected to become performative. Greater attention to such boundary conditions, denoting the social structures that reinforce and counteract performative tendencies, is required to further cumulative, yet context-sensitive, theory development on this topic.Originality/valueThe paper is the first to adopt a critical realist perspective on performativity in the accounting literature. This perspective strikes a middle path between the highly constructivist ontology, adopted in most accounting research concerned with performativity and realist criticisms of this ontological position for de-emphasising the influence of pre-existing, objective realities on performativity.

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Jackson, Alecia Youngblood. "Performativity Identified". Qualitative Inquiry 10, n. 5 (ottobre 2004): 673–90. http://dx.doi.org/10.1177/1077800403257673.

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Bell, Vikki. "Declining Performativity". Theory, Culture & Society 29, n. 2 (marzo 2012): 107–23. http://dx.doi.org/10.1177/0263276412438413.

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Markussen, Turid. "Practising Performativity". European Journal of Women's Studies 12, n. 3 (agosto 2005): 329–44. http://dx.doi.org/10.1177/1350506805054273.

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Van Assche, Annelies, e Kareth Schaffer. "Flexible Performativity". TDR: The Drama Review 67, n. 1 (marzo 2023): 203–22. http://dx.doi.org/10.1017/s1054204322000922.

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Scholarly work rarely examines the labor of the contemporary dance artist as a performer. Flexible performativity describes the discrete skill set dancers today must be able to deploy in performance. Flexible performativity and its characteristics of negotiating proximity, autodramaturgy, hyperindividualism, and hyperreferentialism mold the dancer prototypical of the movement logics of the early 21st century.

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Arzil, Andrine Prima Afneta. "SELF DISCLOSURE DAN PERFORMATIVITAS KAUM LESBIAN ANDRO PADA MEDIA BARU (TIKTOK)". WACANA: Jurnal Ilmiah Ilmu Komunikasi 21, n. 2 (29 dicembre 2022): 277–98. http://dx.doi.org/10.32509/wacana.v21i2.2268.

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This research is a scientific analysis of media which is closely related to social practices that occur in society as well as representation of gender identities in digital media. This research was conducted to determine the discourse of self disclosure, physical and appearance performativity, homosexual talk performativity, and sexual activity performativity displayed by lesbian (andro) on her new media accounts (Tik Tok) and how Tik Tok is interpreted as a medium of resistance lesbians today. By using a qualitative research methodology, this study puts itself in a digital ethnographic approach. The data collected in this digital ethnographic study is in the form of in-depth and comprehensive observations of 227 video content uploaded by creators, making transcripts on each content then categorized, and conducting analysis in accordance with research objectives. Through audio-visual that legitimize their performativeness, from here, their identity is formed, reshaped, displayed, and conveyed to the mass audience through self-disclosure. Thus, this actualization event leads to resistance. The body is not only understood as a plate on which sexuality and gender are formed, but gender and sexuality itself are labeled into the body. Identity, then, is formed performatively through discourse. Gender identity is an effect produced by individuals because it displays gender act practices.

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Folke, Lasse, e Anders Sevelsted. "”Giv mig en økonom, og jeg skal rejse et marked?” Om fagøkonomiens performativitet og konstruktionen af et globalt marked for mikrofinans". Dansk Sociologi 21, n. 4 (22 dicembre 2010): 51–73. http://dx.doi.org/10.22439/dansoc.v21i4.3410.

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Denne artikel argumenter for, at Callon og MacKenzies teorier om økonomisk performativitet bidrager til at forstå dels centrale sociale dynamikker på markeder, som i stigende grad får en teknisk-videnskabelig karakter, og dels hvordan økonomer bidrager til at konstruere sådanne. Artiklen introducerer centrale begreber og påstande fra de to forfattere og tester disse i en analyse af, hvordan et globalt marked for mikrofinans er blevet skabt. Analysen viser, at selvom økonomer og økonomisk teori spillede en vigtig rolle i konstruktionen af dette marked, så forblev den performative funktion for den generelt accepterede teori om mikrofinans legitimerende og lingvistisk. Markedet var først og fremmest en politisk konstruktion, drevet af Verdensbanken i et forsøg på at skabe kommercielle mikrofinansinstitutioner. Alligevel fik dele af den neoklassiske teori om ”det effektive marked” dog en effektiv funktion i etableringen af markedet, dvs. greb ind i de selvsamme økonomiske processer, som teorien henviser til. Sidst i artiklen fremhæves og diskuteres en række svagheder ved Callon og MacKenzies performativitetsteorier. Søgeord: Performativitet, finansiel sociologi, Callon, Mackenzie, mikrofinans. ENGELSK ABSTRACT: Lasse Folke and Anders Sevelsted: ”Give Me an Economist and I’ll Raise a Market?” On Professional Economists’ Performativity and The Construction of a Global Market for Micro-Finance This paper argues that Callon and MacKenzie’s theories on the performativity of economics contribute to understanding important social dynamics of markets that are increasingly technical; it also contributes to understanding how economists are crucial in constructing them. The theories introduce the authors’ core concepts and claims. They then test these in an analysis of a global market for micro-fi nance. This analysis reveals that, despite the central role of economists in constructing the market, the performative function of the generally accepted theory of micro-fi nance remained merely legitimizing and linguistic. The market was mainly a political construction driven by the World Bank in order to promote commercial micro-fi nance institutions. In this process, however, the ”effi cient market hypothesis” from neoclassical economics was valuable. The article fi nally discusses a number of weaknesses in using the theory of performativity. Key words: Performativity, fi nancial sociology, Callon, Mackenzie, micro-finance.

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Kaufmann, Kai P. "When Counter-Performativity Meets Performativity: Making Organizational Change Happen". Academy of Management Proceedings 2013, n. 1 (gennaio 2013): 16670. http://dx.doi.org/10.5465/ambpp.2013.16670abstract.

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Ismailee, Sania. "Polemical encounters: Ambedkar and Savarkar on Muslim performativity". Performing Islam 8, n. 1 (1 dicembre 2019): 107–27. http://dx.doi.org/10.1386/pi_00007_1.

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Abstract The concept of Muslim performativity and the perception of the image of an ordinary Muslim are the central themes of this article. It outlays V. D. Savarkar's and B. R. Ambedkar's views on Muslim performativity ‐ performance of Muslimness or Islamic religiosity. It primarily engages with Savarkar's Essentials of Hindutva (1923) and Ambedkar's Pakistan or the Partition of India ([1945] 2013) and extracts their comments on Muslimness with reference to Muslim invasions and alleged divided loyalty. Apart from highlighting the convergences and divergences in their views on Muslim performativity, it describes their debate as performance. Further, this article argues that a hangover of Savarkarite and Ambedkarite comments on Muslim performativity permeates through the legal production of the Muslim community. By discussing the Muslim community's multifarious attempts to reform family law, this essay engages with the lived reality of Muslim performativity to stress the heterogeneity of Muslimness. By posing the lived reality of Muslim performativity against the dominant discourse in the aforementioned thinkers' works, it contributes a novel approach towards the conceptualization of performativity and departs from Judith Butler's concept of performativity.

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Tebaldi, Raquel. "“Positionality” and “Performativity”". Politikon: The IAPSS Journal of Political Science 25 (15 dicembre 2014): 80–94. http://dx.doi.org/10.22151/politikon.25.5.

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Over the last few decades, educational reforms have been carried out in many different countries with the aim of expanding the concept of literacy in order to respond to challenges posed by the mass media and the new technologies of information and communication technologies and thus was born the concept of media literacy. Even though some activists consider this kind of education a human right, there is still no consensus over its meaning or even over what objectives such educational policy should seek. This paper aims, therefore, to clarify the most important current debates on the area, to emphasize media literacy’s role in improving the quality of people’s political participation in today’s democracies and to highlight important contributions from feminist theories and gender studies in the construction of this concept, such as the concepts of “positionality” (as developed by Linda Alcoff) and of “performativity” (as proposed by Judith Butler).

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Karen Barad. "Nature's Queer Performativity". Qui Parle 19, n. 2 (2011): 121. http://dx.doi.org/10.5250/quiparle.19.2.0121.

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Luzar, Robert. "Drawing and performativity". Drawing: Research, Theory, Practice 7, n. 1 (1 aprile 2022): 3–15. http://dx.doi.org/10.1386/drtp_00076_2.

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Mulcahy, Dianne. "Performativity in Practice". International Journal of Actor-Network Theory and Technological Innovation 3, n. 2 (aprile 2011): 1–16. http://dx.doi.org/10.4018/jantti.2011040101.

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In the context of neo-liberal education policy reform, professional teaching standards have become one of the main means of managing improvements to school teaching and assuring its quality. Using the methodology of material semiotics in association with video case data of classroom teaching (in this case, school geography teachers) and their students, the author treats a set of standards in action, towards conducting an ontological inquiry. Bringing the performative perspective of actor-network theory to bear not only is sociality taken into account but also materiality. This paper argues that standards are best understood as shifting assemblies of practice whose nature defines and enacts teacher identity and teacher professional knowledge differently in different locations. The conclusion is drawn that while teaching standards ‘clot’ and can serve to standardise practices of teaching, they are not stable entities. The variable ontology that they manifest challenges the managerialist impulses that tend to drive standards work in education. Altogether, the paper seeks to augment existing accounts of standards within the field of the sociology of science (Bowker & Star, 1999; Star, 2010; Timmermans & Berg, 2003; Timmermans & Epstein, 2010) and contribute to its subfield, the sociology of standards.

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Paavolainen, Teemu. "Magnitudes of Performativity". Nordic Theatre Studies 30, n. 2 (13 marzo 2019): 78–98. http://dx.doi.org/10.7146/nts.v30i2.112953.

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The article presents the Trump presidency and the human-derived geological epoch of the Anthropocene as two arguable extremes among current notions of ‘performativity’: (1) a traditionally vertical model based on individual action and antagonism – where ‘facts’ matter less than ‘making things great’; and (2) the more extended, horizontal human performance of things like global warming (“All the world’s a stage”). Drawing freely on George Lakoff and Timothy Morton, it is argued that these models differ fundamentally in ‘magnitude’: where the one is direct, singular, vertical, and fast, the other is systemic,plural, horizontal, and slow beyond human perception. With Judith Butler and Naomi Klein, it is also argued that to actually confront the twin crises at issue, we need to acknowledge the kind of ‘plural performativity’ – of repetition, norms, and dissimulation – that brought them into being in the first place.

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Spicer, André, Mats Alvesson e Dan Kärreman. "Extending critical performativity". Human Relations 69, n. 2 (febbraio 2016): 225–49. http://dx.doi.org/10.1177/0018726715614073.

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Nakassis, Constantine V. "Brand, Citationality, Performativity". American Anthropologist 114, n. 4 (29 novembre 2012): 624–38. http://dx.doi.org/10.1111/j.1548-1433.2012.01511.x.

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Bakk, Ágnes Karolina. "Performativity and Worldmaking". Acta Universitatis Sapientiae, Film and Media Studies 17, n. 1 (1 ottobre 2019): 169–78. http://dx.doi.org/10.2478/ausfm-2019-0022.

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Edgington, Ursula. "Performativity and affectivity". Management in Education 27, n. 4 (23 settembre 2013): 138–45. http://dx.doi.org/10.1177/0892020613485533.

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White, Julie. "Speaking ‘over’ performativity". Journal of Educational Administration and History 42, n. 3 (agosto 2010): 275–94. http://dx.doi.org/10.1080/00220620.2010.492960.

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Rošker, Anja. "Passion for performativity". Maska 33, n. 191 (1 settembre 2018): 128–34. http://dx.doi.org/10.1386/maska.33.191-192.128_5.

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Reflecting on Blaž Lukan’s book Performative Writings (Aristej and AGRFT, 2013), the author thinks about writing, which Lukan uses not only to interpret the performative act but also to express himself as the spectator. She also follows Lukan in dividing the spectator’s position into four different types, namely, the spectator as a witness, the spectator as an accomplice, the ignorant spectator and the spectator as the one who knows. Comparing Lukan’s book and the article ‘An hour brings what time cannot’ by Danae Theodoridou, the author differentiates ways in which, through writing, the spectator is liberated from passivity and emancipated in the independent act of performative writing.

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Parker, Andrew. "Praxis and performativity". Women & Performance: a journal of feminist theory 8, n. 2 (gennaio 1996): 265–73. http://dx.doi.org/10.1080/07407709608571244.

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Proulx, Mikhel. "Protocol and Performativity". Performance Research 21, n. 5 (2 settembre 2016): 114–18. http://dx.doi.org/10.1080/13528165.2016.1224341.

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Salter, Chris. "Epistemes of Performativity". Performance Research 25, n. 3 (2 aprile 2020): 8–11. http://dx.doi.org/10.1080/13528165.2020.1807744.

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Lloyd, Moya. "Performativity, Parody, Politics". Theory, Culture & Society 16, n. 2 (aprile 1999): 195–213. http://dx.doi.org/10.1177/02632769922050476.

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Bell, Vikki. "Performativity and Belonging". Theory, Culture & Society 16, n. 2 (aprile 1999): 1–10. http://dx.doi.org/10.1177/02632769922050511.

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Hollywood, Amy. "Performativity, Citationality, Ritualization". History of Religions 42, n. 2 (novembre 2002): 93–115. http://dx.doi.org/10.1086/463699.

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Tuhkanen, Mikko. "Performativity and Becoming". Cultural Critique 72, n. 1 (2009): 1–35. http://dx.doi.org/10.1353/cul.0.0047.

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Telles, João Antonio. "Teletandem and performativity". Revista Brasileira de Linguística Aplicada 15, n. 1 (marzo 2015): 1–30. http://dx.doi.org/10.1590/1984-639820155536.

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Teletandem is a virtual autonomous VoIP2technology-based context (webcam images, voice and text). Within this context, two students help each other learn their native (or other) language through intercultural and linguistic collaboration. Performative Theory can shed light on the constitution of these students' national identities, as they engage in linguistic performances of marking and discussing differences between their countries during teletandem. Based on critical approaches to discourse and intercultural communication, my analysis shows that this online intercultural contact opens innovative possibilities for foreign language teachers to promote intercultural contact with "the different". However, without teacher mediation, teletandem interactions may fall into shallow performances of sedimented and pre-given representations of self and other. Subsequently, this article concludes with a discussion of relevant pedagogical points for foreign language teachers.

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Reynolds, David S. "Deformance, Performativity, Posthumanism". Nineteenth-Century Literature 70, n. 1 (1 giugno 2015): 36–64. http://dx.doi.org/10.1525/ncl.2015.70.1.36.

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David S. Reynolds, “Deformance, Performativity, Posthumanism: The Subversive Style and Radical Politics of George Lippard’s The Quaker City” (pp. 36–64) The most interesting American example of the genre known as city-mysteries fiction, George Lippard’s The Quaker City (1844–45), while rich in characters, stymies the novelistic stability conventionally provided by the struggles of heroes against villains in the mystery genre. Lippard’s style thus gets foregrounded as the locus of morality and politics, displaying an acerbic, presurrealistic edge. The current essay surveys linguistic and generic deformations (alinear narrative, irony and parody, bizarre tropes, performativity, and periperformativity) and biological and material deformations (posthuman images, including animals, objects, sonic effects, and vibrant matter) in The Quaker City to suggest how Lippard stylistically reinforces his goal of satirizing literary and social conventions and of exposing what he regards as hypocrisy and corruption on the part of America’s ruling class.

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Maltais-Bayda, Fabien. "Reorienting Queer Performativity". GLQ 30, n. 1 (1 gennaio 2024): 141–44. http://dx.doi.org/10.1215/10642684-10920642.

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Saro, Anneli, Luule Epner e Madli Pesti. "Performativity and Transgression". Nordic Theatre Studies 35, n. 1 (7 giugno 2024): 1–10. http://dx.doi.org/10.7146/nts.v35i1.145369.

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Qin, Shaoyun, e Anna A. Kostikova. "Three planes of consideration for Judith Butler’s Theory of Performativity". Alma mater. Vestnik Vysshey Shkoly, n. 6 (giugno 2022): 105–9. http://dx.doi.org/10.20339/am.06-22.105.

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In the foreword of “Gender Trouble” in 1999, Judith Butler stated that there are certain difficulties in uncovering the concept of “performativity”. Sometimes performativity needs to be understood in terms of speech, and in some cases performativity needs to be understood in terms of theatricality. However, an in-depth analysis of Butler’s texts reveals that the so-called theory of performativity has three planes of consideration: speech, theater, and from the perspective of norms of behavior.

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Ria Lestari, Ummu Fatimah. "PERFORMATIVITAS QUEER DALAM NOVEL CALABAI KARYA PEPI AL-BAYQUNIE (KEBERAGAMAN GENDER MASYARAKAT BUGIS DALAM KARYA SASTRA)". Kibas Cenderawasih 17, n. 2 (1 ottobre 2020): 103–14. http://dx.doi.org/10.26499/kc.v17i2.290.

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Karya sastra sebagai tiruan realitas kehidupan manusia terepresentasi dalam novel Calabai karya Pepi Al-Bayqunie. Novel ini berlatar belakang kehidupan masyarakat Bugis di Sulawesi Selatan. Penelitian ini membahas tentang performativitas queer dalam novel Calabai melalui queer theory Judith Butler.Menurut Butler, performativitas adalah kondisi alamiah bagi manusia dalam menampilkan tubuhnya (fisik). Bahasan mengenai jenis kelamin (sex), gender, dan orientasi seksual adalah konstruksi sosial yang dapat bersifat cair, tidak alamiah, dan labil.Performativitas queer dalam narasi pengarang novel Calabai ditandai sebagai penampilan yang alamiah dan ditampilkan berulang-ulang oleh tokoh-tokoh cerita yang dianggap queer, yaitu calabai dan bissu. Bissu dikonstruksi oleh budaya sebagai gender ”bukan gender”dalam lingkungan sosialnya. Melalui narasi novel ini, masyarakat Bugis memiliki dan mengakui adanya gender kelima (bissu) dalam kebudayaan mereka. Narasi dalam novel Calabai mengungkapkan penampilan alamiah bissu yang terus diulang melalui diskursif masyarakat sekian lama, sehingga bissu terkonstruksi dalam kebudayaan Bugis sebagai gender queer. Literary works is an imitation of the reality of human life is represented in Calabai by Pepi Al-Bayqunie. This novel takes the setting of Buginese community lifein South Sulawesi. This research discusses the queer performativity in novel Calabai through queer theory from Judith Butler. According to Butler, performativity is a natural condition for man in displaying his (physical) body. Discussion about sex, gender, and sexual orientation is a social construct that can be fluid, unnatural, and unstable. Performativity queer in Calabai's narratives is characterized as a natural appearance and repeatedly displayed by the characters of the story considered queer, calabai and bissu. Bissu was constructed by culture as gender "not gender" in its social environment. Through its narratives, Buginese society owns and recognizes the existence bissu as the fifth genderin their culture. Its narratives reveal the natural appearance of bissu which has been repeated over the discursive society for so long that bissu was constructed in Buginese culture as a gender queer.

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Figueiredo, Carolina, e Caio Santos. "Facebook Event as a platform to promote engagement in social movements". Culturas Midiáticas 13, n. 1 (30 settembre 2020): 54–69. http://dx.doi.org/10.22478/ufpb.1983-5930.2020v13n1.51507.

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This paper reflects on the application of the Theory of Performativity in complex communication processes as those emerged from the Social Networks. Austin’s (1975) theory of Speech Acts and the concept of Performativity stated by Butler (1997) are recovered to find mechanisms of analysis in utterances that are intrinsic to websites tools. In parallel, the Latour Actor-Network Theory (2017) is also used. As a research result we came to the conclusion that the use of Facebook Event tool implies in performativity, once that by pressing the “Going” and “Interested” buttons the user express different meanings. To put it succinctly, performativity allows the production of effects through language (speech acts) on digital Social Networks. Keywords: Facebook Events. Performativity. Speech Acts.

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Turnbull, David. "Performance and Narrative, Bodies and Movement in the Construction of Places and Objects, Spaces and Knowledges". Theory, Culture & Society 19, n. 5-6 (dicembre 2002): 125–43. http://dx.doi.org/10.1177/026327602761899183.

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The article explores the ways knowledge and space are co-produced performatively through bodily movement in an examination of the Maltese megaliths the first complex stone structures in the world. It is argued that knowledge is best seen as spatialized narratives of human actions and objects as materialized forms of those spatial narratives. Rewriting our social and historical narratives so that the performativity of place, space and knowledge is restored opens new possibilities for rethinking the social and material order.

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Szatkowski, Janek. "Person og rolle". Peripeti 8, S3 (28 maggio 2021): 111–35. http://dx.doi.org/10.7146/peri.v8is3.110593.

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This article presents an attempt to (re)construct a concept of performativity based on a systems theoreticalapproach. It is suggested that performativity could be understood as a way of observing the world with the help of the distinction “person” and “role”. Performativity thus describes how the communication betweenindividuals and groups establishes a structural coupling between the consciousness of the psychic system andcommunication in social systems. This also allows the concept of performativity to investigate how values are generated and used in everyday communication. In a discussion with the concept presented by Professor Erica Fischer-Lichte and by offering an alternative reading of the performance The Lips of Thomas by Mariana Abrahmovic it is suggested that a concept of performativity based on the distinction person/role prove to be more productive analytically.

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Roscoe, Philip, e Shiona Chillas. "The state of affairs: critical performativity and the online dating industry". Organization 21, n. 6 (3 maggio 2013): 797–820. http://dx.doi.org/10.1177/1350508413485497.

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In this article we pursue a dialogue between Callon’s (1998) ‘performativity thesis’ and Critical Management Studies (CMS). We make use of the performativity thesis to elaborate on the construction of a market and the generation of calculative and rational economic agency in a specific empirical setting: the markets for relationships offered by dating services. We find evidence for ‘effective’ performativity, where technical processes and outcomes are shaped by academic theory. We link the performativity analysis with three critical perspectives: a novel enclosure in the commodification and sale of relationships; the politics of standardization, classification, expertise and responsibility; and the enactment of instrumentally rational, self-interested social relations through the individualist assumptions of matching systems. We argue that a performativity analysis must begin with a critical politics: what kind of world would we like to see performed?

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Shams, Parisa. "Revisiting The Father: Precarity and subversive performativity". Feminist Theory 19, n. 3 (20 novembre 2017): 289–302. http://dx.doi.org/10.1177/1464700117741244.

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The ambiguity of August Strindberg’s approach to women has engendered varying interpretations, including accusations of misogyny. Among his allegedly misogynistic plays is the 1887 naturalistic masterpiece, The Father. Chronologically coinciding with the rise of the women’s movement in Sweden, The Father, rather than endorsing a misogynistic culture, allows for an alternative reading that contributes to the destabilisation of gender binaries and an understanding of gender identities as relational and performative. In its portrayal of a fierce struggle between a seemingly diabolic wife and a supposedly tyrannical husband, the play delves deeply into the dynamics of gender and the subversion of normatively established orders. This article analyses Strindberg’s play in relation to Slavoj Žižek’s conception of the ‘femme fatale’ and Judith Butler’s account of gender performativity to illustrate how the play’s central characters performatively subvert the hegemonic norms by which they are constituted.

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Carton, Guillaume. "How Assemblages Change When Theories Become Performative: The case of the Blue Ocean Strategy". Organization Studies 41, n. 10 (3 febbraio 2020): 1417–39. http://dx.doi.org/10.1177/0170840619897197.

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Assemblages are the actors, artefacts or practices that are intertwined with and co-produce theories. Despite being at the core of the performativity process, assemblages have been overlooked in recent performativity studies. Thus, this study examines how assemblages are changed by theories during performativity. It builds on the case of the historical development of the Blue Ocean Strategy: a management theory that proposes the creation of new market spaces, rather than competing within existing ones. The study shows a process model in which the theory changes the assemblages that change reality and enlarges its scope in turn. It offers implications both for performativity and for practice.

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