Search

Copyright of EurAmerica is the property of EurAmerica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Over the last century, conservation practice and discourse have undergone several turns. One of the most recent – the cultural turn – prompted discussions on the importance of values-led approaches, highlighting the inherently social nature of conservation. In this paper, we argue that conservation is now at the edge of a performative turn, emerging (also) from the field of critical heritage studies, which questions not only the uses (and users) of the past but also the ways in which cultural heritage is ultimately made through the actions of many agents. The performative turn in conservation comes with a set of reworked questions – not only about the aims and process of conservation itself, but also about ideas of what heritage is, for whom it is conserved, and practices of participation. This paper will focus specifically on how this performative turn revises current assumptions in practice, focusing on conservation risk assessments and how they are applied to contemporary art. We use contemporary art as the lens for this discussion, not as an exception but as the vantage point from which broader issues in conservation are more visible. [ABSTRACT FROM AUTHOR]

This article reflects on critical literacies and advances on the idea of performative literacies concerning non-schooled writing practices. Critical literacy posits that beyond literate-school practices there are alternatives to reading and writing. These include semiotic, multimodal, ritual and corporal elements that show knowledge of reality and how it can be adopted or criticised. This study examines the social organisation experiences of MAFAPOi and three memory reconfiguration processes led by the communities of the Port of Buenaventura in Valle del Cauca, Colombia. It reveals how these groups of victims grieve and bereave through rituals and textualities, such as tattooing. These artistic and performative expressions can also be considered forms of critical literacy in which the reconstruction of history occurs through multi-languages, individual and collective exercises. Rituals express particular experiences of individual pain and loss, they lead to the collective recognition of common pains and, therefore, to a reconstruction of traumatic situations, a step towards transformation and political agency. [ABSTRACT FROM AUTHOR]

This article analyses Biblical Aramaic (BA) performatives within a prototype approach. The authors demonstrate that BA performatives largely comply with the crosslinguistic prototype and its grammatical and extra-grammatical features. Crucially, although the two 'tenses' used, Suffix Conjugation (SC) and Active Participle (AP), exhibit similar frequency in performatives, they differ in distribution: the performative SC is more conventionalised/archaic/typical of Ezra while the performative AP is more productive/innovative/typical of Daniel. These differences reflect the gradual replacement of SC by AP in performatives due to the profound advancement of the two 'tenses' along their respective grammaticalisation paths: the resultative and imperfective paths. [ABSTRACT FROM AUTHOR]

This article explores an actual and online street protest which unfolded over a series of weeks in the Spring of 2013 when Cyprus experienced an economic crisis following the 'bailout'-'haircut of March 2013. In an effort to contextualize and explore the performative aspects of these events the author links this to art and protest as an expression of alternativeness and an avant-garde spirit embodying resonances of 1960's and 1970's art and protest as performative happenings. It is argued, unlike other similar contemporary contexts of economic crisis in the EU, such as Greece, Portugal and Spain, protests in Cyprus may not have been so massively populated but the spirit of performative art was expressed in innovative ways, as documented and shared through social media as an alternative platform of expression, which ultimately fills a void that exists in the contemporary Cypriot political landscape. [ABSTRACT FROM AUTHOR]

This paper offers a reading of Meena Alexander’s Nampally Road (NR) (1991) in the light of Homi K. Bhabha’s theorisation of the relation between nation and narration. For Bhabha, the nation is narrated through narratives which are unstable and inconsistent. These narratives, based on the past or established regularly in the present, are relentlessly refashioned. Negotiating the questions of personal and national identity, Meena Alexander’s novel delineates a post-independence Indian society, dominated by an ‘imagined’ political narrative. Throughout the novel, the protagonist’s observations of the nation and its cultural bases lead her to a redefinition of her national self. Furthermore, the novel exorcises Indian history from the shadows of colonial narratives and reconstructs an alternative postcolonial account. The marginalised female voices, resisting victimisation through their search for self-reconciliation in the interstices of memory and culture, empower a new discourse of the nation in the hybrid realm of culture. NR, it is argued, offers an image of national consciousness as achieved by undermining the hegemony of the past and the tyranny of the present. It tries to give voice to the subaltern by imaginatively and socially engaging them in the national, political, cultural and social narratives of their nation. [ABSTRACT FROM AUTHOR]

The article introduces handwritten signature as a sort of performative. Contrary to the theory of speech acts, the author proposes to grasp it not as a speech act, but as a writing act inspired by Derrida's deconstructive conception of parasitical iterability of the writing. In this perspective, the writing act is habited by an aporetical double bind, where ontologically "similar" and logically "identical" are pervading. The unsatisfiable metaphysical obligation of the civil identification via signature can be understood only thanks to the aporia of deferred meaning, where the only original is actually the deferral. As the analysis of the well known polemics between Derrida and Searle shows, the deconstructed writing produces writing acts as parasitical performatives, which are far from communicational, citational and identificational claim of Searle's conception of speech acts. Finally, the article proposes a new revision of the differences in performative conception of sign in Austin, Searle, Derrida and Ronell. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

There is no doubt that the Futurists, Constructivists, Productionists – all the Russian avant-garde groups – wanted to represent the “new world” of socialism in and through art. However, the relationship between art and life, or art and work in the new socialist state was not one-dimensional. This can be seen from a close reading of one of the major Constructivist manifestoes, published in Ilya Erenburg’s and El Lisitzky’s short-lived journal “Vešč, Objet, Gegenstand” 1922–23 (Berlin). What emerges from the militaristic jargon and the metaphors with which the new art platform announced in “Vešč, Objet, Gegenstand” comes to expression is that the Constructivist movement is focused on structures which it calls “the object” and that this emerging Structuralism constitutes not just a method of artistic inquiry but a new mode of perception. This paper attempts to show, by a close reading of the lexicon of this Constructivist manifesto, how the concept of the ‘object’ had a metaphysical dimension in that it was raised into a phenomenology of perception by the Constructivist artist but also a new artistic paradigm of international, collective art. [ABSTRACT FROM AUTHOR]

The purpose of the article is to draw attention to Anna Akhmatova's scholarly studies of Pushkin, which she called “pushkinizm” after Boris Tomashevskii, and to discuss its place in Akhmatova's work, as well as the role it played in the unofficial culture of Leningrad. Her studies are regarded here as an “open” text, unfinished and ongoing. The importance of the oral performance is stressed; it uses “pushkinizm” to create a theatralized act of commemoration. A wider question is raised in this connection, that of the unofficial culture in Leningrad as being a culture of conservation, rather that of dissent. There the most prominent part was played not only by a poet, but also by a scholar. [ABSTRACT FROM AUTHOR]

Copyright of Memorias is the property of Fundacion Universidad del Norte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

During the past years, different modes of documentary theatre have gained popularity. A distinctive feature there is the use of verbatim texts, borrowed directly from authentic documents like recorded interviews or minutes, including sometimes even coincidental stuttering of the original speaker. In this article I analyse the verbatim-technique as part of the post-dramatic performance strategies. It makes it possible to focus on the materiality of language as a texture as well as an instrument for meaning making and communicating contents. It also gives a more active role to the audience. When texts are explicitly framed as authentic, and reiterated with exaggerated precision, the attention is drawn to the performative repetition of the speech acts. Thus, the verbatim performances do not so much refer to reality "as it is", but rather stage acts of making claims about something we call reality. Borrowing Carol Martin, the contemporary generation of documentary theatre makers aspire to make relevant claims about social reality even if they use postmodern strategies and admit that truth and reality are not within their reach. I will discuss different strategies of using the verbatim techniques in documentary performances. I theorize the subject using well-known international examples, move on to a short overview of recent documentary theatre in Finland, and examine closer four cases: Parliament III in Ryhmäteatteri in 2015, Towards Work at Kouvolan Teatteri in 2014, Ruusula Street 10 at Q-teatteri in 2014, and My Palestine at Teatteri Takomo in 2015. [ABSTRACT FROM AUTHOR]

This article discusses the empowering potential of spaces that enable youth participation. It proposes that a perspective on participation as a process of learning rather than as control over resources opens up novel insights on the ways participatory processes unfold. Drawing from empirical work in the UK and Greece, the article looks at the dynamic potential of youth participation as it is expressed through social practices and social relations in given spaces, to identify distinct facets of participation such as performative, managerial and creative. It concludes that youth participation can be empowering when it is linked to other domains of young people’s experience and when its capacity to produce diverse processes and outcomes is recognized. [ABSTRACT FROM AUTHOR]

Voice reveals stance, position and other evaluative aspects of texts. In spite of its major role in establishing blogs’ recognition and participation in the social networking space, voice has not received adequate attention in online communication research. This paper attempts to explore the voice of blogs through examining personal blogs. Data were collected from three A-list Chinese personal blogs hosted on top blog service providers in China. Drawing upon appraisal analysis, this study examined the voice of personal blogs through analysing the written texts and images of the blogs. The findings revealed that personal blog authors employed different resources in constructing individualized voices. These were constrained by various factors such as gendered projections, audiences, and culturally specific rhetoric. The paper concludes with a suggestion that further research in exploring voice representations in blogs, however heterogeneous, needs to consider technological and semiotic resources, genre features, and sociocultural and institutional conditions. [ABSTRACT FROM AUTHOR]

The article challenges concepts based on the incorrect reading of Bruno Latour's 1986 ostensive and performative ideas that conceptualized routines are dynamic rather than inert phenomena. It offers an alternative concept based on the Montreal School's perspective of organizational communication. This conceptualization is a "system of communicative inquiry" integrating co-orientation, deontism and immutable mobile to frame research into the iterative process of organizational functioning.

Gina Apostol's The Revolution According to Raymundo Mata brings to the fore a multicontested textual space that not only politicizes the act of reading, but more importantly, engages in a form of nation-building or imagining. The paper will demonstrate through a two-prong analysis of form and content that this novel utilizes postmodern modes of articulation such as parody, intertextuality, and a non-sequential temporal narrative in order to examine knowledge-productions, politics of representation, agency, and nationhood that have become immanent and critical in the emerging and rapidly-developing field of theoretical discourse that seeks to illuminate Philippine postcoloniality. It will also be argued that postmodern forms, which are premised upon diffusion, multiplicity, and the ambivalence of meaning render the notion of the Philippines to be equally ambivalent and diffused. Whether such re-imagining or re-configuring of the nation is advantageous or not is left for the reader to decide. The critical works of Linda Hutcheon, Homi Bhabha, and Benita Parry will serve as departure points for the analysis. [ABSTRACT FROM AUTHOR]

Copyright of Teología is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Médiévales is the property of Presses Universitaires de Vincennes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Musiktherapeutische Umschau is the property of Vandenhoeck & Ruprecht GmbH & Co. KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay examines Book I of Spenser's Faerie Queene in relation to its rich, English and Irish festive and performative context. In "A Letter to the Authors" addressed to Sir Walter Raleigh, which was part of the prefatory material to his epic, Spenser envisions including twelve books that correspond to the "Faery Queene" keeping her "Annual feaste xii. dayes." This phrase most likely refers to Queen Elizabeth's annual feast of the Twelve Days of Christmas. The Mummers' Play St. George and the Fiery Dragon was traditionally performed during the Christmas holiday season. In one version of this popular, comic play St. George engages in a slap-stick battle with a dragon that roars, demands meat, and performs a summersault. Throughout Book I of The Faerie Queene featuring Redcrosse who develops into the legendary St. George, Spenser appropriates elements from English Mummers' plays about St. George, his Turkish opponent, and the Dragon in keeping with his larger Protestant agenda. His doing so contributes to the comedic dimension of Redcrosse's battle with the dragon toward the end of Book I. Spenser's surprising addition of comedy to this battle of biblical proportions further links Redcrosse with popular versions of legendary St. George well-known in comic, holiday performances and thereby distances his Protestant figure from the more serious Catholic Saint by this name. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Sociológicos is the property of El Colegio de Mexico AC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article addresses the recent changes in archival practices and discourse, and their implications for documentary photography and photographic theory. Exploring the work of artists such as Renée Green and GitteVillesen, as well as the writings of Margaret Iversen, Jan Verwoert, and others, the first section of the article examines the severing of the links between photographic images and the events they document in the photographic theory of the late 1970s and 1980s, and the rethinking of these links today through the concepts of performativity and relationality. The second half of the article examines more closely the discourse of the archive in the last decade, focusing on the work of Benjamin Buchloh and Hal Foster. The article highlights the shifts in recent archival practices, from an excavation of past events and their traumatic implications, to viewing of the archive as a potential site for (re)constructing utopian visions. [ABSTRACT FROM AUTHOR]

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We typically think of documents as carrying information. However, certain kinds of documents do more than that: they are not only informative but also performative in that they represent rights. When these documents are in paper form or some other physical medium, holding the document indicates holding the right. Since the document represents a right, a hazard is that by duplicating the document, one may fraudulently claim a new right. For this reason, physical documents that represent rights are both tamper resistant and copy resistant. However, problems arise when such performative documents are converted to electronic form: duplicates are bit for bit perfect and undetectable. Thus, the normal heuristic of uniqueness of the document token as representing the uniqueness of the right no longer holds for performative electronic documents. This is especially challenging when the rights are transferable, as with various financial instruments such as stocks and bonds. This paper presents an analysis, based on deontic logic, about the necessary requirements for electronic documents and their corresponding electronic procedures in order to guarantee the uniqueness of rights and prevention of fraud. A design is sketched, based on a notion we call digital parchment, which offers improved flexibility. [ABSTRACT FROM AUTHOR]

Recently I completed a performative (creative) PhD in the School of Creative Communication (now the Faculty of Design and Creative Practice) at the University of Canberra, Australia, where such doctorates were established only in 2002. Since I completed in 2006, I have been contemplating some process issues that emerged during my three and a half year's studies. While conferring with fellow students and colleagues at three universities in England, I found that the many of the problems they encountered were similar and so were not due uniquely to the innovative phase that I encountered, but were part of a wider scenario. At my university, the requirements for a creative doctorate are a creative component (equivalent to about 60,000 words) and a theoretical component (exegesis) of about 30,000 words. The physical outcome of my thesis is two artist's books: one, Tissue, is autobiographical, while questioning the nature of autobiography, memory and identity. The other, Re-Picturing My Life, is the theoretical component, examining several paradigms including issues of methodology; the value of art as research; theories of memory, identity, autobiography, and human interactions with objects. I have placed some of my text/images in this paper to provide a taste of the work in my thesis. My paper reflects on performative work in the context of academic research, and the resilience, determination and sense of humour needed to complete a doctorate successfully in this valuable area of endeavour. [ABSTRACT FROM AUTHOR]

Cultivating a research identity is an arduous journey. We are told to situate ourselves- know where we are coming from-but it is rare that people share their experiences and provide insight into a journey that indubitably shapes your research. In this performative piece, I shed light on my journey to a research identity. I provide an intimate portrayal of the blurring and temporal nature of research identities that is sometimes avoided and often unaccepted. In doing so, I hope to awaken new understandings and provide insight into what can be a direction(less) journey that leads to a sense of positioning. My journey is a tracing rendered through poetry-enhanced prose, which provides aesthetic sensibilities and the possibility for you to enter into and become caught up in our experience. As well, poetry and photography are bestowed in a way to illuminate the performative and dynamic place of my research identity and as a way to visualize and feel the story within this poetical telling. This is a manifestation of performative social science in which the voice is never solely mine and the identity is never conclusive as it continues to unfold and shift through the spaces I inhabit. [ABSTRACT FROM AUTHOR]

Copyright of Anuario Musical is the property of Consejo Superior de Investigaciones Cientificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract: Environmental justice research has of late expanded beyond its’ original focus on the distribution of environmental ‘bads’ to debate injustices at a wide array of sites and scales. Despite this expansion, the applicability of an environmental justice framework to seemingly apolitical and banal expressions of environmental concerns remains open to question. This paper argues that environmental justice struggles can be located in the mundane environmental politics of Singapore, by employing a performative rather than rights-based approach to both justice and politics. It draws on qualitative research into volunteers’ practices in one Singaporean environmental organisation, and asserts that through their focus on experiential learning and re-inscribing ‘developmental’ spaces as spaces of care and justice, volunteers seek to redress the social, political and environmental injustices replete within the spatial politics of Singapore. [Copyright &y& Elsevier]

One application of the emerging field of persona studies is to the analysis of online fan persona. Indeed, there already exists a deep tradition of attention to fan persona within fan studies. A persona-inflected fan studies involves attention to the shift from representational media to a presentational media paradigm and invites questions about the contemporary experience of the public presentation of the online self as a fan. In combining the object and persona lens, an approach emerges that takes into account the agency of the individual in its negotiation with various collectives as well as human and nonhuman actors in the networks of online identity performances. Both qualitative and quantitative methodologies are useful in exploring the fan persona as it registers indexically and intercommunicatively in the constitution of public activity in digitally networked environments. [ABSTRACT FROM AUTHOR]