Search

Detta arbete handlar om de lärprocesser som skapandet av handdockor i bildundervisningen erbjuder. Det är inte materialen i sig som står i centrum, utan det är vad materialen gör när de kombineras och bearbetas och hur det kopplas till olika lärprocesser som min undersökning haft som syfte att undersöka. Den insamlade empirin bygger på deltagande observation samt intervjuer med fem elever respektive en bildlärare som arbetat med att bygga handdockor. I arbetet har jag utgått från frågeställningen: Vad tillför dockskapande till undervisningeni bild, och på vilket sätt är en docka ett redskap för lärande? Jag arbetar också själv som dockmakare och därför har egna reflektioner kopplat till skapandet tagit plats i undersökningen och blivit en del av empirin. Som bakgrund har jag skrivit hur dockor har använts ur ett historiskt perspektiv samt min relation till skapandet utifrån situationer där jag blivit utmanad i både tanke och handling. Tidigare forskning tar upp hur dockor används som ett didaktiskt redskap, olika teoriperspektiv och kopplingen till konsten och bildundervisningen. Jag har sedan valt att undersöka skapandet från multimodal och narrativ teori, vilka tar upp hur vi kommunicerar med hjälp av teckenskapande resurser samt berättandets funktion kopplat till förståendet av jaget och hur man lär med hjälp av berättelser. Min undersökning visar att det i konstruktionen av en karaktär/docka sker en dialog och ett reflekterande i skapandeprocessen. En docka har också en medierande funktion vilket betyder att den tillskrivs personliga egenskaper och uppfattas som en ”egen individ”. Dockan skiftar fokus bort från oss själva ochär därmed friare att förhålla sig till omgivningen än om man själv skulle agera eller spela en roll. Vilket öppnar upp för alternativa frågeställningar. Dockans koppling till leken fyller också en viktig funktion då leken möjliggör att även allvarsamma ämnes kan ges utrymme. Sammanfattningsvis pekar resultatet på att dockor erbjuder ett mångbottnat lärande där dockan blir ett multimodalt meningsskapande redskap för reflektion och transformation. Slutligen argumenterar jag för att dockor och docktillverkning bör få spela en större roll i undervisningssammanhang då arbetet inte bara svarar upp på de många olika kunskapskrav som skolan ställer på undervisningen utan också samtidigt ställer en mängd frågor, vilket gör att arbetet kan spela en allt viktigare roll i hur vi blir till som individer och hur vi skapar mening och tar plats i världen. more...

Umetnost s konstativnimi izjavami proizvaja dogovorjeno razmerje med označevalcem in označencem, in obratno, s performativnimi izjavljanji proizvaja povsem na novo opredeljeno razmerje med označevalcem in označencem. V magistrskem delu preučujemo razmerje med konstativnim in performativnim umetniškim izjavljanjem. Izhajamo iz teorije jezikovne performativnosti, ki jo zastavi J. L. Austin, in jo prenesemo v okolje umetniškega izjavljanja. Konstativ in performativ zastavimo kot dva temeljna, kontrastno nasprotna načina umetniškega izjavljanja, ki ju poskušamo opredeliti z zakonitostmi umetniškega subjekta, objekta in umetniškega prostora. V ospredju dela je analiziranje sedemindvajsetih slovenskih in tujih medmedijskih avantgardnih umetniških oblik, v katerih so prisotna bolj ali manj intenzivna stanja vmesnosti med konstativnim in performaitvnim izjavljanjem. Prizadevamo si pokazati nerazvezljivost konstativnega in performativnega umetniškega izjavljanja in pokazati potrebo po revitaliziranem sprejemanju umetnosti, ki vzajemno črpa iz konstativnih in performativnih zakonitosti. Constative statements in art generate an agreed relationship between the signifier and signified. On the contrary, performative statements can entirely redefine the relationship between the signifier and signified. In the master's thesis we study the relationship between constative and performative artistic statements. We begin from the theory of linguistic performativity put forward by J. L. Austin and apply it to the artistic statement. We set the constative and the performative as two fundamental, contrastingly opposite ways of artistic expression, which we try to define within characteristics of the art subject, art object and art space. The focus is put on the analysis of twenty-seven Slovene and foreign intermedia avant-garde art forms, in which more or less the condition of betwixt and between constative and performative statements are present. We strive to show the inseparability of constative and performative artistic statements and stress the need for a revitalized acceptance of art, which mutually draws from constative and performative characteristics. more...

Scenario: Guten Tag, Herr Prof. Hofmann. Leser und Leserinnen dieser Zeitschrift sind sehr an Aspekten performativen Lehrens, Lernens und Forschens interessiert. Als Literaturwissenschaftler setzen Sie sich schon lange mit Aspekten des Performativen auseinander, z.B. in Ihrer Veröffentlichung Presence of the Body (2015). Wo, wann und wie ist denn dieses Interesse entstanden? Welche Impulse waren wichtig für Sie? GH: Im akademischen Sinne reicht dieses Interesse zurück in meine Zeit als Lecturer in Seoul (1991-1995). Damals lernte ich meine Frau Snježana kennen, die als Anthropologin schamanische und buddhistische Rituale in Korea erforschte. Während ich an der Hankuk Universität deutsche Literatur und Sprache unterrichtete, hatte ich nebenher noch genügend Gelegenheit, Snježana bei ihren Feldforschungen zu begleiten und dadurch eine Menge zu lernen. Damals wurde mir die spirituelle Dimension des Performativen erstmals klar. Und es wurde mir deutlich, wie wichtig die performative Dimension der Literatur ist, nicht nur in der gemeinsamen Kunst des Theaters, sondern als Akt des Schreibens und Lesens, z. B. in Phänomenen der Trance, Ekstase und Besessenheit, also der Auflösung, Verlagerung und Überschreitung persönlicher und sozialer Identitäten. Scenario: Nach Ihrer Zeit in Korea (1991-1995), in der Sie sich intensiv mit kulturspezifischen Aspekten des Performativen befasst haben, folgte eine Phase als wissenschaftlicher ... more...

The purpose of this thesis is to examines how a design based on the theoretical and philosophical concept of ‘technological mediation’ can grow an ‘attentive listening’ consisting of a more focused, contemplative and intimate listening experience and sense of cohesion with the surroundings. The thesis contributes to an understanding of our sonic being in the world as essential for a rich existential and sensuous livelihood.The overall composition of the thesis can be descripted in three major parts:1) To grow a foundation for developing the mentioned design, preliminary research and exploratory practise have been conducted; Firstly, by putting together a synthesis on attentive listening, springing from existing research literature. Secondly by open explorative listening practice to experience and grow the understanding of ‘attentive listening’ even further. This leads to the second crucial section of the thesis where:2) the analysis of the explorative listening practice indicates how the technologically mediated listening involved in the development of the design plays a key role in the sensory experience of attentive listening. By introducing the theoretical and philosophical concept of technological mediation, the thesis brings about the third part where:3) the thesis design for attentive listening is empirically tested out with participation of 10 primary school pupils aged 13-15 years. Here a transversal analysis of their experience with and participation in the design is conducted on the basis of empirical ‘traces of proces’ such as sound recordings, nonstop writings, survey answers and drawings. By relating the empirical analysis of the pupils partaking in the design to my own explorative practice and experiences and the included research literature, the thesis studies what experiential and transformative potentials a design for attentive listening centred around technological mediation seemingly hold. The conclusion of the thesis is that the empirical testing of the design enforces the listener’s (participant’s) possibility to experience the world around him or her in a sensorially new way. Simultaneously the thesis argues that the mode of attentive listening in the centre of the design – a technologically mediated attentive listening – empowers a more corporal listening experience, which contributes even further to the participant’s understanding of their own listening capabilities. A deeper understanding that also revolves around the participant’s enactment of a ‘listening self’ through the experience with the design. more...

Kako je već dostatno pokazano, historijski Sokrat se ne razlikuje samo od Platonove figure nego anticipira neke od trans– ili anti– filozofâ poput Wittgensteina, Freuda, Lacana ili Foucaulta. No, kako nastojim pokazati, Sokrat je daleko radikalniji metafilozof ako prihvatimo da je njegova notorna tvrdnja iz Apologije kako “zna da ne zna ništa” derivat autoaplikacije manje poznate negacije teorijskog metaznanja iz dijaloga Harmid, najkontroverznijeg od Platonovih ranih dijaloga. U bliskom čitanju dijaloga i relevantnih filoloških i filozofskih istraživanja (npr. McKim, Kahn), uzimam Sokratovu negaciju teorijskog metaznanja u Harmidu kao uporište za interpretaciju tvrdnje o znanju neznanja kao autoperformativnog jezičnog čina kojim je uopće uspostavljen sâm subjekt filozofije. Iako se javlja kao specifično udvostručen jezični entitet (‘Ja’ kao subjekt iskazivanja i kao aktant univerzalne negacije unutar rečenice), subjekt filozofije nije (kartezijanski) metafizički preostatak opozvanog totaliteta stvari (spoznatih predmeta). Naprotiv, subjekt je akter apsolutne negacije koja nužno obuhvaća samog govornika tako da doslovno izrasta iz ničega ; njegova jedina stvarnost je akt samouspostave a istina samo ono za što jedino može stajati — diskurs istraživanja i neporeciva upetljanost u ono što (ne) zna. more...

In der vorliegenden Examensarbeit geht es um eine eingehende Analyse der Figur des Evangelisten in der Johannes-Passion von J. S. Bach. Mit Hilfe eines interdisziplinären und intermedialen Ansatzes soll der Frage nachgegangen werden, welche Bedeutung er als Erzählfigur für das Werk allgemein und für den Rezipienten im Besonderen hat. Wie wichtig sein Erzählbewusstsein im Hinblick auf ein zunehmend medialisiertes und säkularisiertes Publikum ist, soll dabei ebenso beleuchtet werden, wie die Kraft seiner Performativität - sein Potential als theatrale Figur. Der Blick auf eine aktuelle Inszenierung, in diesem Fall die gestreamte Fassung der Johannes-Passion von Peter Sellars in Zusammenarbeit mit den Berliner Philharmonikern aus dem Jahr 2019 sowie den Libretto-Text des Evangelisten ermöglicht das Untersuchen von Erzählweise, Kommunikationsstrategie und Spielart dieser spannenden und komplexen ErzählerFigur. Der Fokus auf das epische Moment und die strukturell/dramaturgische Bedeutung des Evangelisten ist dabei bewusst gewählt, da sie mir für die praktische Vermittlung und Darstellung des Evangelisten als relevant erscheinen. This degree thesis entails a thorough analysis of the Evangelist-character in the St. John Passion from J. S. Bach. With the help of an interdisciplinary and intermedial approach, the question to be investigated is: which meaning does he have as a narrative figure for the work in general and for the recipient in particular? How important his narrative consciousness is in view of an increasingly medialized and secularized audience should also be illuminated, as well as the power of his performativity - his potential as a theatrical character. The look at a current production, in this case the streamed version of the St. John Passion from Peter Sellars in collaboration with the Berlin Philharmonic from 2019 as well as the libretto of the Evangelist, enables the exploration of narrative style, communication strategy and way of acting of this exciting and complex narrator figure. The focus on the epic moment and the structural/dramaturgical meaning of the Evangelist is deliberately chosen, because I deem them relevant to the practical mediation and presentation of the Evangelist. more...

Cilj ovog rada jeste razmotriti pojmove kôd i jezičko raslojavanje u sklopu analize djela Finnegans Wake Jamesa Joycea i Remainder Toma McCarthyja. Kôd se definira kao prijelaz iz područja mimeze u područje smisla. Analiza polazi od propitivanja žanrovskog određenja djela Finnegans Wake i Remainder, kao i statusa književnih likova u njima. Dokazuje se kako književni likovi u ta dva djela posjeduju “retorički kodiran identitet” i razmatraju se metode kojima je taj identitet postignut te učinci tih metoda. Pokazuje se na koji način je tehnika brikolaža primijenjena u Joyceovom i McCarthyjevom slučaju – te se ta tehnika povezuje sa pojmom koda. U zaključnom dijelu rada objašnjava se način na koji Joyceov i McCarthyjev tekst koriste književni jezik radi autorefleksije koda kojim su napisani. Shodno tome, kôd ostaje unutar područja mimeze (i ne zalazi u područje smisla). U radu se nudi teza o književnom jeziku kao performativu, čime se sugeriše promjena poimanja ontološkog statusa likova u književnom tekstu. more...

Tema je rada novo čitanje i inscenacija Robinje Hanibala Lucića iz 2003. godine, nastala u suradnji Hvarskoga pučkog kazališta i redateljice Ranke Mesarić. U radu se analizira redateljičino čitanje Robinje kao priče o »ljubavnoj odgodi« koja podvlači temu traume i nasilja nad ženom. Rad propituje mogu li se pukim kraćenjem izvornika i pouzdanjem u ljepotu njegova izraza zaliječiti mjesta koja neupitno simboliziraju dominaciju patrijarhalnog i kupoprodajnog diskursa i zbog kojih ženski glas nema priliku posvjedočiti svoju traumu., The subject of this paper is new reading and stage setting of The Slave Girl by Hanibal Lucić in 2003, produced by Hvar Public Theatre and a director Ranka Mesarić. The paper analyzes the director’s reading of The Slave Girl as a story about »love delay« which subsumes the themes of trauma and violence against women. The paper questions whether it is possible by shortening the original script and relying on the beauty of its expression to heal the spots that clearly symbolize the dominance of the patriarchal and trade discourses and due to which the female voice does not have the chance to witness its trauma. Furthermore, it is analyzed whether the setting of the play in Hvar’s ambient, that figures as the surreal homeland refuge, could enable the rehabilitation, i.e. whether the »delay« is indeed the point of contemplation and healing or just an escape from the suppressed trauma. more...

Cilj je rada uputiti na jezične i figuralne mogućnosti koje je iskoristio Ivan Slamnig u pisanju pjesama, s posebnim osvrtom na manipulacije lirskim subjektom. Umjesto da se lirski subjekt proglašava maskom pjesnika Slamniga, kakvim jedinstvenim fikcionalnim humanoidnim govornikom koji u sebi objedinjuje sve manifestacije lirskog subjekta ili pak kodiranim lirskim govorim o izvanjezičnoj (autorovoj, političkoj, kulturnoj itd.) zbilji, ta se analitička kategorija promatra kao figura, učinak jezika. Na podlozi duge lirske tradicije iskazivanja iz pozicije ja, Slamnigovi razni tipovi lirskoga govora i/ili gledanja izazivaju humorističan učinak, potvrđujući takvim „upadom” u pravilan niz Slamnigovih pjesničkih prethodnika da je sâmi niz poredak s pukotinama. Potonja se tvrdnja oslanja na psihoanalitičku argumentaciju Alenke Zupančič, dok teza o dezintegraciji iskazivačkog jastva kod Slamniga ima dva argumentacijska uporišta: s jedne strane, citatna teorija performativa Judith Butler naglasak stavlja na ponovljivost i kontingenciju svakoga govornog čina; s druge strane, polifonijska teorija iskazivanja Oswalda Ducrota luči empirijskog autora, govornika i iskazivača, sugerirajući da je svakom jezičnom iskazu imanentna polifonija., In this paper, the lyric subject of the Croatian poet Ivan Slamnig is analyzed with an underlining idea that his modernist poetics is characterized by disintegration of the enunciating self. This premise goes agianst the grain of dominant and/or more traditional approaches to Slamnig’s poetry, which have shared the assumption that the enounced of the poem has more value or authority in determining the meaning of the poem. This reductionist view has taken two distinct forms (albeit not different in kind): the lyric subject is either a human-like fictional speaker or a mask taken on by the author. Relying on the performative citational theory of Judith Butler and polyphonic theory of enunciation of Oswald Ducrot, the author demonstrates how the lyric subject is being subverted both on the levels of enunciation and the enounced. The enounced is always-already framed or produced by its enunciation. The split within the lyric subject itself, in most cases achieved by humor, reveals the purported anthropomorphic enunciating instance to be an effect of the poem, rather than the mask of its poet, or a single unique fictional character, or a secret codified speech on contextual reality. Psychoanalytic perspective of Alenka Zupančič is in this sense particularly instructive since it explains how humor breaks the illusion of wholeness and uniqness of the Symbolic order. By inserting an “odd-one” in the tradition of lyric subjects, i.e. a volatile subject with crazy-making or drunken behaviour, or an infantile observer and/or an invalidated speaking subject in any other way, shape or form – Slamnig demonstrated how this analytical category is being speech-produced, rather than speech-producing. The latter corresponds to Austin’s speech act theory main idea – that language is performative, rather than constative, which is crucial for understanding how Slamnig’s poetry performs within what has received from without. more...

Jag visade min då nya installation ”I wrote pen” för en klasskamrat som reagerade med en påminnelse om att jag har rätt att vara självsäker. Att jag borde vara försiktig med att ursäkta mina verk i och med att jag är kvinna. Jag sa att min inre konflikt var ett material och inte en ursäkt. Hon blev rädd att hon varit för hård. Jag fick dåligt samvete för att jag fick henne tro att hon varit för hård. more...

Diplomski rad je rezultat analiziranja brojnih performansa, te istraživanja i uspoređivanja dostupne literature na uskom području performativne umjetnosti od razdoblja futurizma do danas. Razvoj performansa može se promatrati kroz tri etape, avangardni, neoavangardni i postavangardni performans. Sam predmet i tema ovog diplomskog rada je kostim u službi performansa, njegov razvoj, utjecaj, značenje i djelovanje u performansu. Cilj je bio sustavno i pregledno prikazati razvoj performansa kroz spomenuta razdoblja i učinke kostima u ovoj vrsti umjetnosti. S druge strane, cilj rada bio je i odmaknuti kostim od kazališne umjetnosti te prikazati njegov značaj i djelovanje na drugim područjima. Kostim u performansu ponekad postaje svrha performansa te on proizvodi sadržaj. Kada on pripada predstavi, kazališnoj ili performativnoj izvedbi, cilj mu je prenijeti snažnu emocionalnu poruku i sadržaj izvedbe. Revolucionarnost kostima u razdoblju futurizma, dadaizma i nadrealizma, njihova avangardnost i buntovni izričaj, fenomeni su koje smatram nedovoljno istraženim u literaturi, a koji po mojem mišljenju zaslužuju veću pozornost i daju širok prostor za istraživanje. Spajanje dviju naizgled nespojivih grana znanosti i umjetnosti inspiriralo me da se ovoj problematici dublje posvetim te je pobudilo u meni kreativnost i ideju za stvaranjem performativnog kostima, čime sam se bavila u praktičnom dijelu rada. more...

A TALK ABOUT ROLES IN A SETTING (2015) is a performative work by the artist Johan Lundin. A choreographed presentation is performed for 12 participants in a scenography describing public and private environments. The production process and performance of the work is describing how roles and circumstances change when an environment is observed through a perspective where fiction is allowed to be used as methodology to engineer new reality images. Through the terms role and setting this publication is focusing on describing how the visual image of the body and its movement has an influence on how identity and gender is constantly formed in relation to the place's historical, social and cultural contexts. A TALK ABOUT ROLES IN A SETTING (2015) är ett performativt verk av konstnären Johan Lundin. En koreograferad presentation framförs för 12 deltagare i en scenografi som beskriver offentliga och privata miljöer. Verkets process och framförande skildrar hur roller och förutsättningar ändras när en miljö observeras genom ett perspektiv där fiktion tillåts användas som metodik för att iscensätta nya verklighetsbilder. Genom termerna roll och setting sätts i den här publikationen fokus vid att beskriva hur den visuella bilden av kroppen och dess rörelse har inflytande för hur identitet och genus ständigt formas i relation till platsers historiska, sociala och kulturella sammanhang. ISBN: 978-91-982605-0-2 (Print) ISBN: 978-91-982605-1-9 (Digital) Print / Tryck: Johan Lundin, Stockholm, 2015 more...

Tema for oppgaven er lov- og forvaltningspraksis på 1800-tallet som regulerte framføringen av visse typer kunstneriske aktiviteter i det offentlige rom i Norge. I utgangspunktet gjaldt fortsatt et forbud fra 1738 mot komediespillere, linedansere og taskenspillere. På 1800-tallet omfattet dette alle inntektsgivende framføringer som skuespill og ballett. Loven ble presisert og revidert i 1828 og 1847, og endret i 1875 ved at retten til å framføre forestillinger i praksis ble sluppet i det fri. Det var mulig å søke om dispensasjon for å omgå forbudet. Justisdepartementet behandlet de fleste av disse søknadene. I oppgaven undersøker jeg hvem som fikk tillatelse, hva som var ønskelig og akseptabelt å framføre og hvor slik aktivitet kunne foregå. Jeg vil se på om det var forvaltningspraksis og andre særlige behov som drev fram endringene i lovverket og redegjøre for lovforarbeidene og debatten i Stortinget i årene før ny lov ble endelig sanksjonert i 1875. Ved å ha forvaltningspraksis som hovedperspektiv for oppgaven, er det mulig å få oversikt over alle de ulike kunstneriske aktivitetene som var omfattet av lovgivningen, og hvilke konsekvenser dette fikk for både artister og de enkelte kunstuttrykk. Det å behandle hele det kunstneriske feltet samlet og vurdere lovendringene i sammenheng med forvaltningspraksis, er en ny tilnærming i forhold til hva som er gjort av tidligere forskning. more...

The diploma thesis examines the role of convention in J. L. Austin's speech act theory. It describes the possibility of "how to do things with words": such an analysis of language will be suggested that does not focus on the category of truth when dealing with particular utterances but rather replaces it with the category of felicity of a speech act in the social context. After having offered the explication including the central points of the given theory, there starts the investigation of which parts of the speech act theory are conventionally based and what role do conventions play in the speech act theory as a whole. more...

This thesis deals with the theory of speech acts which is based mainly on analysis of speech and its function in communication. We use speech not only to convey something but to also do something, to change the state of things around us and to accomplish specific goals. Speech acts in a literary piece are then analyzed on theoretical basis, specifically in Milan Kundera's dramatic play Majitelé klíčů. more...

Denne oppgaven er en analyse av Kjersti Annesdatter Skomsvolds selvbiografiske roman Monstermenneske (2012). Romanen handler om Kjersti, som er hardt rammet av sykdommen ME. Sykdommen innskrenker hennes handlingsrom dramatisk og skader både identiteten og stemmen hennes. I stedet for å se seg selv som et menneske, identifiserer hun seg fullstendig med sykdommen og kaller seg selv for et monstermenneske. For å helbrede sin egen stemme og sin egen identitet begynner hun å skrive. Eller som hun selv sier det, hun begynner å skrive for å bli et menneske igjen. I ananlysen utforsker jeg forholdet mellom sykdom, skrift og identitet i romanen. Samtidig ser jeg på hvordan Kjersti utforsker og utvikler ulike aspekter ved sin egen identitet, henholdvis det medisinske, det estetiske og det eksistensielle aspektet ved identiteten, og hvordan hun søker å forene disse aspektene i én selvidentitet. I analysen tar jeg utgangspunkt i Anthony Giddens (1996) identitetsbegrep, hvor identitet blir forstått som den selvfortellingen vi har om oss selv. Individets stemme er med andre ord avgjørende for selvidentiteten. Videre går jeg inn på fagfeltet humanistisk sykdomsforskning og ser på begreper som kan belyse Kjerstis sykdomsfortelling. Arthur Frank (2013) beskriver sykdom som en «quest» i form av en reise den syke må dra ut på. Når sykdommen inntreffer, skades den sykes stemme, og det er vesentlig å helbrede stemmen for å kunne leve med sykdommen – og aller helst bli frisk igjen. Susan Sontag (2010) skriver om metaforene vi bruker for å omtale sykdom, og hvordan disse metaforene er med på å skape myter om sykdom og syke mennesker. Hun beskriver det å bli syk, som å tvinges til å emigrere til de sykes rike. Ved hjelp av denne teorien ser jeg på hvordan hovedpersonens identitet går fra å være skadet av sykdommen, til å revideres og rehabiliteres gjennom skriften. Forfatterens identitetsrevisjon foregår på flere plan, og kommer til uttrykk i språket hun bruker og i relasjonene hun har til andre mennesker. Som en bonus blir hovedpersonen fysisk friskmeldt parallelt med at hun helbreder selvidentiteten sin, og til sist ser hun seg selv som et menneske igjen. more...

This research paper offers a comparison of the concepts of language as action presented by J. Derrida and L.Wittgenstein, including the concept of „performative” by J.L. Austin. The conclusion is that they maintain a non-representational character of language. Relationship between sign and referent is arbitrary and signs can not have a direct reference to independent objects; rather they produce meaning through relationships with other signers. In social practice, through the use of „language games”, meaning can be stabilized and systematised by the habitual use of signs; however, this stabilization of meaning is always provisional. Regardless of the differences in the approaches by Wittgenstein and Derrida, in the end is turns out that their mutual similarities are more important. The concept of language derived from their theories has a significant role in the understanding of self and identity, which leads to a discursive-performative conception of the formation of identity. Also, some common arguments and theoretical apparatus by Wittgenstein and Derrida may contribute to a new way of thinking about democratic politics. more...

Polazeći od pretpostavke o performativnom statusu identiteta koji se konstruira u procesu igranja uloge, odnosno preuzimanja obrazine, u radu se analiziraju postupci pomoću kojih se formiraju pojedini karakteri (kao književni likovi i kao nositelji socijalnih uloga). Nastoji se otkriti načine na koje se u mogućem svijetu književnoga djela ponavljanim činovima formiraju prepoznatljivi identitetski obrasci, odnosno strategije koje mogu proizvesti društveno prihvaćena značenja. more...

Blagoslov je kulturna ili obredna riječ ili niz riječi kojima se izriče zaštita ili se zaziva pomoć božanstva za moć plodnosti i života, za materijalno obilje i društveni položaj itd. Blagoslovi se uvelike razlikuju jedan od drugih, ovisno o svojoj namjeni, kontekstu u kojemu se nalaze i ovisno o tome tko ih udjeljuje. Mogu se promatrati kao dio liturgije, kao dio pučke književnosti i kao performativi. more...

Pričujoči članek skuša s pomočjo analize eseja Rudija Šeliga Za magijsko gledališče razjasniti avtorjevo teoretično stališče do pojma dramskega predstavljanja oziroma njegov odziv na sodobna premišljevanja o naravi reprezentacije, predvsem v kontekstu preobrata od mimetičnega k performativnemu razumevanju. V skladu s cilji je v analizi prikazano Šeligovo razumevanje pojmov, kot so jezik in mimezis, avtorjev odnos do proznega in dramskega ter besedila in predstave. Through an analysis Rudi Šeligo's essay For a Magical Theatre this paper attempts to explain the author's theoretical view of dramatic representation and his response to contemporary thought on the nature of representation, especially in the context of the turn from mimetic to performative understanding. The analysis attempts to illustrate Šeligo's understanding of concepts such as language and mimesis, the author's relation to prose and dramatic text, and his interpretation of the difference between text and theatrical performance. more...

Knjiga Ime i identitet u književnoj teoriji polazi od različitih konfiguracija u kojima se dodiruju ime i identitet, ponajprije u književnoj teoriji, ali i u filozofiji, psihoanalizi, kulturalnim i postmarksističkim teorijama. Iz tog ishodišta, knjiga se grana i kritički obaseže pitanje identiteta koje je obilježilo recentne rasprave o rodnoj, rasnoj, seksualnoj i etničkoj problematici u najšire shvaćenoj teoriji kulture. Stoga ova studija predstavlja domišljen i poticajan doprinos interdisciplinarnim istraživanjima, i zapravo je model za tekstove kakvi bi trebali biti okosnica suvremene književne teorije u Hrvatskoj. Obuhvaća, među ostalim, precizne kritičke opise spomenutih konfiguracija u tekstovima autora poput Johna Stuarta Milla, Gottloba Fregea, Johna Langshawa Austina, Ludwiga Wittgensteina, Jacquesa Derride, Jacquesa Lacana, Michela Foucaulta, Berttranda Russella, Johna Searlea, Judith Butler, Slavoja Žižeka, Chantal Mouffe i Ernesta Laclaua. Tako postavljena knjiga je obuhvatan prikaz mjesta i funkcije imena i imenovanja u književnoj i kritičkoj teoriji u dvadesetom stoljeću, ali se istodobno čita i kao njihova široko zamišljena kulturna povijest. more...

Various attempts to historicize contemporary Slovene drama have doubtlessly neglected one of the important features of the Slovene absurd drama, i.e., its significance in the deconstruction of the so-called literary or drama theatre and in the manifestation of the performative turn (Fischer-Lichte) at the turn of the 1970s. Using the analysis of poetics of Peter Božič, Dušan Jovanovič, Milan Jesih, and Rudi Šeligo, the present study attempts to illustrate this seemingly paradoxical characteristic of the Slovene drama ob absurdity and absurd drama, which led to one of the gratest aesthetic revolutions (Ranciere) in Slovene art and culture after World War II._ V raznolikih poskusih zgodovinjenja slovenske sodobne drame nesporno ostaja ob strani ena izmed pomembnih lastnosti slvoenske absurdne drame, namreč njenpomen pri dekonstrukciji t. i. literarnega oziroma dramskega gledališča ter udejanjitvi performativnega obrata (Fischer-Lichte) na prelomu iz šestdesetih v sedemdeseta leta prejšnjega stoletja. Pričujoča razprava s pomočjo analize lastnosti poetik Petra Božiča, Dušana Jovanovića, Milana Jesiha in Rudija Šelige skuša prikazati prav to na videz paradoksalno lastnost slovenske drame absurda in absurdne drame, ki je privedla do ene največjih estetskih revolucij (Ranciere) v slovenski umetnosti in kulturi po drugi svetovni vojni. more...

Introduced by a philosophical overview and briefly from the point of view of social sciences, mainly represented by Moessinger, the main part of the paper is a psychological presentation of self and identity. The presentation is focused primarily on human individual identity. The concept of individual identity, as comprehended today in the West, is the fruit of a long development of understanding of the human person from Augustine, the Reformation, the Enlightenment; and, later on, from Erikson, Freud, Moessinger, Dubar, Martin, Parfit, Guindon and others presented in the paper. However, according to Guindon, human identity is understood as a totality of physical, performing, individual, psychosexual and psychosocial identities. In this paper we are going to focus particularly on each facet of self-identity as presented in Guindon’s system., Uvodno s filozofskim pregledom, i ukratko s aspekta društvenih znanosti predstavljenih uglavnom kroz Moessingerovo djelo, glavni dio ovog rada je psihološki osvrt na sebstvo i identitet. Fokus je primarno stavljen na čovjekov individualni identitet. Pojam individualnog identiteta, kako ga se danas shvaća na Zapadu, plod je dugog razvoja razumijevanja ljudske osobe od Augustina preko reformacije, prosvjetiteljstva, Eriksona, Freuda, Moesingera, Dubara, Guindona i drugih o kojima će biti riječ u radu. Međutim, prema Guindonu, ljudski identitet se shvaća kao ukupnost fizičkih, performativnih, individualnih, psihoseksualnih i psihosocijalnih identiteta. U ovom radu ćemo se fokusirati na svaki aspekt identiteta sebstva kako su predstavljeni u Guindonovom sustavu., Introduite par un aperçu philosophique, et brièvement du point de vue des sciences humaines, essentiellement représentées par Moessinger, la partie prinicipale de cet article est une présentation psychologique du soi et de l’identité. Le focus est mis sur l’identité individuelle de l’homme. La notion d’identité individuelle, telle qu’elle est entendue aujourd’hui en Occident, est le fruit d’une longue évolution de la compréhension de la personne humaine, depuis Augustin en passant par la Réforme, les Lumières, Erikson, Freud, Moessinger, Dubar, Guindon et d’autres, qui seront évoqués cet article. Cependant, selon Guindon, l’identité humaine est comprise comme totalité d’identités physiques, d’exécutant, psychosexuelles et psychosociales. Dans cet article, nous nous concentrerons en particulier sur chaque facette de l’identité de soi telle qu’elle sont présentées dans le système de Guindon., Eingeleitet mit einem philosophischen Überblick und gerafft vom Standpunkt der Sozialwissenschaften aus - hauptsächlich vonseiten Moesingers geschildert - fungiert der Hauptteil dieses Papers als eine psychologische Rückschau auf das Selbst und die Identität. Der Fokus wurde vorrangig gelegt auf die menschliche individuelle Identität. Der Begriff der individuellen Identität, wie man ihn heutzutage im Westen ausdeutet, entstand als Frucht einer dauerhaften Auffassungsentwicklung bezüglich der menschlichen Person, seit Augustinus über die Reformation, Aufklärung, Erikson, Freud, Moesinger, Dubar, Guindon und die Übrigen aus dieser Arbeit. Laut Guindon wird jedoch die menschliche Identität ausgelegt als Gesamtheit physischer, performativer, individueller, psychosexueller sowie psychosozialer Identitäten. In dem Artikel vertiefen wir uns im Besonderen in jedweden Gesichtspunkt der Selbstidentität, wie in Guindons System interpretiert. more...

Psihoanalitička situacija je pretežno govorna relacija, govorni događaj. Govorna komunikacija je nesvodiva na domen semantičkog. Govoriti ne znači samo saopštavati. Govor može imati konkretne efekte. U psihoanalitičkoj situaciji, kao i u svakoj govornoj relaciji, slušalac je je izložen efektima prozodije i značenjskim efektima reči. Kod primitivnih mentalnih organizacija nemogućnost semiotizacije unutrašnjih stanja dovodi do specifičnog prodora prozodijskih elemenata u govor subjekta. Ovi akustički elementi koji mogu biti u funkciji evokacije rudimentrano mentalizovanih, bezimenih, nesemiotizovana unutrašnja stanja, potencijalno mogu imati efekat na recipijenta. Prilikom tumačenja, kako u radu sa primitivnim mentalnim organizacijama, tako i u radu sa neurotičnim pacijentima, nužno je imati u vidu performativno dejstvo govora. Diskurs karakterističan za transfernu situaciju može biti oblikovan tako da proizvede želju i prikrije perzistentan manjak u biću. Smisao diskursa tada primarno ne leži u kazivanju, koliko u višku iskazivanja, performativnim efektima reči. Treba imati na umu da smisao govora analiziranog nikada nije u potpunosti uhvatljiv za analitičara, da uvek negde beži, izmiče. Kada se govor pacijenta opire tumačenju, u analitički proces se može uplesti analitičareva želja za znanjem, koja je u funkciji užitka. To dalje može usloviti zastoj u analitičkom procesu. Uspešan ishod analize treba da dovede do de-idealizacije analitičara kao subjekta za koga se pretpostavlja da zna. Psychoanalytical situation is mainly speech relation, a speech event. Speech communication cannot be reduced to semantic domain. To speak is not solely to say. Speech can have concrete effects. In psychoanalytical situation, as in any speech relation, listener is exposed to both prosodic effects and effects of words. At primitive mental organizations, inability of semiotization of inner states leads to specific intrusion of prosodic elements in subject's speech. These acoustic elements, which can be in function of evocation of rudimentary metalized, unnamed, non-semiotized inner states, can, potentionaly, have effect on recipient. In interpretation, whether working with patients with primitive mental organizations or with neurotics, it is necessary to have in view these performative effects of speech. Discourse characteristic for transfer situation can be shaped in such a way to produce desire and hide persistent lack in being. The discourse's meaning than does not lie primarily in speech as in excess of saying, in pereformative effects of words. It should be kept in mind that the meaning of patients speech never unfolds fully for the analyst, that it slips through, fiddles away... When patient's speech resists interpretation, analyst's desire for knowledge can interfere in analytical process thus leading to its impasse. Successful outcome of analysis should lead to de-idealization of analyst as subject who is supposed to know. more...

Straipsnyje analizuojami tekstai, kuriuos respondentai pateikė kaip kalbinę reakciją į atsiprašymo situaciją, kai mokytojas laiku negrąžina ištaisyto kontrolinio darbo, t. y. adresantas neatlieka veiksmo, kurį pats buvo įsipareigojęs atlikti. Padaryta žala nemateriali, nedidelė. Dalyvių santykiai vertikalūs, nelygiaverčiai: juos skiria socialinė distancija (amžius, išsilavinimas) bei situacinis statusas. Veiksmas vyksta viešoje erdvėje. Analizuojami 738 atsakymai (145 kalbinės elgsenos variantai). 441 atsakymas rodo, kad situacija suprantama kaip atsiprašymas. Tai tekstai, kuriuose: 1) atsiprašoma dėl susidariusios padėties; 2) prisipažįstama suklydus; 3) teisinamasi; 4) pažadama. 297 respondentai šios situacijos nelaiko reikalaujančia atsiprašymo. Šie tekstai: 1) tik įvardija pačią situaciją ir nurodo, kad įsipareigojimas nukeliamas vėlesniam laikui; 2) situaciją apskritai ignoruoja; 3) kaltę perkelia adresatui. Čia svarbiausiais laikomi tekstai, eksplikuojantys ar implikuojantys atsiprašymą. Eksplicitinė raiška įvairiomis veiksmažodžio atsiprašyti formomis rasta 281 atsakyme (39 skirtingi tekstai). Implicitiškai atsiprašymas reiškiamas veiksmažodžiais atleiskit (31 ats.; 12 tekst.), nepykit (13 ats., 6 tekst.), dovanokit (3 ats., 2 tekst.). 5 tekstuose išreikštas savo klaidos pripažinimas, 57 atsakymai (15 tekst.) rodo teisinimąsi. Atsiprašymą ignoruojančiuose tekstuose dominuoja pažadai (55 ats., 13 tekst.), situacijos ignoravimas (18 ats., 4 t.), kaltės perkėlimas mokiniams (12 ats., 7 t.). The present article analyses respondents' texts that were proposed as linguistic response to the apology situation when a teacher does not return corrected tests, i.e. an addresser does not perform activity, which was undertaken as obligation by himself/herself. Damage is immaterial, insignificant. Members' relations are vertical, one-sided: they are different by their social distance (age, education) and situational status. Action takes place in public space. 738 answers are being analyzed (145 variants of linguistic behavior). 441 answer shows that situation is understood as apology. These are the following texts: 1) apology due to existing/current situation; 2) mistake is recognized; 3) stand on defensive; 4) promise is made. 297 respondents do not treat this situation as requiring of apology. These are the following texts: 1) the situation is simply named and it is indicate that obligation is postponed; 2) the situation is ignored; 3) the fault is transferred to the addressee. Here, the texts with explicated and implicated apology are the most important ones. Explicit expression in different verb atsiprašau (describe) forms was evident in 281 answer (39 texts). Implicit description is expressed via verbs atleiskit (excuse me) (31 answer; 12 texts), nepykit (don't be mad on me) (13 answers, 6 texts), dovanokit (forgive me) (3 answers, 2 texts). In 5 texts confession of guilt is expressed, 57 answers indicate standing on the defense (15 texts). Promises dominate in texts ignoring apology (55 answers, 13 texts), ignore of the situation (18 answers, 4 texts), the fault transfer to pupils (12 answers, 7 texts). more...

Erst vor Kurzem habe ich meine performative ("kreative") Doktorarbeit an der School of Creative Communication (mittlerweile Faculty of Design and Creative Practice) der University of Canberra (Australien) abgeschlossen, an der solche Arbeiten erst seit 2002 möglich sind. Seit ich die Arbeit 2006 abgegeben habe, denke ich über einige Dinge nach, die im Laufe des dreieinhalbjährigen Forschungsprozesses meine Aufmerksamkeit erregt haben. Im Verlauf meines Kontakts mit anderen Promovierenden und Kolleg/innen von drei englischen Universitäten wurde mir dann nach und nach klar, dass viele der Probleme, die sie erlebt haben, meinen eigenen ähnelten und insoweit nicht einfach der innovativen Phase des eigenen Arbeitens geschuldet sind/waren, sondern Teil eines weitergehenden Szenarios zu sein scheinen. An meiner eigenen Universität beinhalten die Anforderungen an eine "kreative Doktorarbeit" eine "kreative" Komponente (ein Äquivalent von ca. 60.000 Worten) und eine theoretische Komponente ("Exegese") von ca. 30.000 Worten. Der materielle Output meiner Arbeit (http://erl.canberra.edu.au/public/adt-AUC20070510.151236/index.html) besteht aus zwei Bänden: Einer, Tissue, ist autobiografisch und befasst sich mit dem Zusammenhang von Autobiografie, Gedächtnis und Identität. Der andere, Re-Picturing My Life, umfasst die theoretische Komponente, indem ich mich mit unterschiedlichen Paradigmen befasst und beispielsweise auch Fragen der Methodologie, der Bedeutung von Kunst als/in der Forschung sowie Theorien zu Gedächtnis, Identität, Autobiografie und zu menschlichen Interaktionen mit Objekten behandelt habe. In diesem Beitrag präsentiere ich einige Text- und Bildauszüge, um eine Vorstellung von meiner Doktorarbeit zu geben. Und ich reflektiere die Besonderheiten eines performativen Ansatzes im Kontext akademischer Forschung – die Ausdauer, Bestimmtheit und der Humor, die erforderlich sind, um in dieser ehrenvollen Umgebung eine Doktorarbeit erfolgreich abschließen zu können. URN: urn:nbn:de:0114-fqs0802451, 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. URN: urn:nbn:de:0114-fqs0802451, Recientemente concluí un doctorado performativo (creativo) en la Escuela de Comunicación Creativa (ahora Facultad de Diseño y Práctica Creativa) de la Universidad de Camberra, Australia, donde doctorados de este tipo se establecieron en el 2002. Desde que lo terminé en 2006, he estado considerando algunas de las cuestiones de proceso que surgieron durante los tres años y medio que duraron mis estudios. Consultando con otros estudiantes y colegas de tres universidades inglesas, descubrí que muchos de los problemas que encontraron eran similares y por tanto no debidos únicamente a la fase innovadora con la que me tropecé, sino que eran parte de un escenario más amplio. En mi Universidad, los requisitos de un doctorado creativo son un componente creativo (equivalente a unas 60.000 palabras) y un componente teórico (exégesis) de unas 30.000 palabras. El resultado palpable de mi tesis se compone de dos libros de artista: el primero, Pañuelo, que es autobiográfico, y cuestiona la naturaleza de la autobiografía, la memoria y la identidad. El segundo, Re-imaginando mi vida, es el componente teórico, examinando varios paradigmas incluyendo temas de metodología, el valor del arte como investigación, teorías de la memoria, de la identidad, autobiografía, e interacciones humanas con objetos. He puesto algo de mi texto/imágenes en este artículo para proveer una muestra del trabajo realizado en mi tesis. Mi artículo reflexiona sobre el trabajo performativo en el contexto de la investigación académica, y la resistencia, determinación y sentido del humor necesarios para completar exitosamente un doctorado en esta valiosa área de trabajo. URN: urn:nbn:de:0114-fqs0802451 more...

In diesem Beitrag wird ein Film vorgestellt, für den Videos genutzt wurden, um die Antworten von Interviewten auf zwei Fragen zu dokumentieren, zu denen populärwissenschaftliche Bilder gezeigt und Statements über "den guten Lehrer" angeboten wurden. Die Fragen waren: 1. Können Sie sich aus ihrer eigenen Grundschulzeit an einen Lehrer oder eine Lehrerin erinnern, den oder die Sie als tatsächlich gut erlebten/in Erinnerung haben? 2. Was genau lässt Sie zur Überzeugung kommen, dass es sich um eine gute Lehrerin bzw. einen guten Lehrer handelte? Zusätzlich wurden in einigen Interviews weitere Fragen gestellt oder Anregungen gegeben, um den oder die Interviewte zu ermutigen, ausführlicher zu erzählen. Ich lehne mich dabei an TRINH T. Minh-ha (1992, S.144) an: "storytelling is an ongoing field of exploration in all of my works". Im Verlaufe der Interviews wurden interpretative Schwerpunkte sichtbar, um die herum sich die Wahrnehmung "des guten Lehrers" formierte. Dabei handelte es sich teilweise um individuelle Attribute wie "freundlich", "geduldig", "leidenschaftlich", "ruhig", "respektvoll", "beständig", "verständnisvoll" oder "ermutigend", die mit der Idee einer "persönlichen Beziehung" zum Lehrer oder zu der Lehrerin einhergingen. In anderen Fällen waren geteilte (Lehr-/Lern-) Erfahrungen wesentlich. In dem Dokumentarfilm werden diese Erzählungen über "den guten Lehrer" zusammen mit Aufnahmen aus Spielfilmen gezeigt. Die Begriffe "gut" bzw. "der gute Lehrer" wurden bewusst nicht definiert durch die Interviewenden oder von den Interviewten erfragt. Sie werden erst in dem Dokumentarfilm durch die jeweils erzählte Geschichte des oder der Interviewten und die gezeigten Spielfilmausschnitte präzisiert. URN: urn:nbn:de:0114-fqs0802415, The work is in a documentary film format utilizing digital video through computer software that presents the interviewees' responses to two questions juxtaposed with images and statements of "a good teacher" from popular culture. The two questions are: 1. Can you recall a primary or elementary teacher whom you had that you thought was a good teacher? 2. What was it about her/him that made you think she/he was a good teacher? However, in some of the interviews the interviewer utilizes other questions and/or prompts in order to encourage the participant to expand or elaborate within her/his story. Like TRINH T. Minh-ha (1992) "storytelling is an ongoing field of exploration in all of my works" (p.144). Through the interviews interpretive themes emerge around the notion of who is/what makes a good teacher. Some of the themes suggest personal characteristics such as "kindness," "patient," "passionate," "calm," "respect," "firm," "understanding" and "encouraging" that entwine with an idea of "personal connection" with the teacher. Other themes suggest shared experience and teaching attributes. These themes are presented with the images of good teachers from popular films. The notion of "good" and "good teacher" are purposefully not demarcated or defined by the interviewer or asked of the participants. This term is implicitly defined in the stories shared by each of the participants and the stories of the teacher films. URN: urn:nbn:de:0114-fqs0802415, La obra está en formato de documental, usando video digital a través de un programa informático que presenta las respuestas de los entrevistados a dos preguntas, yuxtapuestas con imágenes y enunciados de lo que es "un buen profesor" en la cultura popular. Las dos preguntas son: 1. ¿Te acuerdas de algún/a profesor/a tuyo/a de primaria del que pensabas que era un/a buen/a profesor/a? 2. ¿Qué era lo que hacia que el o ella fuera buen/a profesor/a? Sin embargo, en algunas de las entrevistas el entrevistador usa otras preguntas y/o indicaciones con el objeto de animar al participante a ampliar o explicar detalladamente su relato. Como TRINH T. Minh-ha (1992) "relatar historias es un área de exploración presente en todos mis trabajos "(p.144). A través de las entrevistas emergen temas interpretativos alrededor de la noción de quién es/qué hace un buen profesor. Algunos de los temas sugieren características personales como "amabilidad", "paciencia", "pasión", "calma", "respeto", "firmeza", "comprensivo" e "alentador", que se entrelazan con la idea de "conexión personal" con el profesor. Otros temas sugieren experiencia compartida y cualidades para la enseñanza. Estos temas se presentan con las imágenes de buenos profesores provenientes de películas populares. La noción de "bueno" y de "buen profesor" no ha sido limitada o definida a propósito por el entrevistador, o preguntada directamente a los participantes. Este término es definido implícitamente por los relatos compartidos por cada uno de los participantes y las historias de las películas de profesores. URN: urn:nbn:de:0114-fqs0802415 more...

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. URN: urn:nbn:de:0114-fqs0802451, Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, Vol 9, No 2 (2008): Performative Social Science more...