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Copyright of Letonica is the property of University of Latvia, Institute of Literature, Folklore & Art 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.)

Artistic Research is a contemporary phenomenon that broadly refers to rigorous and systematic research undertaken in academic contexts by arts practitioners on their own creative processes and artistic products. As a field in continual emergence, evolution, and expansion, artistic research encourages a self-reflexive approach towards its own methods and outcomes. While artistic research in music performance is by now a well-established area, its connections with the discipline of music theory have so far not been explored in any significant detail. This article aims to take some initial steps towards investigating the relationships between these two ways of researching and knowing music. The discussion emphasizes points of tension as well as agreement, and promotes a view of artistic research in music performance as providing a robust broadening and bolstering of contemporary music theoretical activity. Künstlerische Forschung ist ein zeitgenössisches Phänomen, das sich auf gründliche und systematische Forschung im akademischen Kontext stützt, bei der praktizierende Künstler*innen ihre eigenen kreativen Prozesse und künstlerischen Produkte beforschen. Als ein sich fortlaufend in Entstehung, Entwicklung und Erweiterung befindliches Feld befördert Künstlerische Forschung einen selbstreflexiven Zugang zu den jeweiligen Methoden und Ergebnissen. Während Künstlerische Forschung in Bezug auf musikalische Interpetation bereits ein etabliertes Gebiet ist, sind ihre Verbindungen mit der Disziplin Musiktheorie bisher noch nicht detailliert untersucht worden. Dieser Artikel zielt darauf ab, die Beziehungen zwischen diesen beiden Arten des Erforschens und Wissens von Musik abzustecken. Die Diskussion hebt dabei sowohl Spannungsmomente als auch Übereinstimmungen hervor und vertritt eine Sichtweise von Künstlerischer Forschung im Bereich musikalische Interpretation, die eine tragfähige Erweiterung und Unterstützung von gegenwärtiger musiktheoretischer Praxis bietet.

The topic of this article is posthumanism and postsecular spirituality in performance art, shown on the example of Teresa Murak's work The Grain. I wish to show that nowadays performance may play the role of a non-dogmatic ritual which evokes discourse that sanctifies matter. I take the position that, contemporarily, this idea is visible in posthumanism, which -- according to Rosi Braidotti -- often reaches for reflections of a spiritualistic character and, thanks to them, moves to a postsecular position. Posthumanism abolishes anthropocentrism and, in a spiritual way, turns to the equality of all beings, therefore becoming a postmodern form of mysticism. In Ewa Domańska's works there is the definition of the performative turn, which is a new and extremely popular paradigm in cultural studies. The performative turn clearly reflects the theses of posthumanism and can be used as an optic to understand this phenomenon. I put forward the thesis that if, according to Domańska, performance is connected with posthumanism -- and Braidotti shows that posthumanism may be postsecular -- this may indicate the existence of postsecular posthumanism within the performative turn. Therefore, I consider which qualities in performance may prove the existence of the tendency to celebrate nature in the manner of rituals. First of all, I contemplate being rooted in one's body and turning it into a medium for contact with the non-human Other through interactive approaches. Furthermore, I wish to show that the determinants of this new paradigm's art are its potential for intervention, its publicistic tone, and its impact on reality. All the above considerations are finalised with an analysis of Teresa Murak's The Grain. This is a performance from the land-art trend in which the artist submerges herself naked in a tub filled with water and watercress seeds. I wish to propose an interpretation which shows that this work reveals the hallmarks of postsecular ritual. [ABSTRACT FROM AUTHOR]

The audience is an important part of videography, but its role tends to be seen as passive and unengaged. The audience's experience is often guided in videography, with intended reaction made clear. Yet such an approach to the audience does not make use of the possibilities of videography for inciting active interaction and incorporating multiple interpretations. Previous research has suggested that videography has potential for interventional influence on audiences by taking on the performative turn in research. Developing more deeply the notions of performance and performativity in the context of videography, this paper proposes that one way to activate audiences, interact directly with them and engage them in meaning-making is to approach videography as performance. To provide practical suggestions for creating such performance, the paper contextualises videography as a recording medium, thus establishing its ontological position and ties to other media. [ABSTRACT FROM AUTHOR]

The article examines the opinions of Sergei Witte, one of the first Russian public politicians and one of the most influential officials of the turn of the 19th–20th centuries, on the transformation of the Russian autocracy. The Memoirs of Sergei Witte as well as documents from his personal fonds stored in the Russian State Historical Archive (RGIA) constitute the source basis of the research. The interdisciplinary research paradigm of the performative turn was adopted as the methodological basis of the research. S. Witte’s views on the process of transformation of autocracy are considered through the prism of the following scientific categories: the image of power, scenario of power, authoritative discourse, political myth, performative shift, the principle of outsideness. The analysis of the historiography presented in the article allows us to justify the relevance of the performative approach to the study of Russia’s historical realities in the late 19th – early 20th centuries. Special attention is paid to the personal characteristics of the last two Russian emperors, which were given by Sergei Witte in the pages of his Memoirs and became an important part of Witte’s representation of the process of evolution of the institution of autocracy in Russia in the pre-revolutionary period. Of considerable academic interest are his substantial “portraits” of Russian political parties at the time of their institutional design and programmatic self-identification. Interesting nuances of Sergei Witte’s resignation presented by him in the extremely subjective optics of perception remain of high relevance for the analysis of various materials on the subject. The final part of the article draws conclusions about the content and elements of the concept of transformation of autocracy and describes the influence of new political institutions on that transformation in socio-political situation which had been changing.

– In this paper, the so-called Crisis of Representation is discussed as a hallmark of Western Theatre and Modernity. The key hypothesis of overcoming such a crisis is investigated through the emergence of a performative turn, in which performance is understood in a broader sense derived from Performance Studies. To address this, the paper builds on authors such as Artaud, Derrida, Heidegger, Gumbrecht and Féral for a general theoretical background, and on the work of authors such as Cull, Street and others for a more specific approach concerning the field of Performance Philosophy. This paper argues that a philosophical turn in Performance Studies has happened through a radicalization of ‘Presence’.

Within the twenty-year period that coincides with the first twenty years of the Glej Theatre, the essay concentrates on the formation and transformations of non-hierarchical theatre communities, or, in the words of one of its founders, Dušan Jovanović, theatrical tribes. Using historical and present-day examples, the author will try to map the specific devised theatrical procedures producing what Badiou names “a generic vacillation”: “Theatre turns every representation, every actor’s gesture, into a generic vacillation so as to put differences to the test without any supporting base. The spectator must decide whether to expose himself to this void, whether to share in the infinite procedure. He is summoned, not to experience pleasure (which arrives perhaps ‘on top of everything’, as Aristotle says) but to think” (Rhapsody, 124).The essay strives to answer the following questions: How did the Slovenian experimental and non-institutional performing arts scene (as a reaction to the hierarchical structure of repertory theatres) create different non-hierarchical modes in relation to creating the performances, the theatre’s artistic direction and forming temporary communities with emancipated audiences? To which models did this scene turn – then and today – to develop its own logic of devised and collaborative theatrical tactics? And lately: To what extent have those different artistic collaborative tribes changed the theatrical landscape in Slovenia, Yugoslavia and elsewhere?

This paper provides an autoethnographic account through tourist favela Santa Marta, Rio de Janeiro. It aims to grasp the role of tourists' practices and performances and their potential to re-signify and transform the physical, social, and cultural landscape of slummed communities at urban destinations. Tourism in informal urban settlements is a phenomenon studied from different disciplines and perspectives, mainly covering representational and ethical issues. The paper incorporates insights from the Performative Turn and relational studies to guide the author's reflection over her cultural experience as a favela tourist/researcher. These stories compound the myriad of heterogeneous elements making and shaping the favelas' complex and dynamic assemblages. They also unveil multiple underlying issues that could be further analyzed from different scopes. Finally, favela tourism is seen as an avenue to foster social change. Autoethnography was first being applied to slum tourism research, and it proved to be a useful method to embrace the subjectivities of the field. [ABSTRACT FROM AUTHOR]

– In this paper, the so-called Crisis of Representation is discussed as a hallmark of Western Theatre and Modernity. The key hypothesis of overcoming such a crisis is investigated through the emergence of a performative turn, in which performance is understood in a broader sense derived from Performance Studies. To address this, the paper builds on authors such as Artaud, Derrida, Heidegger, Gumbrecht and Féral for a general theoretical background, and on the work of authors such as Cull, Street and others for a more specific approach concerning the field of Performance Philosophy. This paper argues that a philosophical turn in Performance Studies has happened through a radicalization of ‘Presence’.

Abstract: The article discusses the new strategies of representation that emerged in contemporary Lithuanian theatre under the influence of socio-cultural transformations that can be attributed to the umbrella notion of “performative turn”. With the help of three case studies, the article investigates how certain codes of “aesthetics of performativity” as described by Erika Fischer-Lichte are circulating in contemporary Lithuanian theatre, what processes and agencies facilitate their emergence, and what possibilities as well as challenges for performative practices they entail. Viimastel aastakümnetel Leedu teatris toimunud muutused – olgu need siis performatiivsed, post-postmodernsed, postdramaatilised või kaasavad – on kõige nähtavamad lavastuspraktika peamiste struktuurielementide: kujundi, teksti, keha ja ruumi kasutuses. See nihe on omakorda seotud ja kõige paremini põhjendatav representatsiooni ja taju tähendusvälja muutumisega nüüdisaegses kultuuri- ja kriitilises teoorias. Artiklis käsitletakse uusi representatsioonistrateegiaid, mis tekkisid Leedu nüüdisteatris sotsiaalkultuuriliste muutuste mõjul ning mille võib koondada katusmõiste „performatiivne pööre“ alla. Võttes aluseks kolm juhtumiuuringut (Poola lavastaja Lukasz Twarkowsky immersiivne lavastus „Vabariik“, Jonas Tertelise dokumentaallavastus „Roheline niit“ ja Karolina Žernytė lavastus „Supervõimed“), uuritakse artiklis, kuidas Erika Fischer-Lichte kirjeldatud „performatiivsuse esteetika“ teatud koodid levivad nüüdisteatris, millised protsessid ja agentsused soodustavad nende tekkimist ning milliseid võimalusi need loovad performatiivsetele praktikatele ja milliseid väljakutseid esitavad. Leedu nüüdisteatris esile kerkinud uued tähenduse loomise ja lavastamise vormid (visuaalne dramaturgia, teatrielementide eraldamine/dekonstrueerimine, intertekstuaalsus) destabiliseerivad nüüdisaegseid lavastus- ja tajumiskategooriaid. Kuigi neid võib tõlgendada postmodernse või postdramaatilise esteetika tunnustena, kuuluvad need selgelt performatiivse pöörde määratluse alla. Nende põhijooni – avatud struktuur, voolav ja mitmekihiline tähenduse ringlus ning taju kui läbirääkimine, vahetus ja ühislooming – saab kõige paremini mõista performatiivse esteetika raames. Leedu nüüdisteatris võib täheldada vähemalt kahte strateegiat, mis on tekkinud vastusena performatiivse pöörde aluseks olevate performatiivsete tegevuste ja metafooride levikule. Esiteks, tagasipöördumist mimeetilise representatsiooni või selliste kunstivormide juurde nagu dokumentaal- või verbatim-teater võib tõlgendada soovina peegeldada laval tänapäeva ühiskondlike reaalsuste teatraalsust, vältides samal ajal traditsiooniliste teatrivormide kunstlikkust ja referentsiaalsust. Nagu näitas dokumentaallavastuse „Roheline niit“ analüüs, lihtsalt taastootes „autentset“ reaalsust, muutub teater enda teisikuks, korrates ja taasesitades inimkäitumise performatiivseid aspekte. Selline kordamine võtab aga harva kriitilise hoiaku ning sageli lihtsalt taastoodab „vaatemänguühiskonna“ stereotüüpe ja kujutlusi. Eneserefleksiivseid teatripraktikaid, kus laval analüüsitakse etendust kui nüüdisaegse reaalsuskonstruktsiooni mudelit ja muudetakse performatiivsed metafoorid kunstilisteks reaalsusteks, võib kirjeldada kui teist viisi performatiivse pöörde mõjude analüüsimiseks. Parimatel juhtudel võib selline teater saada teatri ja ühiskonna kohtumispaigaks, kus tajudes ühte (teatrit), mõistame teist (ühiskonda). Dekonstrueerides ja demüstifitseerides etenduse representatsiooni aparaate, paljastades kogemuste taasloomise võimalikkuse (või võimatuse), andes võimu tajutava paljususele, püüavad sellised kunstilised strateegiad, nagu on näha „Vabariigis“, häirida sotsiaalseid konventsioone, mis reguleerivad igapäevaseid arusaamu ja käitumist. Samamoodi on performatiivne arusaam subjektiivsusest ja identiteedist kui intersubjektiivse suhtluse käigus loodud efektist mõjutanud näitlemise protsesse ning eriti näitleja ja tegelase vahelisi suhteid. Sellest tulenev valmisolek loobuda professionaalsete näitlejate vahendavast rollist kellegi loo jutustamisel ei tähenda aga tingimata postrepresentatsioonilist arusaama rollist. Üsna sageli sarnaneb see hoopis modernse etenduskunsti tavadega. Kuid mõnel juhul, näiteks lavastuses „Supervõimed“, võimaldab laval oma eluloo taasesitus lisaks narratiivi kontrollimisele ja stereotüüpsete kujutuste vaidlustamisele ka näidata performatiivset arusaama puudest kui ümberkujundavast agentsusest.

Using the tools and definitions provided by performance studies (Richard Schechner, Jon McKenzie, Erika Fischer-Lichte, Małgorzata Sugiera, Dariusz Kosiński and others) as well as by newer post-human turn (Ewa Domańska) the author analyses the phenomenon of burying domestic animals on sites located on the outskirts of populated areas (resembling the old cholera graveyards). Animal burial sites are denied the term ‘cemetery’ by official legislation which reserves the notion only for human necropolises. Almost every suggestion of establishing an animal cemetery in Poland is met with highly emotional reactions and protests. Itself being acts of social performance, the protests evoke burial as a social performance art, where the community participates in an event based on a standard Christian funeral ceremony. The unstandardized character of the animal’s funeral challenges this view. In the act of animal burial an oppressive gaze of a society is juxtaposed with an intimate one. The confrontation becomes a chance for the society for a self-reflection and transformation. Hence one may prove that the animal burials have a significant performative power and can have social and cultural impact.

Copyright of Estúdio (1647-6158) is the property of Revista Estudio 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.)

RESUMEN: El presente artículo traza un recorrido por algunas de las performances realizadas por mujeres artistas en los últimos 50 años en el ámbito artístico norteamericano, europeo y latinoamericano, cuyo significado gira en torno a la construcción patriarcal del cuerpo femenino. Obras que nos permiten reflexionar sobre la constante agresión y devastación a la que son sometidas las mujeres a través de la conquista y dominación de su cuerpo y que articulamos en dos epígrafes: cuerpos propios y cuerpos violentados. Con ello pretendemos aproximarnos al papel que ha desempeñado la performance, en la construcción o negación de los imaginarios culturales femeninos, en el seno del proceso de giro performativo que ha acometido la cultura desde los años sesenta, así como las lecturas historiográficas y los debates que en el seno del feminismo han generado dichas obras. ABSTRACT: This article traces an approach of some of the performances made by women artists in the last 50 years in North America, Europe and Latin America whose meaning involves the patriarchal construction of the female body. Artworks that allow us to reflect on the constant aggression and devastation to which women are subjected through the conquest and domination of their bodies and which we articulate in two sections: own bodies and violated bodies. With this we intend to approach the role played by performance, in the construction or denial of female cultural imaginaries, within the process of performative turn that culture has undertaken since the 1960s, as well as historiographical readings and debates that within the feminism have generated such works.

Purpose. The article suggested for consideration is aimed at clarifying the shift in human perception from the spatial turn announced by Michel Foucault, to a performative turn. The performative turn has an anthropological footing. It is based on the all-round investigation of the body’s principal role for cultural existence, as a result of a reverse reaction to artificial conceptual gap between space and body, which basically means ignoring the embodiment theme. An example of such theoretical deformation was Edmund Husserl’s “anthropology phobia” revealed and thoroughly analysed by Hans Blumenberg in his critical works. Originality of the approach applied in this research, first and foremost, demonstrates not an abstract phenomenological conception as a theoretical construct, but a phenomenological activity itself, as well as practical work expressing antepredicative experience and solving the problems arising in this complicated process. Applying the Blumenberg’s analysis also allows to peep in the sideline notes of Edmund Husserl himself, which, for their part, acquire special meaning in relation to such a practical (performative) turn. Conclusions show the following state of affairs demonstrated by the anthropological and performative shift towards the body theme: 1) absolutisation of space without mentioning its relation to body experience is unreasonable and groundless, like in Husserl’s “anthropology phobia ”; 2) since the ground itself is a metaphorical anthropology basis, anthropology can reveal the structural conditions of perception due to thematic fronting of embodiment; 3) this gives anthropology some compensational features, to avoid false culture and nature dualism; 4) so, the space and body relationship is expressed by the Vehikel-phenomenon (transport phenomenon) of the body itself, by placing, arranging and depicting, and thus replacing something missing and unavailable for direct contemplation, by revealing the spatial infrastructure for object perception, creating the presence conditions and metaphorically marking the contemplation boundary; 5) the depicting arrangement (Darstellung) is at the same time a bodily performance, a play, staging and performing, which gives an aesthetic, poetic and emphatic impact on the use of philosophy language, in our case, on the way a phenomenology philosopher works with the language.

Copyright of Methis is the property of University of Tartu Press 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.)

To engage the contributions of Performance Studies for the study of culture and communication, this article offers an initial exploration of a performative turn in intercultural communication. Using performances of sexuality with a focus on the declaration of one's own sexual non-normativity – commonly known as "coming out" in Western discourses – as an example, I first discuss how a performance analytic might examine cultural particularities of this communicative action. Next, I discuss the notion of "hardening performances" and introduce three processes – sedimentation, calcification, and ossification – for the examination of power in intercultural communication. I conclude by exploring some implications of a performative turn in culture and communication. [ABSTRACT FROM AUTHOR]

Copyright of Estúdio (1647-6158) is the property of Revista Estudio 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 Revista Gama is the property of Revista Gama 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.)

Vilnius archipelago: Performative walks around this performative city The present study deals with the performative memory of a city, namely modern Vilnius, the capital of the Republic of Lithuania. The difficult past of Vilnius that is shared by other eastern and central European cities and is marked by the bitter legacy of the “city of changed blood” (Pl. “miasto o wymienionej krwi”, a notion introduced by M. Lewicka) has been subjected to a number of changes effected by modernity and dynamic Europeanization at the turn of the twentieth and twenty-first centuries. The confrontation between the past and modernity has resulted in serious social and national problems (e.g. Polish–Lithuanian relations) dating to the early as well as the most recent history of Lithuania and its capital. Having experienced various totalitarian regimes, Vilnius is an interesting example of the redefining of the memory of the space of a city at a time of a changing political system; it is also an example of the establishing of a hierarchy of new values and symbols. Vilnius is also a cultural hybrid resulting from long-lasting transgressions. However, a comprehensive account of its history still remains utopian. Drawing on the #skaitomevilniu (‘We read Vilnius’) project that was carried out in Vilnius in 2016–2017 and which adopted a performative perspective, the author of the present study attempts to describe a city that is constantly becoming. Archipelag Wilno. O performatywnym chodzeniu po performatywnym mieście Niniejszy artykuł został poświęcony problematyce performatywnej pamięci miasta na przykładzie współczesnego Wilna, stolicy Republiki Litewskiej. Skomplikowana, choć tak charakterystyczna dla miast Europy Środkowo-Wschodniej, przeszłość Wilna, naznaczona bolesnym dziedzictwem „miasta o wymienionej krwi” (pojęcie M. Lewickiej), zderzyła się na przełomie XX i XXI wieku z pełną zmian nowoczesnością i pośpieszną europeizacją. Ta konfrontacja stała się źródłem poważnych problemów społecznych i narodowych (w tym relacji polsko-litewskich), których korzenie sięgają zarówno najodleglejszych, jak i nowszych dziejów Litwy i jej stolicy. Wilno jako miasto silnie nacechowane doświadczeniem totalitaryzmów jest ciekawym przykładem ilustrującym proces redefiniowania pamięci przestrzeni miasta w okresie transformacji ustrojowej oraz ustanawiania nowej hierarchii wartości i symboli. Jest także kulturową hybrydą będącą efektem wielowiekowych transgresji, której całościowy opis pozostaje ciągle badawczą utopią. Autorka artykułu podejmuje próbę opisu miasta, które „ciągle się staje”, na przykładzie realizowanego w Wilnie w latach 2016–2017 projektu #skaitomevilniu (pol. Czytamy Wilno) z zastosowaniem perspektywy performatywnej.

Second language education (SLE) must remain open to developments in the world if it is to be relevant to those who have an investment in it: learners, teachers and researchers. However, the broadening of the interdisciplinary nature of SLE that may occur because of this is not without its problems. New areas will bring ideas and terminology that will make SLE as a discipline even more complex. In addition, the ideas and terminology may be disputed in the fields from which they originate thus compounding the problem of complexity. The article looks at the example of the performative in SLE and how it supports an approach that is interdisciplinary and intercultural. It also looks at some of the problems this causes: the implications of implementing an SLE practice that is performative, the fact that there are different performative practices, as well as variance between seemingly similar performative practices because of national and cultural differences. The article concludes with the description of two studies which show the complex nature of performative SLE as praxis. [ABSTRACT FROM AUTHOR]

Copyright of Sociologia & Antropologia is the property of Sociologia & Antropologia 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 Slavia Meridionalis is the property of Polish Academy of Sciences, Institute of Slavic Studies 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 is an exploration into what a speculative pedagogy can be. Describing a series of pedagogic experiments at the University of Coimbra with undergraduate students in anthropology who engaged in playful empirical exercises based on a "what if " and ludic ways of learning (and teaching), I argue that these exercises have an eventful, speculative character in the sense that they are not meant to instruct or provide theoretical contents about what ethnography or anthropology is; neither are they meant to lead students in a process of conceptual and empirical discovery that is known in advance. Rather, they were designed to produce unpredictable effects and surprise both for those learning and those teaching. [ABSTRACT FROM AUTHOR]

Historical reenactments gradually turned into a compulsory element in public ceremonies and rituals commemorating since late 19th c. the national liberation struggles in Bulgaria. Regarded usually as phenomena of popular culture or as expressions of the popular nationalism, these forms of public reenactment of the past are still insufficiently studied in Bulgaria. The current text attempts to outline a research program for an anthropological analysis of the historical reenactments of the “heroic time,” influenced by the inquiries of the performative and the affective turns in the social and human sciences. Taking grounds from the viewpoint of the reenactors, the outlined exploratory directions include: personal motivation, collective cause and emotions related to the experience; relationship with the audience; spectacular, theatrical and performative effects; scenography and dramaturgical aspects; considerations of authenticity and historical veracity. The analysis is based on commentaries in specialized online forums about historical reenactments. [ABSTRACT FROM AUTHOR]

Copyright of Przeklady Literatur Slowianskich is the property of Wydawnictwo Uniwersytetu Slaskiego 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.)

The aim of this study is to present the main approaches of research into the connections between religion and tourism. The first part focuses on the concept of religious tourism. This term is used primarily to accommodate the needs of the tourism industry in order to distinguish among various types of religious travel. Religious tourism is either defined as a form of pilgrimage without religious motives and practices or as an all-encompassing category for all types of travel exhibiting religious features including both pilgrimage with and without religious motives and practices. The rest of the paper discusses the role of pilgrimage in the analysis of the relationship between religion and tourism. Pilgrimage is viewed by many scholars as a sacred journey and this view deeply affects the interpretation of tourism and its relation to religion. Tourism is distinguished from the pilgrimage according to several dichotomies (sacred/profane, religious/secular, ascetic/hedonistic). Some of these dichotomies are used to demonstrate tourism as a certain type of new religion. However, these approaches are misleading and based on false assumptions. This article argues that studies inspired by performative, mobile and spatial turns provide a more nuanced, unbiased, complex, and accurate picture. [ABSTRACT FROM AUTHOR]

Yona Fischer served as the curator of Israeli art in the Israel Museum from 1965 until 1990. This article traces the evolution of performance sensibility in his curatorial practice. It contends that his innovative curatorship allowed for performative modes of art to infiltrate the conservative sphere of the Israeli museal institution, replacing its “archival” logic with that of a “repertoire” of embodied praxis. It asserts that Fischer was not only pivotal in strengthening the performative turn in Israeli art in the 1960s–1970s but, also, was critical of the object-oriented policy of the museum, which validated Israel’s national meta-narrative. [ABSTRACT FROM AUTHOR]

One of the basic concerns of the philosophy and the humanities after the performative turn in the 20th century became thinking afresh about the status of the subject. How to conceive of subjectivity, if we abandon the essentialist idea of an autonomous, self-transparent, and rationalistic individual? The article investigates two different attitudes towards this situation: the stance of sacrifice and the ludic stance. In order to study the problem of the two stances coherently, the paper draws on the theatre practice of the 20th century and its understanding of the actor's attitude to her role. It concludes that whereas the sacrificing attitude traps an individual in a vicious loop that does not allow for handling the new situation, the ludic subjectivity offers tools for developing effective strategies that not only allow for handling the human condition but even enable agents to profit from it and rejoice in it. [ABSTRACT FROM AUTHOR]

Telling the truth about history, the Polish way Editorial Powiedzieć prawdę o historii, wariant polski Artykuł wprowadzający