Suchergebnisse

This article will look at three case studies of performative political protest, where female activists are raising awareness of the precarious conditions of their lived experience in economic neoliberalism. The research is focused on links between Focus E15 Mothers Group in London, the #protestiram movement in Macedonia and #direnkahkaha (resist laughter) in Turkey. I will analyse these protest movements' performative acts and argue that these acts are strategically used to draw attention to the inequality faced by women.

Promises are an example of what linguist JL Austin described as performative acts, in that their very utterance allows the act of promising to take place. Austin formed his theory of performative speech acts as a way in which to make fully predictable the effects of certain speech acts, promises amongst them. Using Mary Shelley's Frankenstein, this article demonstrates the impossibility of predicting the effects of promises, explaining that Austin and Frankenstein both lack a consideration of the bearing different bodies have on the effects of promises. Taking a feminist deconstructive approach, this article examines the technics of speech and the gaze, the accumulation of knowledge, the status and reproductive abilities of women, and how these relate to monsters and monstrosity in both the novel and Austin's seminal work, How to Do Things With Words.

Due to the fall or disappearance of productive circuits, depreciation of populated areas, emigration, abandonment, or critical social situation occurred in Argentine towns - particularly smaller ones. Alarmed at the effects, academic organizations and professionals warn about the abandonment of identity ties due to economic problems or the phenomenon of globalization, and organizations and local governments promote cultural activities such as folk festivals to reactivate economies and social life in depressed localities. This question shows actors, processes and conflicts in the organization and realization of events in cities, and we ask ourselves what happens behind these social and territorial phenomena, and what effects they produce. For Tilcara, being a Unesco Heritage portico means being a representative place of natural-tourist and historical-cultural attractions, where globalization transformed the exhibition and the way of living public festive spaces for different political-social interests. These themes here we explore from the theories of performativity, we examine situations that emphasize the effects of doing. Currently, the theories of performativity have been taken by human geography to rethink the social production of space, for these reasons we transfer and reinterpret this performative notion to give birth to little-explored situations in events in spaces. ; Por caída y desaparición de circuitos productivos en la historia se produjo en localidades argentinas de menor tamaño, depreciación de áreas pobladas, emigración, abandono, o situación social crítica. Alarmados ante los efectos, organismos y profesionales académicos alertan sobre el desamparo de vínculos identitarios por problemas económicos o fenómeno de la globalización, y organizaciones y gobiernos locales promueven actividades culturales como festivales folclóricos para reactivar economías y vida social de localidades deprimidas. Esta cuestión muestra a actores, procesos y conflictos en la organización y realización de eventos en ...

Abstract
In the first part of this study, we briefly present different approaches used to define the concept of second language learners' identity. Then we introduce Butler's theory of performativity (1988) and we attempt to apply its main concepts as tools for describing L2 learners' identity. In the second part of the study, we try to answer the following question: What are typical performative acts of a good and a poor language learner in the language learning classroom? Our research suggests that performing a good language learner identity refers to the learner's frequent and repetitive participation in utterances whose content is related to the language classroom, regardless of the chosen communicative resources. As for performing a poor language learner identity, it appeared that it refers to the learner's repetitive and frequent participation in utterances whose content is not related to the language classroom, regardless of the chosen communicative resources.

What happens when more-than-human digital acts tell us something about ourselves? This article examines the ways in which the algorithms of data analytics function in relation to other ontologies and assemblages and how they are shaping and forming our lives. Beginning by critically questioning the ontology of data, data are argued to be an assemblage that is materially and discursively produced from a multiplicity of apparatuses including sociopolitical relations of power and "difference." The concept of algo-ritmo—that is, the repetition of data with alterity—is introduced as a way of understanding how the performative acts of the "soft(ware) thinking" of algorithms function. As the Spanish word for algorithm, algo-ritmo also situates the performative acts of algorithms as part of the relational and connected sociopolitical relations of racializing assemblages. Concluding remarks discuss both ethical implications and considerations for digital social inquiry.

Our contribution aims to describe the value system carried by a particular practice what consumption breastfeeding and through communication campaigns, including posters. Our results lead us first to introduce the link between beliefs and imaginary figurability of breastfeeding by providing an analysis in terms of sensory experience, semiological breaks and handling of the normative framework. Then we update the axiology of breastfeeding with original opposition of nature versus culture and the importance of moral values. Finally, we analyze how these campaigns are involved in creating a communicative ecosystem (éducosystème) promoting participation and individual commitment. Through this semiotic analysis and éducommunicationnelle of breastfeeding, we show that a new social imagination is in progress. (author's abstract)

This article is about visual culture, identity, and women in interwar Egypt and Iran. I use a transnational feminist approach to connect the histories of Egypt and Iran, in their differences and commonalities, during the interwar period. By emphasizing women's education as the source of advancement of the society, the late nineteenth century Egyptian thinkers, Qasim Amin and Mohammad Abduh, and Iranian intellectuals Jamal al-Din Asadabadi (al-Afghani), Abdolhossein Khan Kermani, and Yusef Ashtiyani, invoked a male representation of a "feminist" discourse. During the 1906-1911 Iranian Constitutional Revolution and the 1919 Egyptian anti-British Revolution, the discourse of education was translated into women's first quest for legal and political rights. National modernization policies, as diverse as they were in each country, translated the "woman question," both as a discursive and a practice, into the question of women's appearance in public.

This paper is based on a research + creation project developed at the University of San Buenaventura in Medellín, which takes effect in the current social, political and artistic context in which social and cultural manifestations have emerged with evident relevance, with few antecedents in our Colombian society. Cuerpos bélicos is a performance that took place in Medellín during 2019 and 2020, and which was shown at the 7th International Performance Biennial (Bogotá, 2021), in which an artist walks down the street wearing war masks as a subversive act in a conflict situation. The goals are to delve further into performance art as a transgressive action of public space, to reflect on the body as a generator of sensitive experience, and to discuss the language of art assumed as a subversion of reality. This paper addresses artistic action as a methodology for the debate on war fables, the body as a creative power, and performance as the possibility of assuming war as a form of existence. Finally, we draw conclusions in the face of the subversive fabrications that the body can create in a social and political space, from the representations of its corporeality, transformed by the symbolic language of art, through the philosophical figure of the fold. ; Este artículo está basado en un proyecto de investigación+creación desarrollado en la Universidad de San Buenaventura de Medellín, que cobra vigencia en el contexto social, político y artístico actual, en que las manifestaciones sociales y culturales han emergido con evidente relevancia, de pocos antecedentes en nuestra sociedad colombiana. Cuerpos bélicos es una performance realizada en Medellín durante los años 2019 y 2020, y presentada en la VII Bienal Internacional de Performance (Bogotá, 2021), en la cual una artista camina por la calle portando máscaras de guerra como acto subversivo frente a una situación de conflicto. Tiene como objetivos profundizar en el arte de la performance como acción transgresora del espacio público, reflexionar sobre el cuerpo como generador de experiencia sensible y discutir sobre el lenguaje del arte asumido como subversión de la realidad. Esta apuesta aborda la acción artística como metodología para el debate sobre las fábulas de guerra, el cuerpo como potencia creativa y la performance como posibilidad de asumir la guerra en tanto modo de existencia. Por último, se generan conclusiones frente a las fabulaciones subversivas que el cuerpo puede crear en un espacio social y político, a partir de las representaciones de su corporalidad, transformada por el lenguaje simbólico del arte, mediante la figura filosófica del pliegue. ; Este artigo é baseado em um projeto de pesquisa + criação desenvolvido na Universidade de San Buenaventura em Medellin, que se realiza no atual contexto social, político e artístico, no qual manifestações sociais e culturais emergiram com evidente relevância, com poucos antecedentes em nossa sociedade colombiana. Corpos bélicos é uma performance realizada em Medellin durante os anos de 2019 e 2020, e apresentada na VII Bienal Internacional de Performance (Bogotá, 2021), na qual um artista caminha pela rua usando máscaras de guerra como um ato subversivo diante do uma situação de conflito. Tem como objetivo mergulhar na arte da performance como ação transgressora do espaço público, refletir sobre o corpo como gerador de experiências sensíveis e discutir a linguagem da arte assumida como subversão da realidade. Esta aposta aborda a ação artística como metodologia para o debate sobre as fábulas de guerra, o corpo como potência criativa e a performance como possibilidade de assumir a guerra como modo de existência. Por fim, as conclusões são geradas diante das fabricações subversivas que o corpo pode criar no espaço social e político, a partir das representações de sua corporiedade, transformada pela linguagem simbólica da arte, por meio da figura filosófica da dobra.

This study is aimed at the early practice of speech (or speech acts) as a functional tool in performative constructions, which can be considered as an integral part of the cultural heart and the reflection of an important semantic and pragmatic connection between the intentions and actions in mythical thinking. This way of thinking created images on the interpretation of the world as a system determined by supreme forces (gods). Communication of people with higher forces as an early speech practice of Indo-European cultures is traced in ancient prayers, rituals, incantations, spells, etc. They not only reflect the fixed language formulae which are a base of a cultural matrix but also offer a whole picture of the mythical thinking functioning. The following fundamental cultural phenomena are noted: the power of the word, as a primary vocal image; the act of assigning a name as giving birth to a creature (what is not named, does not exist), voice as a ritual constitutive force in prayers, and in the tabooing. The study of performative constructions in ancient Indo-European language data (Avesta, Upanishads, Edda, Old /New Testaments, Old Church Slavonic, and Anglo-Saxon spells) has revealed a strong relation of the functional power of voice to the ritual actions, which reflect in the traditional performative constructions - first person singular verbs: 1) prayers - I pray, I ask; 2) naming - I name, I give a name; 3) actions taken during incantation - I stretch out [my hands], I order; 4) and also the representation of voice as a divine being, which reflects in the concept of true godly knowledge and corresponds with the physical ability to attract attention and ask to follow with voice. In early performative practice, to legitimize the action it must be followed with words said out loud properly. And this interdependent phenomenon forms the heart of culture.

AbstractThis paper develops a way to model performative speech acts within a framework of dynamic semantics. It introduces a distinction between performative and informative updates, where informative updates filter out indices of context sets (cf. Stalnaker, Cole (ed), Pragmatics, Academic Press, 1978), whereas performative updates change their indices (cf. Szabolcsi, Kiefer (ed), Hungarian linguistics, John Benjamins, 1982). The notion of index change is investigated in detail, identifying implementations by a function or by a relation. Declarations like the meeting is (hereby) adjourned are purely performative updates that just enforce an index change on a context set. Assertions like the meeting is (already) adjourned are analyzed as combinations of a performative update that introduces a guarantee of the speaker for the truth of the proposition, and an informative update that restricts the context set so that this proposition is true. The first update is the illocutionary act characteristic for assertions; the second is the primary perlocutionary act, and is up for negotiations with the addressee. Several other speech acts will be discussed, in particular commissives, directives, exclamatives, optatives, and definitions, which are all performative, and differ from related assertions. The paper concludes a discussion of locutionary acts, which are modelled as index changers as well, and proposes a novel analysis for the performative marker hereby.

Performatives in the sense of speech act theory (SAT) have long been held for the elementary building blocks of theatre and performance. This article proposes a theory of performative models as autonomous forms that are (1) propositional (to be worked with), (2) reified (things in their own right), and (3) inherently heterotelic (shifting in their purpose between models-of and models-for, and are always put to uses outside the epistemological system that created them). The article contextualises SAT with cultural and political events of the 1960s: the act of naming as an exemplary speech act is set against the disintegration of imperial powers and the postcolonial emancipatory initiatives striking back against the oppressive (and often nominalistically prescriptive) pasts. Rather than the acts of naming, the decisive factors are recognition (that a certain event is happening) and consensus (that the event is valid and constitutes a new social reality).Analysing case studies from drama and history, this article also addresses SAT's failure to come to terms with theatre and performance proper, epitomised by Searle's claim that, "in a perfectly straightforward sense", there are no true speech acts (i.e., performatives) in actors' performances – any promises made by actors on stage cannot be reasonably held to account outside the stage, in real life. This profound misunderstanding on Searle's part (but also otherwise common) of the actors' performed personas and the remit of their promises within the performed social realities of the play. The nature and validity of performatives made in performance is the prompt for this essay. I argue that the situation in performance is epistemologically not a parasitical form but rather a case of performatives more complex and holistic than in real life.