Search results - CEJSH

1

Weibliche Ohnmacht und Gewalt in Elfriede Jelineks Der Tod und das Mädchen III (Rosamunde). Performative Lektüren

100%

Calpe A. G.

Germanica Wratislaviensia

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2016

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vol. 141

75-90

DE

In dem Dramolett Rosamunde, dem dritten der fünf Prinzessinendramen, die den Zyklus Der Tod und das Mädchen I-V bilden, zitiert und verfremdet Elfriede Jelinek ein romantisches Stück von Helmina von Chézy, einer Autorin des 19. Jahrhunderts, die nicht sehr erfolgreich mit ihren Texten war. Dieser Artikel geht der Frage nach, wie die im Text verwendete diskursive Gewalt eine strukturelle, soziale und implizite Gewalt gegen Frauen sichtbar macht. Ausgehend von der performativen Theorie von Judith Butler, sollen die Strategien erforscht werden, mit denen der Text den etablierten Diskurs, der Weiblichkeit und Ohnmacht verbindet, destabilisiert und eine Reartikulation von hate speech möglich macht.

EN

In the mini-drama Rosamunde, the third of the five Prinzessinnendramen, which form the cycle Der Tod und das Mädchen I–V, Elfriede Jelinek quotes and paraphrases a romantic play written by Helmina von Chézy, a female author of the 19th century who earned little fame with her writings. This article explores the use of discursive violence to demonstrate that its use in the text uncovers social, structural and implicit violence against women. Based on Judith Butler’s idea of performativity, the paper examines the way Jelinek’s text destabilizes the standardized role models, which connect femininity with powerlessness, and further questions and disturbs the use of hate speech.

2

A More Explicit Framework for Evaluating Objectivity and (Inter)Subjectivity in Modality Domain

100%

Medadian G., Mahabadi D. N., University of Isfahan, University of Isfahan, Medadian G. g. m. f. a. i., Mahabadi D. N. a. f. u. a. i.

Research in Language

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2018

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vol. 16

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issue 1

EN

In this paper we propose a more explicit framework for definition and evaluation of objectivity and (inter)subjectivity in the modality domain. In the proposed operational framework, we make a basic distinction between the modality notions that serve an ideational function (i.e., dynamic modal notions) and those with an interpersonal function (i.e., deontic and epistemic evaluations). The modality notions with ideational and interpersonal functions are content and person-oriented, respectively. While all dynamic modal notions are characterized by objectivity, deontic and epistemic modal notions may display a degree of (inter)subjectivity depending on their embedding context. Our main claim is that (inter)subjectivity can hardly be argued to be the inherent property of certain modality forms and types, but rather it is essentially a contextual effect. We functionally-operationally define (inter)subjectivity as the degree of sharedness an evaluator attributes to an epistemic/deontic evaluation and its related evidence/deontic source. (Inter)subjectivity is realized by (at least) one or a combination of three contextual factors, viz. the embedding syntactic pattern, the linguistic context and the extralinguistic context of a modality marker. Since both descriptive and performative modal evaluations involve a degree of (inter)subjectivity, performativity, which refers to speaker’s current commitment to his evaluation, is viewed as an independent dimension within modal evaluations and plays no part in the expression of (inter)subjectivity.

3

A More Explicit Framework for Evaluating Objectivity and (Inter)Subjectivity in Modality Domain

100%

Medadian G., Mahabadi D. N.

Research in Language

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2018

|

vol. 16

|

issue 1

65-98

EN

In this paper we propose a more explicit framework for definition and evaluation of objectivity and (inter)subjectivity in the modality domain. In the proposed operational framework, we make a basic distinction between the modality notions that serve an ideational function (i.e., dynamic modal notions) and those with an interpersonal function (i.e., deontic and epistemic evaluations). The modality notions with ideational and interpersonal functions are content and person-oriented, respectively. While all dynamic modal notions are characterized by objectivity, deontic and epistemic modal notions may display a degree of (inter)subjectivity depending on their embedding context. Our main claim is that (inter)subjectivity can hardly be argued to be the inherent property of certain modality forms and types, but rather it is essentially a contextual effect. We functionally-operationally define (inter)subjectivity as the degree of sharedness an evaluator attributes to an epistemic/deontic evaluation and its related evidence/deontic source. (Inter)subjectivity is realized by (at least) one or a combination of three contextual factors, viz. the embedding syntactic pattern, the linguistic context and the extralinguistic context of a modality marker. Since both descriptive and performative modal evaluations involve a degree of (inter)subjectivity, performativity, which refers to speaker’s current commitment to his evaluation, is viewed as an independent dimension within modal evaluations and plays no part in the expression of (inter)subjectivity.

4

‘In Drag’: Performativity and Authenticity in Zadie Smith’s NW

100%

Zapata B. P.

International Studies. Interdisciplinary Political and Cultural Journal

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2014

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vol. 16

83-95

EN

Zadie Smith’s latest novel, NW, presents a multiverse in which multiplicity is driven into homogeneization by the forces of those dominant discourses that attempt to suppress the category of the “Other.” This paper focuses on the development of the two female protagonists. Their opposing attitudes towards motherhood, together with their confrontation with their origins, bring to the fore the performativity found in the discourses of gender, sexuality, class, and race. Thus, this paper will explore authenticity and performativity in a contemporary context, where patriarchal and neocolonial discourses still apply.

5

Blogowanie jako forma komunikacji: performatywność zjawiska szafiarzy

100%

Wasilewska-Stawiak A., Mikołajczyk K.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2013

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vol. 20

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issue 1

41-54

PL

This article is dedicated to fashion blogging and its existence in the blogosphere. The authors present the history of fashion blogging in Poland, focusing on the performativity of fashion blogs expressed in the way in which the authors of web logs communicate with their readers, fans and in creating new fashion trends as part of street fashion.

6

Douglas Robinson and the somatic approach to translation

100%

Pawelec A.

Między Oryginałem a Przekładem

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2012

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vol. 18

25-37

EN

It is my aim in this paper to sketch the “somatic theory” of translation presented by Douglas Robinson. It is symptomatic, in my view, that the theory has not progressed far beyond general formulations and serves merely as a largely unspecified background, or “undercurrent” (Robinson’s phrase), in various case studies. I propose to show that this state of affairs does not result from Robinson’s negligence or theoretical narrowness (among translation theorists, he is surely one of the most productive and versatile authors). Rather, the very conception – based on the insights developed in phenomenological hermeneutics – does not allow of a straightforward development and application.

7

Performatywność jako postawa/perspektywa: Wstęp

100%

Sugiera M.

Pamiętnik Teatralny

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2022

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issue 4(283)

13-26

EN

Introduction to the essay cluster Performativity as an AttitudePperspective. The guest editor recalls the Polish discussions on the relationship between theater studies and performance studies that have taken place since 2006. She emphasizes that in these discussions performativity was most often associated with theater/performance and human agency. In contrast, the articles that make up the cluster – following Karen Barad – focus on the agency of matter and more-than-human relations. Consequently, performativity is understood in them as a perspective and attitude in which responsibility and care for what happens to and around us are at the forefront.

8

Komunikační praktiky v rámci kultury školy: uplatňování kultury uznání a respektu

88%

Wulf C., Bittner M., Clemens I., Kellermann I.

Studia paedagogica

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2011

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issue 1

71-87

EN

Our aim in this article is to outline the specific forms of communication in a school with reference to the practical knowledge of a phenomenon that we call a culture of recognition and esteem. We analyze the verbal, non-verbal, semiotic, discursive and mimetic aspects of communication practices and show their social functions within the school we observed. It is necessary to understand and analyze recognition and esteem as praxis, i.e. as an ensemble of intentional as well as unintentional pedagogical practices. These practices constitute a culture of recognition and esteem that furnishes those involved in a school with a reference framework and performative space. The inquiry is applied to an inner-city primary school in a socio-economically problematic district. The data have been produced within a cooperative programme of ethnographic research that has lasted more than twelve years and was initiated in the context of the Berlin Ritual Study at the Free University of Berlin. As fieldwork was restricted in terms of time and thematic focus, we followed a specific dimension of school ethnography. Our findings are based not only upon observation but also upon the recording on video of pedagogical practices. Our systematization of recognition and esteem shows a potentiality to describe a phenomenon without reducing its complexity and highlights the hard work implicit to pedagogical praxis.

9

Węzeł i supeł: Od metaforyzacji do materioforyzacji dyskursów teoretycznych

88%

Ryba F.

Pamiętnik Teatralny

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2022

|

issue 4(283)

85-104

EN

This article attempts a critical reflection on the metaphorization of contemporary theoretical discourses, using the example of the metaphor of the knot. The author demonstrates its performativity by dissecting the conventionalized metaphor of the Gordian knot into figures of knot (tied deliberately), knot* (tangled accidentally) and loop, which entail different visions of reality and different logics of its problematisation and conceptualisation. He refers to examples of academic texts (Dipesh Chakrabarty, Donna Haraway, and Elaine Gan and Anna Tsing) in which the knot and the epistemological questions inscribed in this metaphor play an important role. He also shows the implications of reading onto-epistemological projects through the logic of the knot, which he sees in Bruno Latour’s actor-network theory, and the logic of the knot*, which he sees in Graham Harman’s object-oriented ontology. Given the significance of materiality in contemporary academic discourses, the author postulates that the term matterphor, as proposed by Lowell Duckert and developed in various currents of environmental humanities, should be introduced into Polish discourse. He believes that the potential of the new term lies in the fact that it makes it possible to combine the performativity of language and the performativity of matter so as not to efface the emergent and contingent character of the world from academic systems of conceptualising reality.

10

Dramat, dramaturgia, dramatologia – retroperspektywy

88%

Kosiński D.

Przestrzenie Teorii

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2021

|

issue 36

17-32

EN

The article is an attempt to reconsider, reinterpret and, at the same time, summarize the concepts of dramaturgy and dramatology as they were developed by the author mainly in his research realized within the framework of the Chair of Drama and then the Chair of Performance Studies at the Jagiellonian University. Despite the fact that efforts to establish a broad understanding of drama and dramaturgy that is not restricted to art but is used to analyse and interpret performative aspects of social life were not fully successful, the main goal of the article is to support this idea by claiming the need for a ‘return to dramatology’.

11

Dwa ciała poety. Eugeniusza Tkaczyszyna-Dyckiego lektura performatywna

88%

Waligóra A.

Przestrzenie Teorii

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2021

|

issue 35

177-197

EN

Tkaczyszyn-Dycki’s poetry invariably tempts one to identify the “external” poet (author) with a textual subject, who, thanks to various literary tricks, can be called an “internal” poet. This “internal” poet does not have a purely literary or linguistic character, as he seems to be endowed with a body, biography or agency. However, these categories cannot be convincingly described using only structural tools. The paper proposes to look at the possible performativity of Tkaczyszyn-Dycki’s poetry, designed in the text itself, starting with examining the concept of trauma, which facilitates a different view of the relationship between text and “reality”, then reinterpreting the problem of subjectivity and the crucial literary “strategy”. Therefore, it is a performative reading in the sense that it will focus on what (faith, empathy, trust – and, on the contrary, distrust) Tkaczyszyn-Dycki’s work tries to convince readers to, but also on what the main intention stands for.

12

Ironia jako dekonstrukcja umierania w Listach Witolda Wirpszy

88%

Wojda D.

Przestrzenie Teorii

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2021

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issue 35

43-82

EN

This paper focuses on Witold Wirpsza’s Letters from the volume Second Resistance. Poems 1960–1964 (1965) and shows how irony becomes a deconstruction of dying, and at the same time of itself and of literary communication in general. The persiflage-oriented ars moriendi turns out to be a diagnosis directed against the discourses of thanatology, operating in institutions of power, medicine or religion (public letters) and family (private letters). Wirpsza designed it as a play of signs and communication noise in which meanings embedded in surface and deeper semantic levels intersect and contradict each other. This is accomplished by writing about death through epistolary, postal, philatelic tropes, concerning message, mediation and transmission. What are particularly important are the metaliterary parts, parabases intensifying the irony, which contain the vision of a postage stamp robbery as reality transformed into signs. The interpretation of the Letters reveals that the deconstructive irony makes epistolary poetry a literary event – the letter, writing that is to be stolen, killed, read by the reader in her or his own way.

13

W poszukiwaniu ostatecznej pewności – Kartezjańskie cogito i Ebnerowskie słowo

88%

Skorulski K.

Kwartalnik Pedagogiczny

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2015

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issue 2(236)

92-114

EN

The original experience, traditionally regarded as the beginning of philosophy, is analysed here in terms of certainty, based on the two thinkers from different eras: René Descartes and Ferdinand Ebner. Descartes, as we know, sees absolute certainty in the experience of cogito, while Ebner sees it in the current experience of speech, especially in the expression “I am”, taken in the personal actuality of it being spoken. However, it seems that the experience of Descartes is also based on the specific current experience of speech, interpreted, however, as a thought, and the actually experienced “I”is transformed to ego, to a “thinking substance”. The purpose of this discussion is to show that cogito is to be regarded as secondary relative to the “word in its actuality”. The consequence of this fact is the need for a new, “not Cartesian” rationality that could be called dialogical.

14

TRANSGRESSION OF TABOOS IN POSTDRAMATIC THEATER. PRODUCTIVE AESTHETICS OF RISK

88%

NONOA K. G.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2017

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vol. 9

99-115

EN

This contribution analyzes Aristotle’s influence on the modern understanding of theater (based on the concept of the drama script) as a restriction and reduction of the potentiality of theater. Therefore, it presents a comparative analysis of the objectives of the antique theatrical practices around the 6th and 5th centuries B.C. (before Aristotle) and Schlingensief’s “Action 18, Kill Politic” (2002). It provides also a transcultural examination that helps explain the meaning of the postdramatic transgression of taboos, its productive aesthetics of risk, and its social and political potentiality. Thus, the performance “Action 18, Kill Politic” is analyzed as a process-oriented and experience-based aesthetic of risk as well as a ‘social drama’ in everyday life.

15

Female Cross-Dressing in Chinese Literature Classics and their English Versions

88%

Wing Bo Tso A.

International Studies. Interdisciplinary Political and Cultural Journal

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2014

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vol. 16

111-124

EN

Cross-dressing, as a cultural practice, suggests gender ambiguity and allows freedom of self expression. Yet, it may also serve to reaffirm ideological stereotypes and the binary distinctions between male and female, masculine and feminine, homosexual and heterosexual. To explore the nature and function of cross-dressing in Chinese and Western cultures, this paper analyzes the portrayals of cross-dressing heroines in two Chinese stories: [...] The Ballad of Mulan (500-600 A.D.), and [...] The Butterfly Lovers (850-880 A.D.). Distorted representations in the English translated texts are also explored..

16

Sztuka, teatralność, ponowoczesność: O książce Agnieszki Sosnowskiej

88%

Salwa M.

Pamiętnik Teatralny

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2021

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issue 2(278)

113-122

EN

This article presents Agnieszka Sosnowska’s book Sztuka znikania: Teatralność w czasach ponowoczesnych [The Art of Disappearance: Theatricality in Postmodern Times] (Krakow 2019) devoted to the theatrical character of postmodern cultural and social reality. According to Sosnowska, the categories of theater, theatricality and theatricalization can serve as useful tools for analyzing and interpreting the postmodern human condition. At the same time, she argues that it is the non-theatrical reality that constitutes the most appropriate area of reflection on theatricality. She analyzes selected works and artistic phenomena in which she sees an indication of theatricalized postmodern reality, namely the disappearance of various convictions determining the modern attitude towards the ideas of the subject, the world and art: American minimalism, the work of the Brazilian artist Hélio Oiticica, Andy Warhol’s Factory and Krystian Lupa’s theater production Factory 2, Tadeusz Kantor’s emballages and Christian Boltanski’s project The Life of C. B. The review raises questions provoked by Sosnowska’s book, concerning, among other things, the author’s approach to her topic, which, according to the reviewer, is based on an under-defined concept of theatricality, a very specific understanding of postmodernity, and a not-quite-thought-out combination of the historical and philosophical perspectives.

17

The Theology of Performance and the Vedic Rituals Rethinking Theatricality and Performativity as a Discourse

88%

Ferrara M.

Cracow Indological Studies

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2017

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vol. 19

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issue 1

25-58

EN

While the debate on the relationship between ritual and theatre goes back decades, the most recent speculation can be fully understood in the framework of the mutual influences between the social sciences and performance studies. In retrospect, the spreading of structuralism to anthropology, sociology, and history (among other fields) and the absorption of theory-oriented terms in theatre studies’ terminology have facilitated a linguistic and conceptual ambiguity (or simply a confusion). Such ambiguity arises especially from the attempt to outline the borders between the religious and the aesthetic. In this paper, I will focus on the crucial role of conventional terms such as ‘performance’ and ‘performative’, the increased use of which in different fields has given rise to new dichotomies, such as performativity vs theatricality, self vs role. I will discuss some theoretical issues that allow us to define a ritual text as ‘religious’ instead of ‘theatrical’, focusing on the performative effect of recitation, more specifically on the Vedic texts on ritual prescriptions and their aim to display the officiants’ skills and authoritativeness.

18

Poetika hibridnih multižanrovskih pesničkih tekstova Ljubomira Micića i Branka Ve Poljanskog

88%

Đurić D.

Poznańskie Studia Slawistyczne

|

2012

|

issue 2

EN

In the text I will focus on Zenitist poetry by Ljubomir Micić and Branko Ve Poljanski. I will construe a new discursive framework, which will make it possible for us to understand their multigenre texts as important items in the national poetry canon. I will contextualize the general characteristics of European avant-garde poetry practices, which were used by Micic and Poljanski in order to interpret the specific place of Zenitism as a general Balkan avantgarde movement, participating in a significant way in the European and world avant-garde.

SR

In the text I will focus on Zenitist poetry by Ljubomir Micić and Branko Ve Poljanski. I will construe a new discursive framework, which will make it possible for us to understand their multigenre texts as important items in the national poetry canon. I will contextualize the general characteristics of European avant-garde poetry practices, which were used by Micic and Poljanski in order to interpret the specific place of Zenitism as a general Balkan avantgarde movement, participating in a significant way in the European and world avant-garde.

19

Dekolonizacja dokumentu

88%

Borowski M.

Didaskalia. Gazeta Teatralna

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2020

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issue 157-158

1-25

EN

The article addresses the problem of the so-called documentary turn in contemporary art, especially in those practices that are related to the project of decoloniality. It examines how traditional documentary conventions, which constitute part of the Western epistemic code, are appropriated and dismantled for the purposes of the decolonialization of the image of cultural Others. From this perspective, I analyse the main strategies used by activist artists who seek to expose the typical mechanisms of knowledge production in non-Western cultures. I complement my interpretations with a genealogy of experimental ethnographic films, tracing contemporary artistic solutions back to the so-called ethnofictions of Jean Rouch. I use this as a background for analysing two video works by the Polish artist Wojtek Doroszuk (Prince, 2014, and Sape, 2016).

20

Vlast, identita, zábava. Pestrá cesta jednou společenskou hrou přelomu 19. a 20. století

88%

Mareš J.

Střed. Časopis pro mezioborová studia Střední Evropy 19. a 20. století. / Centre. Journal for Interdisciplinary Studies of Central Europe in the 19th and 20th Centuries.

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2013

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vol. 5

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issue 2

9-29

EN

The paper focuses on the attempt of Czech nationalists to underpin the proper nationalist education of children and youth people by providing a board game that was meant to shape the understanding of what the (Czech) homeland was supposed to be. The first part of the study shows how the rules of the game were constructed. Each player had to name and describe the specificities of the place, where his token set foot; or more precisely, he had to repeat the short description which was available in the rules booklet. Some places were connected with other tasks like singing, reciting or any physical activity by means of which the children’s identity was constructed. The identity was constructed in a performative way, due to the necessity of the „constant utterances“, i. e. the repeating of facts about each place. However, it is not possible to decide what political program the game definitely matched. As a commercial item, the game rather tried to satisfy both, the older political and conservative generation, the so called Old Czech Party, and the members and constituency of the Young Czech Party. On the one hand, the game’s content, a selection and description of places on the plan, was closer to the values of the Old Czech Party. On the other hand, the frame of the game, the map of the board, was rooted in the radical nationalist politics, namely in the demands of territorialization of the Bohemian State Right.

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