Wyniki wyszukiwania - Biblioteka Nauki

1

Blogowanie jako forma komunikacji: performatywność zjawiska szafiarzy

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Wasilewska-Stawiak A. , Mikołajczyk K.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2013

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tom 20

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nr 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.

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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tom 16

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nr 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

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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tom 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.

4

Douglas Robinson and the somatic approach to translation

100%

Pawelec A.

Między Oryginałem a Przekładem

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2012

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tom 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.

5

‘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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tom 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.

6

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

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tom 16

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nr 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.

7

Poetika hibridnih multižanrovskih pesničkih tekstova Ljubomira Micića i Branka Ve Poljanskog

88%

Đurić D.

Poznańskie Studia Slawistyczne

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2012

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nr 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.

8

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

88%

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

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2011

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nr 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

Between Body and Sound: The Theatre of Wojtek Blecharz

88%

Figzał-Janikowska M. , Wawrzyńczak M.

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nr English Issue 2021

141-166

EN

The article attempts a synthetic overview of Wojtek Blecharz’s major theatrical projects, including specifically his opera productions, such as Transcryptum, Park-Opera, Body-Opera, Fiasko [Fiasco] and Rechnitz-Opera (Anioł Zagłady [The Exterminating Angel]). What these shows have in common is a clear tendency to transcend traditional operatic conventions, associated with both the form of the genre and its reception. The composer’s musical and theatrical experiments focus on sound – its performativity and inseparable link to corporality. The privileging of the body and musical gesture goes hand in hand with enhancing the visual aspect of music, which makes it possible to see even Blecharz’s autonomous compositions in terms of performance and often also instrumental theatre. This article presents the operatic work of Blecharz against the background of contemporary theories related to the performativity of music and its intermedia contexts.

10

W poszukiwaniu ostatecznej pewności – Kartezjańskie cogito i Ebnerowskie słowo

88%

Skorulski K.

Kwartalnik Pedagogiczny

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2015

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nr 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.

11

Między ciałem a dźwiękiem: teatr Wojtka Blecharza

88%

Figzał-Janikowska M.

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2020

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nr 160

1-27

EN

The article attempts a synthetic overview of Wojtek Blecharz’s major theatrical projects, including specifically his opera productions, such as Transcryptum, Park-Opera, Body-Opera, Fiasko (Fiasco) and Rechnitz-Opera (Anioł Zagłady (The Exterminating Angel)). What these shows have in common is a clear tendency to transcend traditional operatic conventions, associated with both the form of the genre and its reception. The composer’s musical and theatrical experiments focus on sound – its performativity and inseparable link to corporality. The privileging of the body and musical gesture goes hand in hand with enhancing the visual aspect of music, which makes it possible to see even Blecharz’s autonomous compositions in terms of performance and often also instrumental theatre. This article presents the operatic work of Blecharz against the background of contemporary theories related to the performativity of music and its intermedia contexts.

12

Performativity – Politics – Community

88%

Wróblewska-Trochimiuk E.

Slavia Meridionalis

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2019

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tom 19

EN

Performativity – Politics – CommunityThe paper is an introduction to 19th volume of “Slavia Meridionalis” which discusses the issue of performativity in the southern Slavic cultures. The author gives a review of the most important literature concerning the phenomenon of performativity and then presents the articles published in the journal. Performatywność – Polityka – WspólnotaTekst jest wprowadzeniem do 19. numeru czasopisma „Slavii Meridionalis”, poświęconego zagadnieniu performatywności w kulturach południowej Słowiańszczyzny. Autorka daje przegląd najważniejszych prac poświęconych performatywności, a następnie omawia teksty zawarte w czasopiśmie.

13

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

88%

Ferrara M.

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2017

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tom 19

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nr 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.

14

Sztuka, teatralność, ponowoczesność: O książce Agnieszki Sosnowskiej

88%

Salwa M.

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tom 70

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nr 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.

15

Dekolonizacja dokumentu

88%

Borowski M.

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2020

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nr 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).

16

Trebaju li čudovišta, mutanti i utvare glasati? Monstruozna hrvatska lirika i načelo demokratske jednakosti

88%

Vuković T.

Poznańskie Studia Slawistyczne

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2019

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nr 17

285-301

EN

The paper starts from the assumption that Croatian modern lyric, from Matoš to Maleš, is haunted by various monsters, phantoms and mutants, and possessed by ghosts. Phantasmal hair speaks, the body changed by illness acquires autonomy, bird-men, space-twins and angels inhabit the humanized world, the dead seek eternity, the turtle measures itʼs own existence in relation to space and time, and Jesus-fish according to the degree of its own evolutionary transformation, while language cyborgs and hybrid beings are born. The lyric about monsters is itself a monstrous discourse. In this discourse human existence is necessarily contaminated by the abhuman and the parahuman, language includes its own mutations, and the encounter with meaning depends on the ultimate deformation, hybridization and disappearance of meaning. Thus, in the very center of our humanity, in the artistic form that determines the measure of the humanity of our community, questions about what is humane and inhumane, how to determine the boundary between them, and is not the general understanding of humanity always-already determined by oneʼs own inhuman or a-human are raised. Looking at a series of lyric texts, the paper will analyze these relationships and subsequently show their possible political and legal effects. I will refer to theoreticians who read the lyric as a linguistic event and performative type of utterance (J. Culler, P. de Man, B. Johnson, and others) and to thinkers who, to say it simply, perceive the ideas of equality, law and justice as phantasmal, mutated, scandalous or monstrous democracy (G. Agamben, J. Rancière, J. Derrida, J-L. Nancy and others).

17

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

|

tom 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.

18

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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tom 5

|

nr 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.

19

O scenicznym ożywianiu i potencjałach autobiograficznego archiwum na przykładzie wybranych chorwackich spektakli teatralnych

87%

Abrasowicz G.

Poznańskie Studia Slawistyczne

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2020

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nr 19

253-271

EN

Autobiographism has been noticeably conquering the Croatian theatre which results in specific artistic projects, mainly falling into the category of theatre of the real. This material calls for a description of strategies, functions and potentials. The most important here is the freedom to (re)construct identity – performativity – communication and interaction. The styling of an autobiographical archive and its extension into action allows adopting a new view and interpreting historical events and current social problems differently. This phenomenon is manifested in selected performances which involve staging a dramatic text, adapting prose or journalistic text, compiling and processing various cultural texts, incorporating the performers’ confessions and observations, and developing documentary material. Descriptions of the latest performances confirm reactivity of the theatre, its power to concertize and subjectivize, as well as to model the audience’s attitudes.

PL

Autobiographism has been noticeably conquering the Croatian theatre which results in specific artistic projects, mainly falling into the category of theatre of the real. This material calls for a description of strategies, functions and potentials. The most important here is the freedom to (re)construct identity – performativity – communication and interaction. The styling of an autobiographical archive and its extension into action allows adopting a new view and interpreting historical events and current social problems differently. This phenomenon is manifested in selected performances which involve staging a dramatic text, adapting prose or journalistic text, compiling and processing various cultural texts, incorporating the performers’ confessions and observations, and developing documentary material. Descriptions of the latest performances confirm reactivity of the theatre, its power to concertize and subjectivize, as well as to model the audience’s attitudes.

20

„Czemu Cię nie ma na odległość ręki”. Listy – zdarzenia literackie Adama Ziemianina

87%

Wojda D.

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nr 30

205-230

EN

The article deals with Adam Ziemianin’s epistolary poetry (bringing both the subject of letters and imitating their formal qualities), which is discussed as a collection of literary events. Such an interpretation draws attention to the performativity of this writing, that is, its causative function, which results in the actualization of the text through the reader’s personal experience. Therefore, the interpretation here takes into account not only Ziemianin’s poems, but also their popularity as songs performed by the group Stare Dobre Małżeństwo. The most important conclusion presented in this paper focuses on the paradoxes of epistolary poetry: the evocation of both presence and absence, synchrony and asynchrony, combining private with public, as well as merging the literary dimension with real existence. Most of these paradoxes are motivated by the desire to rescue love and overcome death, as indicated by the symbolism of the letter and the well – serving as life-giving mediators.