From performance to print, and back: Ethnopoetics as social practice in Alice Florendo's corrections to “Raccoon and his Grandmother”

Author(s):  
Robert E. Moore

AbstractIn considering Dell Hymes's pioneering work on Native American texts—itself grounded in fieldwork with speakers of Kiksht (Wasco-Wishram dialect of Upper Chinookan) in the 1950s—the article documents an encounter with a Kiksht language teacher, activist, and entrepreneur, an occasion of oral literary history and criticism whose ostensible purpose is to introduce a correction into the printed record. The discourse that results—ranging across specific observations of the text at hand to more general observations about Kiksht storytelling practices and about collaborative work in “salvage” linguistics—incorporates bits and pieces of the story along the way, providing a rich opportunity to revisit a fundamental tension in the ethnopoetic work of Hymes and others: between a view grounded in folkloristic study that sees language forms-in-text as important genre characteristics, and a view (seen also in “the ethnography of communication”) that concentrates on the event-bound functionalities of discursive (and transcribable) linguistic features.

2021 ◽  
pp. 135050682110289
Author(s):  
Andrea Pérez-Fernández

This article addresses the work of the German artist Hannah Höch in the light of the struggle for abortion rights in the Weimar Republic. I attempt to show how Höch’s uses of the technique of photomontage can be read as a way of introducing a distance between the work and the viewer that allows us to question the beliefs we use to make sense of the world. Specifically, I discuss her photomontage Mutter (‘Mother’), a version of a photograph taken by John Heartfield, and some of her writings and interviews. I also examine closely the material conditions and political debates in which Höch’s work – as a social practice – developed. After a brief introduction and a methodological outline, I present Höch in the context of Berlin Dada and summarise the main underlying arguments of my hypothesis. Namely, that the major interest of Höch’s photomontages lies in the complex articulation of activism and philosophy, and in the way in which they put mainstream categories into question by ‘distancing’ fragments of reality.


Author(s):  
Joan Burbick

Joan Burbick reads Jay Harjo from a queering as well as post-colonial perspective, analyzing the way in which normative discourses of social cohesion are questioned and re-formulated from the vantage point of Native American categories such as the berdache. Harjo's vision promotes radical contingency and a seemingly spiritual notion of transference.


2020 ◽  
Vol 6 (1) ◽  
pp. 27-37 ◽  
Author(s):  
Sophie Purchase

Social practices, whether described as socially-engaged, participatory or community-based, share the potential to transform audience members into active participants in an artwork or project. However, the purpose of this public engagement is sometimes in conflict with the private experience of the viewer, constructing a complex relationship between audience, artist and gallery. Beginning by contextualizing the historic position of the audience in relation to the arts, the present article uses this as grounding to unpick elements of the dynamic which exist today. ‘The audience’ investigates the reported social benefits of engaging in the arts, questioning how evidence of these positive effects is reported and judged. This article exemplifies Marcelo Sánchez-Camus’ work with patients in palliative care and Spacemakers’ community-based projects as artworks intended to instigate positive social change. Further, ‘The artist’ explores the relationship between those facilitating these projects and their audience. By breaking down the term ‘audience’ into viewers, participants, collaborators and co-authors, one can use levels of agency to segment those involved and the differing experiences of their involvement. Petra Bauer’s long-term collaborative work with SCOT PEP is used to demonstrate how a group’s agency and stakes within an artwork can be enhanced by building relationships on equal terms. Finally, ‘The gallery’, uses the high-profile examples of Tate Group and Venice Biennale to demonstrate how the more powerful entities in the art world can misrepresent engagement and participation as quantitative markers of success or accessibility. This article ultimately aims to question what motivates the production of social practice and how these entities are important in constituting a successful process and outcome, for audience, artist and institute.


1972 ◽  
Vol 6 (2) ◽  
pp. 27-43
Author(s):  
Lois Giffen

This course of one semester for undergraduates samples the literature—broadly defined—of the Arab, Persian and Turkish peoples and a time span of from just before the rise of Muhammad to modern times. It is literature-centered, i.e., the attention is on the reading and discussion of certain works or selections from works, rather than on literary history. Conceived more on the style of a Great Books course, its aim is to give the student as much direct acquaintance as possible in a few weeks with the thought, and the literary sensibilities of a great civilization. An alternative title would be Islamic Humanities, taking a cue from the more inclusive Oriental Humanities courses and the successful Western Humanities courses which led the way for them.


2013 ◽  
Vol 11 (4) ◽  
pp. 423-444 ◽  
Author(s):  
Evgeniya Aleshinskaya

Abstract Musical discourse analysis is an interdisciplinary study which is incomplete without consideration of relevant social, linguistic, psychological, visual, gestural, ritual, technical, historical and musicological aspects. In the framework of Critical Discourse Analysis, musical discourse can be interpreted as social practice: it refers to specific means of representing specific aspects of the social (musical) sphere. The article introduces a general view of contemporary musical discourse, and analyses genres from the point of ‘semiosis’, ‘social agents’, ‘social relations’, ‘social context’, and ‘text’. These components of musical discourse analysis, in their various aspects and combinations, should help thoroughly examine the context of contemporary musical art, and determine linguistic features specific to different genres of musical discourse.


2015 ◽  
Vol 22 (2) ◽  
pp. 132-136 ◽  
Author(s):  
Jeffrey Fleisher

I welcome Axel Christophersen's effort to offer a new approach to the study of Scandinavian medieval urban communities, and his outline of an ‘urban archaeology of social practice’. His presentation of a theoretical framework and language offers many insights as to how archaeologists can analyse the way people constructed their social lives through practice. It is exciting to see studies that grapple with the complexities of everyday life in urban settings. This article makes a significant contribution in its explicit approach to a theory of practice that archaeologists can use to explore and describe social change. Christophersen draws heavily on the work of Shove, Pantzar and Watson as detailed in their 2012 bookThe dynamics of social practice. Everyday life and how it changes; I was unfamiliar with this work until reading this essay and I am impressed with the way this framework offers a language and a concrete approach to understanding how practices emerge, evolve and disappear. My goal here is not to revisit the details of this argument, but rather to push on some select issues raised in the paper. I first discuss the way that Christophersen frames his arguments against a processual archaeological approach, suggesting that his effort to provide an alternative might be unintentionally minimizing a more critical approach to everyday life. Next, I discuss the role and place of unintended consequences in Christophersen's argument. And finally I examine the way that Christophersen's approach might be more fully operationalized with data, providing some examples from my own work in eastern Africa.


Author(s):  
Philip Kitcher

Dewey campaigned for a “recovery” or a “reconstruction” of philosophy. He did not see philosophy as having come to an end, but, instead, hoped to find a radically new way of continuing. This chapter seeks to understand what he had in mind and to recommend it. At different stages of his career, Dewey offered characterizations so different that it seems he had no single conception of philosophy; however, when his writings are seen as contributions to a large project of fostering human social progress, the diverse accounts of philosophy can be reconciled. Further, recognizing the important role philosophy is to play in progressive inquiry and progressive social practice enables us to understand why Dewey’s writings proceed at distinct levels. The changes he advocates mark a decisive shift in the way philosophy is to be done.


2011 ◽  
pp. 2991-2996
Author(s):  
Angela Lacerda Nobre

The growth in importance of communities within organisational settings is a sign of a change in paradigm. When management and organisational theory introduce the critical notion of communities, in parallel to the concepts of collaborative work and of knowledge sharing, there is an internal revolution going on. Therefore, communities of practice theory (Lave & Wenger, 1991; Wenger, 1999; Wenger, McDermott & Snyder, 2002; Brown & Duguid, 1991) has a critical role to play in today’s development of management and organisation theory. At a broader level, there is an ongoing metamorphosis that is highly visible through the vertiginous development of technology, the globalisation of markets, and the acceleration of the increase in complexity. Equally important are the less visible, and thus harder to acknowledge, changes in the way we think, reason, communicate, and construct our image of ourselves and of the world. The changes brought by the knowledge society of the information age (Kearmally, 1999) triggered the development of theoretical approaches to management. Among these, knowledge management and organisational learning have developed. These theories have acknowledged the importance of information and communication technology within organisations, and have explored alternative insights into mainstream management approaches. The knowledge management and organisational learning sub-disciplines represent an innovation effort that affect areas of organisational life which had been marginalised or ignored under traditional management theory. Communities of practice is the single most important example. Therefore, communities of practice represent a critical aspect of the present understanding of the complexity of organisational life. Within the broad and varied development of organisational theories, semiotic learning emerges as a particular approach to organisational learning. Semiotic learning may be described as a dynamic practice. It incorporates theoretical contributions from social philosophy and adapts them to a specific approach to facilitate learning at the organisational level. It is a learning and development tool for action at the organisational level. The central aspect of the semiotic learning approach is the focus on the quality of community life at the organisational level. Through a semiotic learning approach to organisational learning and development, it is possible to intensify and to unleash the true potential of current challenges at personal, organisational, and societal levels. By focusing on the social practices, structures, and processes which underlay human interaction, and by calling attention to the way we construct ourselves and our image of the world through those interactions, it enables the development of a rationale that supports collaborative as well as transformative forms of work and learning.


Author(s):  
Sibelan Forrester

One of the best-known and influential Russian modernist poets, Marina Tsvetaeva (1892–1941) wrote lyric and narrative poetry, plays, autobiographical and memoir prose, and essays in literary history and criticism. Her biography is so full of incident that it can tend to crowd out her poetry in studies of her life. Born in Moscow, she began her poetic career among the Moscow Symbolists but never joined a poetic school. She wrote all through the revolution and made a splash when she was able to publish again in the early 1920s. After emigrating in 1922 she wrote and published a great deal of poetry, but later she switched largely to prose, at least in part because it was easier to publish. Her culminating book of poetry is After Russia (Paris, 1928). Tsvetaeva returned to the USSR for family reasons in June of 1939. There she worked as a translator; she committed suicide in August 1941. Since her work began appearing more widely in the 1960s, Tsvetaeva has been recognized as a ground-breaking poet, impacting writers and poets all over the world, and she is of particular interest to feminist critics and scholars.


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