Butler, Judith (1997): Excitable Speech. A Politics of the Performative [kommentiert (D)]. New York/London: Routledge [dt.: Haß spricht: Zur Politik des Performativen. Übers. aus dem Englischen von Kathrina Menke und Markus Krist. Berlin: Berlin Verlag 1998]. Kommentiert von Gerald Posselt, Wien (Stand: 6.10.03)
Eine LV-Abschluss-Arbeit, die ich mal gemeinsam mit Carmen Sulzenbacher über Buffy the Vampire Slayer und Judith Butler geschrieben habe. Ist hier nicht zwecks Selbstverherrlichung oder weil ich sie für so gelungen halte, sondern weil sie zentrale Punkte der LV anspricht.
Eine LV-Abschluss-Arbeit, die ich mal über Judith Butler und Popkultur geschrieben habe. Ist hier nicht zwecks Selbstverherrlichung oder weil ich sie für so gelungen halte, sondern weil sie zentrale Punkte der LV anspricht.
This paper is concerned with exploring the potential of performance and performativity as conceptual tools for a critical human geography. We then argue that, although the geographical literature is apparently characterised by two contrasting discussions of performance (those of Goffman and of Butler), these accounts form a consensus around Goffman. By contrast, and along with Butler, we maintain that performance is subsumed within and must always be connected to performativity—that is, to the citational practices which produce and subvert discourse and knowledge, and which at the same time enable and discipline subjects and their performances.
In this introductory paper—which follows the course of the papers included in this special issue—we argue that there are currently four main apprehensions of performance. The first of those apprehensions is provided by the work of Judith Butler on performativity. We then move to a second apprehension—the rather more general notion of performance found in nonrepresentational theory, using as an example the work of Gilles Deleuze. The third apprehension of performance is that taken from work found in the discipline of performance itself. Then, the fourth apprehension concerns the reworking of academic practices as performative.