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In The Performative Structure: Ritualizing the Pyramid of Pepy I, Nils Billing investigates the ancient Egyptian pyramid complex as a performative structure, ritualized through the operative faculty inherent in monumental architecture, text, and image. The main body of research is given over to an analysis of the Pyramid Texts found in the pyramid of king Pepy I of the Sixth Dynasty (ca 2300 BCE). It is demonstrated that the texts were distributed on distinct space-bound thematic and ritual levels in order to perpetuate a cultic activity from which the lord of the tomb could be transformed by moving through the different chambers and corridors towards the exit. Just as the decoration program of the mortuary temple once delineated the ritual and ideological structure of the royal mortuary cult, the corpus of texts distributed in the pyramid provided a monumentalized performative structure that effectuated the perennial rebirth for its owner.
In The Performative Structure, Nils Billing investigates the ancient Egyptian pyramid complex and tomb as a ritualized architecture, made operative through its architectural configuration and decoration patterns in terms of texts and images.
The Routledge Companion to Paradigms of Performativity in Design and Architecture focuses on a non-linear, multilateral, ethical way of design thinking, positioning the design process as a journey. It expands on the multiple facets and paradigms of performative design thinking as an emerging trend in design methodology. This edited collection explores the meaning of performativity by examining its relevance in conjunction with three fundamental principles: firmness, commodity and delight. The scope and broader meaning of performativity, performative architecture and performance-based building design are discussed in terms of how they influence today’s design thinking. With contributions from 44 expert practitioners, educators and researchers, this volume engages theory, history, technology and the human aspects of performative design thinking and its implications for the future of design.
What has happened since de Man and Derrida first read Austin? How has the encounter between deconstruction and the performative affected each of these terms? In addressing these questions, this book brings together scholars whose works have been provoked in different ways by the encounter of deconstruction and the performative. Following Derrida's appeal to any rigorous deconstruction to reckon with Austin's theorems and his ever growing commitment to rethink and rewrite the performative and its multiple articulations, it is now urgent that we reflect upon the effects of a theoretical event that has profoundly marked the contemporary scene. The contributors to this book suggest various ways of re-reading the heritage and future of both deconstruction and the performative after their encounter, bringing into focus both the constitutive aporia of the performative and the role it plays within the deconstruction of the metaphysical tradition.
This book engages the structure and message of 1 Corinthians within its most relevant context of late Western antiquity's oral culture. Using a text-centered methodology, Timothy Milinovich demonstrates and analyzes a series of concentric patterns (or ring formations) through which Paul develops his arguments to the Corinthian church. Such patterns were ubiquitous in oral cultures and their literature. These structures, which are defined by objective lexical repetitions, aid the interpretation of an overall concentric pattern of three sections (A, 1:1--4:21; B, 5:1--11:1; A ́, 11:2--16:24), nine ring sets (a, 1:1-17; b, 1:18--3:3; a ́, 3:4--4:21; a, 5:1--6:20; b, 7:1-40; a ́, 8:1--11:1; a, 11:2--14:40; b, 15:1-58; a ́, 16:1-24), thirty-five ring units (e.g., 5:1-13; 10:1-17; 15:12-24), and numerous micro-rings (e.g., 4:6-8; 8:1-4). Analyzing these lexical repetitions presents a demonstrably coherent message as it progresses through the concentric portions of the text. These findings represent a departure from previous treatments of the letter as if it were a modern, linear essay. As shown throughout this work, many linear treatments view the units like wooden blocks, only to build a single, unbalanced tower, and thus can miss important rhetorical connections in the concentric textual units. Milinovich treats the units and sets like interlocking pieces to present the inherent cohesiveness of the complex yet integral exhortation to grace, love, and unity that Paul wished to convey to this community on the verge of collapse. Among the conclusions drawn in this book, Milinovich argues that many parallel ring sets together present an anti-imperial message, and that both 11:3-15 and 14:34-35 are likely later interpolations. Scholars, pastors, and students alike will find many useful elements for interpreting or preaching 1 Corinthians in the modern world.
This book proposes a new model for understanding the musical work, which includes interpretation -- both analysis- and performance-based -- as an integral component.
What is Literary Theory? Is there a relationship between literature and culture? In fact, what is Literature, and does it matter?These are the sorts of questions addressed by Jonathan Culler in a book which steers a clear path through a subject often perceived to be complex and impenetrable. It offers discerning insights into theories about the nature of language and meaning, whether literature is a form of self-expression ora method of appeal to an audience, and outlines the ideas behind a number of different schools: deconstruction, semiotics, postcolonial theory, and structuralism amongst them.
The concept of relational space in urbanism'understanding the space of the city as produced by society'is connected with an understanding of architecture unfolding in situations. Urban space is induced by architecture, space is produced while experiencing architecture within a situation. There is a dialectical interplay between architectonic material (intra-architectonic reality) and usage and action (urban reality). Thus, an architectonic situation can be interpreted as performative in the sense of performativity as it has emerged in the discourse over the last decade. The everyday urban life of the city, with all its potential and conflicts, is taken into consideration. Analyzing the urban is not enough. This discourse is about Urban Design. Is architectural design one part, and the actualization of architecture in a performative incident another? Does Urban Design need different practices?
This user-friendly introduction to a new ‘performative’ methodology in linguistic pragmatics breaks away from the traditional approach which understands language as a machine. Drawing on a wide spectrum of research and theory from the past thirty years in particular, Douglas Robinson presents a combination of ‘action-oriented approaches’ from sources such as J.L. Austin, H. Paul Grice, Harold Garfinkel and Erving Goffman. Paying particular attention to language as drama, the group regulation of language use, individual resistance to these regulatory pressures and nonverbal communication, the work also explains groundbreaking concepts and analytical models. With a key points section, discussion questions and exercises in every chapter, this book will be an invaluable resource to students and teachers on a variety of courses, including linguistic pragmatics, sociolinguistics and interpersonal communication.
This book explores the idea that there is a certain performativity of thought connecting Kant’s Critique of Pure Reason and Wittgenstein’s Tractatus Logico-Philosophicus. On this view, we make judgments and use propositions because we presuppose that our thinking is about something, and that our propositions have sense. Kant’s requirement of an a priori connection between intuitions and concepts is akin to Wittgenstein’s idea of the general propositional form as sharing a form with the world. Aloisia Moser argues that Kant speaks about acts of the mind, not about static categories. Furthermore, she elucidates the Tractatus’ logical form as a projection method that turns into a so-called ‘zero method’, whereby propositions are merely the scaffolding of the world. In so doing, Moser connects Kantian reflective judgment to Wittgensteinian rule-following. She thereby presents an account of performativity centering neither on theories nor methods, but on the application enacting them in the first place.