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While currently identitarian ideologies and essentialist notions of identity that tend to simplify and reduce life experience to simple factors are globally regaining massive attention, it becomes inevitable to recollect the thorough discussions of identity concepts of the past three decades. It also calls for an ever keener awareness of and capacity to deal with the complexity and diversity of the world we live in. Artists play a major role in the potential reflection and transformation of perceptions and conceptions of the world – musicians, dancers, choreographers, spoken word artists, performance artists, actors, also fine art, installation, media artists or photographers alike. “Performing critical identity” points to performative practices of artists that bring to the fore a critical (self-)awareness and (self-)positioning concerning identification and belonging. Social identities such as gender, sexuality, race, class, dis/ability, age or non/religiosity are closely linked to the historical, social, regional and political dimensions of their formation. From this perspective, identities are hardly one-dimensional but complex and intersectional, and are rather to be thought of as a process of identification and belonging than as a consistent essence.As different, maybe contradictory among themselves, as they are, the performative works of artists such as Lerato Shadi, Liad Hussein Kantorowicz, Nora Chipaumire, Shu Lea Cheang, Zanele Muholi, Ohno Kazuo, Anohni Hegarty, Neo Hülcker, “We’re Muslim. Don’t Panic” or of theatre collectives such as RambaZamba and Thikwa Theater in Berlin or Theater Hora in Zurich, to name but a very small quite random selection of artists, share a critical approach towards hegemonic norms or stereotyping of identities and their representations, and empower diversity.This edition puts a specific focus on the performativity of the aesthetic practices, and wants to explore different artistic approaches, strategies, tactics and perspectives of artists when they address identity issues, when they target power relations and structures of oppression and inequality, when they empower concepts of diversity. This Call for Papers invites academic as well as artistic contributions that delve into case studies of artists performing critical identity or into more general theoretical reflections on the subject. Contributions can relate to, but are not limited to following topics: - intersectionality - subversion - (self-)empowerment - resistance - subalternity - exploitation - manipulation - (anti-)feminism - appropriation - cultural globalisation - transculturality - hybrid identities - collectives - body - stage - audience - de-/construction of the difference of aesthetic genres and of high/popular culture - capitalism - colonialism - (re-)production of exclusion

Performative Practices --- Critical Identity --- Diversity --- Intersectionality --- Performativity of aesthetics

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This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. Postmodern, postcolonial and post-truth are broadly used terms. But where do they come from? When and why did the habit of interpreting the world in post-terms emerge? And who exactly were the 'post boys' responsible for this?Post-everything examines why post-Christian, post-industrial and post-bourgeois were terms that resonated, not only among academics, but also in the popular press. It delves into the historical roots of postmodern and poststructuralist, while also subjecting more recent post-constructions (posthumanist, postfeminist) to critical scrutiny.This study is the first to offer a comprehensive history of post-concepts. In tracing how these concepts found their way into a broad range of genres and disciplines, Post-everything contributes to a rapprochement between the history of the humanities and the history of the social sciences.

Conceptual history. --- Historicism. --- Intellectual history. --- Performativity. --- Post-colonialism. --- Post-concepts. --- Post-truth. --- Postmodernism. --- Prefixes. --- Transnationalism.

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Judith Butler zählt zu den bedeutendsten zeitgenössischen Denker*innen im Bereich der Geistes-, Sozial- und Kulturwissenschaften sowie der Gender Studies und der Queer Theory. Darüber hinaus ist ihr Beitrag zur politischen Philosophie kaum zu unterschätzen. Dieser Band versammelt - neben einem Originaltext von Butler und einem Roundtable-Gespräch - Artikel ausgewiesener Expert*innen, die aus unterschiedlichen Perspektiven die Dimensionen des Politischen in Butlers Arbeiten kritisch würdigen. Schwerpunkte sind das Verhältnis von Philosophie, Theorie und politischer Praxis, die Konstitution politischer Subjektivität, die Möglichkeiten politischer Handlungsfähigkeit sowie das emanzipatorische Potenzial performativer Körperpraktiken. »Butlers Philosophie schärft den Blick einerseits für die globalen Zusammenhänge politischen Handelns, andererseits für die Verwundbarkeit des menschlichen Körpers, die das ethische Verständnis sowie politische Verpflichtung hinsichtlich eines lebbaren Lebens begründet.« Anna Orlikowski, Jahrbuch Politisches Denken 2018 »Das Buch bietet eine fundierte und umfassende Einführung in Butlers Werk.« http://www.frauensolidaritaet.org, 5 (2019) »Ein Band, der Judith Butlers Philosophie des Politischen in bemerkenswerter Art und Weise zugänglich macht. Butlers Beitrag zur politischen Philosophie wird nach der Lektüre wohl niemand mehr unterschätzen.« Johannes Ungelenk, Zeitschrift für Philosophische Literatur, 6/3 (2018) »Der Band [stellt] eine der ersten deutschsprachigen Veröffentlichungen in diesem Feld dar, das bislang im englischsprachigen Raum stärkere Aufmerksamkeit erfuhr. Er erweitert den deutschsprachigen Forschungsstand um eine entscheidende Auseinandersetzung mit den späteren Konzepten Butlers.« Mareike Gebhardt, Femina Politica, 2 (2018) »Die transformative Kraft von Butlers Denken wird in den einzelnen Artikeln eindrucksvoll weitergeführt.« Bettina Zehetner, WeiberDiwan, Sommer 2018 »Dieser empfehlenswerte Sammelband behandelt das Verhältnis von Philosophie, Theorie und politischer Praxis, die Konstitution politischer Subjektivität, die Möglichkeiten politischer Handlungsfähigkeit und das emanzipatorische Potenzial performativer Körperpraktiken. Die transformative Kraft von Butlers Denken wird in den einzelnen Artikeln eindrucksvoll weitergeführt.« Bettina Zehetner, www.frauenberatenfrauen.at, 3 (2018) Besprochen in: www.lehrerbibliothek.de, 3 (2018), Dieter Bach Diplomatisches Magazin, 4 (2018)

Judith Butler; Philosophie; Politik; Theorie; Gender; Performativität; Geschlecht; Politische Philosophie; Gender Studies; Queer Studies; Politische Theorie; Philosophy; Politics; Theory; Performativity; Political Philosophy; Political Theory --- Gender Studies. --- Gender. --- Performativity. --- Philosophy. --- Political Philosophy. --- Political Theory. --- Politics. --- Queer Studies. --- Theory.

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"This volume, edited by Lucilla Guidi and Thomas Rentsch, establishes the first systematic connection between phenomenology and performativity. On the one hand, it outlines the performativity of phenomenology by exploring its enactment and the transformation of attitude it effects; this exploration is conducted through a number of parallels between phenomenology and the ancient understanding of philosophy as an exercise and a way of life. On the other hand, the volume examines different notions of performativity from a phenomenological perspective, so as to show that a phenomenological understanding of embodied experience complements a linguistic account of performativity and can also offer a ground for bodily practices of resistance, critique, and self-transformation in our own day and age".

Theory of knowledge --- Phenomenology --- Performative (Philosophy) --- Phenomenology. --- Performativity (Philosophy) --- Language and languages --- Methodology --- Philosophy --- Semantics (Philosophy) --- Philosophy, Modern

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Die narrative Dimension ist in der theaterwissenschaftlich orientierten Aufführungsanalyse bislang unterrepräsentiert.Um dieses Desiderat zu beheben, untersucht die Arbeit nicht etwa von Figuren erzählte Passagen in einzelnen Aufführungen, sondern stellt generell die Frage: Wie erzählt das Theater? Die Theaternarratologie entwickelt somit erstmals auf Grundlage eines umfassenden theoretischen Fundaments in Bezug auf die Forschungsfelder der klassischen und postklassischen Narratologie und der Theaterwissenschaft ein heuristisches Analysemodell performativen Erzählens, das sich zur praktischen Anwendung in der erzähltheoretischen Aufführungsanalyse eignet. Die entwickelten Analysekategorien machen es möglich, das theatrale Erzählen intersubjektiv nachvollziehbar zu beschreiben und in narratologischer Hinsicht nicht nur in intertheatrale, sondern auch in intermediale Kontexte zu stellen. Performativität und Narrativität werden zusammen und nicht als Gegensätze gedacht, wodurch die Möglichkeit einer Annäherung theaterwissenschaftlicher und narratologischer Forschung gegeben wird.

Literary rhetorics --- Theatrical science --- Drama --- Discourse analysis, Narrative --- Narration (Rhetoric) --- Narrative (Rhetoric) --- Narrative writing --- Rhetoric --- Narratees (Rhetoric) --- Narrative discourse analysis --- Discourse analysis, Narrative. --- Performativity. --- analysis. --- multimodality. --- narrativity.