Angélica Liddell: autonomía de la palabra y pensamiento trágico contemporáneo

Este artículo aborda el libro Trilogía del infinito, de la creadora española Angélica Liddell, para indagar de qué forma sus textos poéticos ejercen una escritura performativa que entreteje temas filosóficos y estéticos como son la verdad, la belleza, el horror y lo trágico. Se analiza de qué forma la propuesta escritural de Liddell se aparta de los cánones dramáticos y se presenta como texto autónomo de la puesta en escena.Angélica Liddell: The Written Word’s Autonomyand Contemporary Tragic ThoughtAbstractSpanish author and theatre director, Angélica Liddell’s latest publication is Trilogía del infinito (Trilogy of the Infinite, 2016), a performative text in which she addresses philosophical and aesthetic issues such as truth, beauty, horror and tragic thought. This article discusses how Liddell’s book breaks with dramatic canons and exists as an autonomous text which may be later staged in a performative mode.Recibido: 05 de agosto de 2020Aceptado: 26 de enero de 2021

Lectio Divina: Reading in The Rule of St Benedict

Classical traditions of reading lie at the origins of Lectio Divina, a characteristic practice of the Christian monastic tradition. The article is based on an analysis of the Prologue of the Benedictine Rule as a performative text, exemplifying the dynamic of the relationships between the human text and reader, as well as the sense of its authority in terms of divine authoriship as word of God, and how this dynamic creates a community of listeners and speakers. Lectio divina is thus presented as constitutive of the monastic community and the structures of authority that sustain it; the article shows how the Bible forms a monk's sense of time and existence. Finally it considers the Rule's understanding of contemplation in a lived theology of reading.

Authorizing Authority: Constitutive Rhetoric and the Poetics of Re-enactment in Cicero’s Pro Lege Manilia

This paper studies the persuasive strategies in Pro Lege Manilia in conversation with contemporary rhetorical theory, drawing especially on the perspective of constitutive discourse and the interaction between what is in the text and what is outside. Prior receptions of Pompey by internal audiences double as sites of panegyric image construction, which was itself then instrumentalized to influence external groups. The speech self-referentially thematizes this production of authority, disclosing its rhetorical mechanisms as both performed and performative text. Cicero himself, in the process of proclaiming Pompey, crucially participates in the manufacture and mediation of the image, and in constituting ideological cohesion.

“A Marvelous Painting”: the Erotic Dimension of Saʿdi’s Praise Poetry

This article approaches Saʿdi’s little-studied panegyric production. The contribution focuses on an encomiastic modality that is almost completely neglected when it comes to the study of the Persian qasida as a performative text that enacts the political, ethical, and aesthetic values of the court. This modality is primarily amatory, and combines the standard erotic discourse of the Ghaznavids and late Saljuq poems of praise with Saʿdi’s original theo-erotic lyricism, which is mostly known through his ghazals. This critical approach will unfold by unearthing its underlying functions in a broad variety of qasidas that relate to the courtly conversations between Saʿdi and two young rulers who patronized the majority of Saʿdi’s literary activities: the Salghurid prince Saʿd b. Abi Bakr (d. 1260), and the minister of finances (sāheb divān) of the Il-khanid empire, Shams al-Din Jovayni (d. 1284).

Looking Again

Enacting the subject of ornamentation through unfolding a deteriorating repetition within its reading, this paper is presented as a performative text. Illuminating rather than telling, key focus within the paper draws on: detail and curiosity as necessities during both the making process and audiences viewing of ornamentation; the hidden and overlooked seen in domestic pattern and the rich potential for subversion; the whole versus the single, how looking and making can be akin to fractals; the un-repeating repeat or difference of the same as seen through visual rhythm disrupted by the glitch; how repetition of text transforms it into the decorative; transformation through repetition connected to the joys of labour and its associate cousins of repeated action, making, boredom, rhythm, muscle memory, sex.

Transformative Pedagogy as Academic Performance: #ShimlaPark as a Plane of Immanence

In this performative text, we explore the events that unfolded around the #ShimlaPark incident on February 22, 2016, on the Bloemfontein campus of the University of the Free State (UFS), South Africa. The text consists of four voices; that of a student, an educator, theory, and the official report commissioned by the UFS after the #ShimlaPark incident. These voices are conceptualized as an assemblage of experience. We employ arts-based research as an affective event that enables us to generate new problems, to create new concepts that allow for the emergence of a different world.

Little We Know of Each Other

This performative text is rooted in arts-based inquiry and expressed as the textual portraits of five educators working at the University of the Free State (UFS), South Africa. These portraits were created as part of a collaborative research project in which participants shared their experiential knowledge of working toward antioppressive practice in higher education at the UFS between 2014 and 2016. The textual portraits highlight the contradictions, uncertainty, and messiness of educator identity in this complex and volatile space. Furthermore, the performative text serves as a creative expression of different ways of knowing and different ways of becoming.

Remembering Paco Ibáñez at the Olympia: A political communitas in exile

In December 1969 the Spanish singer-songwriter Paco Ibáñez gave a concert at the Olympia in Paris to an audience composed of Spanish exiles and French students. Ibáñez’s selection, interpretation, musicalization and performance of a wide range of mainly Spanish poems for the occasion created a text that denounced the policies of Franco and, at the same time, allowed the French part of the audience to express their solidarity in a political cry for freedom. This article begins by situating Ibáñez in exile in France where, avoiding Francoist censorship, he thrived as an anti-Francoist musician. Focusing on the emblematic Olympia concert that epitomizes Ibáñez’s artistic output, the second part of the article analyses the performative text created by the poems chosen and interpreted by Ibáñez together with the audience’s reaction to them. This text, the article argues, encouraged collective struggle in the face of oppression, and the communitas generated that night exemplified it.

A Lonely Discourse

This performative text is a study of relationships at multiple levels. I ask readers to (re)consider the desire and possibility for connection in various types of relationships—romantic and intertextual as well as relationships between mothers and children, mothers and others, readers and writers, presence and absence. In relating my experiences of single motherhood, I raise questions about the possibility for creative communication scholarship—performative writing in particular—to perform the relational work of connecting us to others with whom we do not share similar life experiences or situations.