关于鲍曼的表演理论！

suoasis

请各位大侠帮忙推荐，关于Richard Bauman及其 Verbal Art as Performance的相关材料、资料！多谢

stanza

Journal of American Folklore 2002:3

A Special Issue on Richard Bauman and his work, Verbal Art as Performance,
---------------------------------------------------------

Journal of American Folklore 115(455):3. Copyright © 2002, American Folklore Society.

from the editor  ELAINE J. LAWLESS

This Special Issue of JAF is based on a 1997 AFS Annual Meeting panel that focused on the influence of Richard Bauman’s work, Verbal Art as Performance, on the field of folkloristics. The correspondence between the Special Editors, Giovanna P. Del Negro and Harry Berger, and the editor of JAF at that time, Jack Santino, dates back to 1998 when the idea to convert these presentations into a special issue of JAF emerged. In time, the current editorial staff of JAF received all the correspondence, articles, reviews, and revisions of the articles by August 2000. We are happy to finally to publish this Special Issue of JAF. While it has been several years since that 1997 AFS panel, certainly we find these articles relevant and exciting in their own right.  We also feel, without a doubt, that Richard Bauman’s work, in general, continues to merit folklorists’ attention, and that Verbal Art as Performance has had a singular impact on the field of folkloristics. This special issue of JAF makes that point very clearly, but it also points to how his work has emerged from and continues to nurture critical connections with the closely aligned fields of anthropology, linguistics, and performance studies.


Introduction: Toward New Perspectives on
Verbal Art as Performance

The articles for this special issue came out of a panel presented at the 1997 American Folklore Society Annual Meeting. That year marked the 20th anniversary of the publication in book form of Richard Bauman’s landmark study, Verbal Art as Performance. The confluence of this noteworthy anniversary with the return of the AFS Annual Meeting to Austin, Texas—the place where Bauman and his colleagues developed so many ideas important to our field—seemed an auspicious occasion to revisit Bauman’s classic work. We and our fellow panelists Claire R. Farrer, Jill Terry Rudy, Jack Santino, and Patricia E. Sawin asked what contributions Verbal Art has made to the field of folklore and how the performance perspective might be developed in the new century. In this special issue, Rudy’s article employs intellectual tools from the field of library studies to show how Verbal Art has been used by folklorists and scholars in related disciplines. Sawin’s article forges new links between contemporary feminist work on gendered subjectivity and Bauman’s notion of performance. Finally, our article suggests how ideas from phenomenology can be combined with performance theory to yield new insights into the problem of aesthetics and reflexivity in folklore. All three of these articles suggest the continued relevance of Bauman’s work and the various ways in which the ideas in Verbal Art may be developed and expanded in the contemporary intellectual scene. Additionally, we are pleased to include a response from Bauman himself, in which he provides his own perspective on Verbal Art. Re-examining the past and looking toward the future, we hope these articles stimulate an ever deepening dialogue about the nature of performance and the role of folklore in social life. Harris M. Berger is Assistant Professor of Music, Department of Performance Studies, Texas A&M University Giovanna P. Del Negro is Assistant Professor of English, Department of English, Texas A&M University

Journal of American Folklore 115(455):4. Copyright © 2002, American Folklore Society.
[ 本帖由 stanza 于 2003-5-14 16:27 最后编辑 ]

木兰

You can find a lot of information and links from the homepage of the American Folklore Society AFS:   http://afsnet.org/


including the JAF: Journal of American Folklore,

http://www.afsnet.org/publications/jaf.cfm
there are some free bookreviews there.

木兰

Some more about performance theory and History of Folklore.

http://www.faculty.de.gcsu.edu/~mmagouli/performance.htm
http://www.faculty.de.gcsu.edu/~mmagouli/history.htm


Fieldwork / Ethnography and Performance Theory

by Mary Magoulick

Folklore and ethnography shifted perspective in the 1960's from collecting and categorizing (see history of folklore link) to synthesizing and understanding peoples and their creations in their own terms. Such re-imaginings gave birth to performance theory. Dell Hymes and Dennis Tedlock, both working with Native American texts, sought to represent those texts more appropriately, from a better, insider’s perspective, to reflect the way the stories were appreciated and understood by members of the cultures from which they came. Often these days, folklorists let literature and narratives speak for the people and the cultures we study, though we shape interpretation through analysis of the texts, usually according to various theories. This is the scientific method upon which the academy is based. The insights and methods of previous generations of scholars inevitably change based on new or fine-tuned theories that better fit contemporary methods, goals, or insights. Performance theory remains extremely useful and valid for contemporary folklorists, especially those working with field-collected narratives.

One insight of performance theory focuses on rendering texts so that the artfulness of a given performative event may be manifested on the page (aesthetic sensibilities are to be discovered according to local understanding of language, speech patterns, genre, etc.). Called ethnopoetics, this method also allows for recuperation of previously collected material which may have been represented as artless or awkward (see Hymes’, "Some North Coast Poems" in "In vain I tried to tell you" 1981). Tedlock, Hymes, Bauman, Sherzer, Gossen, and others demonstrate effectively that we may representing certain, especially artful oral texts on the page as poetry according to rhythms, repetition, etc., by transcribing with scrupulous attention to details such as pauses, loudness, and patterns of speech. This approach to poetics is a kind of anthropology of art (which might be another definition of folklore). Performance theory also recognizes that not all performances are equal. "Full performance" involves a level of competence that produces artistry, though measures of competency are to be discovered in each fieldwork situation and with awareness of local measures of artistry.

At the same time that performance theory calls for greater awareness of and attention to formal elements of textual representation (structural concerns), it also calls for greater focus on context. Performance theory situates stories to a particular event and credits a narrator who assumes responsibility for the performance. Each performance is keyed, and relies on a performer’s assumption of responsibility for the emergent event. Folklore is not to be conceived any longer as disembodied "text" but rather a rich convergence of performer, situation, setting, audience, and society. Richard Bauman notes the typical view of oral literature until recently and the changes in orientation urged by performance theory: "oral literature has been conceived of as stuff – collectively shaped, traditional stuff that could wander around the map, fill up collections and archives, reflect culture, and so on" (1986, 2), giving it the bounded appearance that, as with culture, is problematic. Instead Bauman calls for us to:

recognize that the symbolic forms we call folklore have their primary existence in the action of people and their roots in social and cultural life. The texts we are accustomed to viewing as the raw materials of oral literature are merely the thin and partial record of deeply situated human behavior. My concern has been to go beyond a conception of oral literature as disembodied superorganic stuff and to view it contextually and ethnographically, in order to discover the individual, social, and cultural factors that give it shape and meaning in the conduct of social life. (1986, 2)

Without context, it is argued, texts are disembodied from the reality of their performance event, and are thus incomplete and less meaningful. A text, like a textile (etymologically related) is woven together from the situation of a given performance, the audience, details of an individual performer, and knowledge and understanding of the social group and culture of the performer and the audience.

Performance Theory and Native American Folklore

Karl Kroeber concurs that this method of attending to context is especially necessary in the study of Native American narratives. He suggests that such works typically were dismissed as primitive and unimportant by the literary establishment. They were used, in single interpretations, as reflective of culture. Once they are rendered and recognized as art (which he urges), then "diversity of interpretation is possible because the narrative truly is a work of art" (1981, 8). Once we apply the principles of literary theory, which "can never legitimately claim a final or complete understanding," we can allow for variety of interpretation of Native literature as well, thus foregrounding its richness (1981, 8-9). Such a perspective depends upon attention to context: "In constructing hypothetical relations between their texture, text, and context, we can only improve and extend our appreciation of the art of the writers and enrich our understanding of the cultures from which their works emerge" (1981, 9). Attending to form and many systems of interrelationship between the text and multiple contexts, helps draw out its artfulness, subtleties, and meaning.

Elaine Jahner shows in her discussion of interpreting Native American folklore how necessary contextual information is to understanding narratives. She analyzes a wolf narrative and reveals its meaning and implications based upon other Lakota narratives and Lakota worldview. Based on her demonstration, she observes: "Cut off from their performance context, they [texts of narratives collected in previous generations and published] are like the dry bones of skeletons. They show us only outlines" (1983, 16). While she does not discard those collected texts altogether, like other scholars, she calls for more efforts based on the insights of performance theory, especially in attending to context.

Applying Performance Theory

Thus far, most folklorists working with performance theory attend primarily to structural, textual elements of the theory (rendering oral performances more artfully on the page), though all argue for attention to context. Obviously, the amount of contextual information necessary for a full performance-informed discussion of a text is overwhelming. Henry Glassie’s Passing the Time in Ballymenone – at 850 pages – is one example. When writing of his purpose with this work, Glassie echoes Abu-Lughod’s sentiments about writing against culture:

I am concerned less with the structure of society than with the quality of social life, less with the economic system than with the nature of work, less with genres of literature than with the meaning in texts. I ask not how people fit into the plots of others but how they form their own lives, not what people do once in a while but what they do all the time.

My task was not to write another ethnography, but to write accurately and usefully about the workaday reality of other people. I wanted to know how people who share my world make it despite boredom and terror. (1982, 15)

Focusing more on discourse and practice of real lives (context), and less on setting "boundaries" (whether historical or contemporary) that delineate culture is likewise my goal. Writing the real lives of people is an overwhelming task. But one I undertook here based on the good will and humor of consultants who shared their lives and stories with me.

Fieldwork and attentiveness to form are keys to performance theory. Fieldwork is an integral part of folklore which has often offered insight into literature. Albert Lord’s Singer of Tales, for instance, based on fieldwork among then contemporary epic bards (guslars) in Yugoslavia (done with Milman Parry at Harvard), demonstrated that oral formulaic compositions of the guslars are quite similar to those of Homer. By demonstrating how the guslars compose their epics as they perform them, using particular patterns, occasional stock phrases, and general plot outlines, and then by comparing such formulaic compositions to the written record of Homer’s epics, Lord reveals that Homer was using the same method, and was thus an oral bard.

Convergence and Interrelationships

Dell Hymes describes folklore as:

Concern with the aesthetic and expressive aspects of culture; concern with traditions and traditional life of one’s own society; enjoyment of, and caring for, what one studies; often, craftsman-like participation in the tradition studied; concern for accuracy and objectivity, insight and explanation, that manages by and large not to contort what one studies with procrustean methodology, or to conceal it behind a mask of theoretics. (1975, 345)

Such goals and impulses gave rise to performance theory. Performances theorist advocates aim to avoid the dominating influences of theory, while employing it judiciously to understand discourse and practices, and to draw out "underlying uniformity of pattern" (Hymes 1975, 351). Michael Jackson suggests we should be aware of the "mutual dependency" of science and literature, letting each inform the other without elevating either to emerge as "truth" (1989).

Richard Bauman suggests we need an approach based upon a similar emergent and fluid notion of "truth," and also an awareness of the connection between the "stuff" we collect and the community and people from which it comes:

If we are to understand what folklore is, we must go beyond a conception of it as disembodied superorganic stuff and view it contextually, in terms of the individual, social, and cultural factors that give it shape, meaning, existence. This reorientation in turn requires us to broaden the scope of our fieldwork: a contextual perspective on folklore makes the enterprise much more ramified and complex than the simple butterfly-collecting approach – the collecting of anachronistic antiquities – that often passes for fieldwork in folklore. (1983, 362)

We folklorists accept the notion that the folk (people, culture) and the lore (willed, individual, creative, artistic expression) are intimately connected and inform each other. When possible, we should let consultants’ own words, collected during fieldwork, aid in understanding their culture and analyzing their performances (narratives). In Bauman’s image, this means that, "What remains essential is a basic conception of folklore as situated in a web of interrelationships, a frame of reference which may allow for the pursuit of specific connections and patterns, depending upon the investigator’s interests and resources, while keeping in view the broader range of relevant factors as well" (1983, 362). Through fieldwork, textual analysis, and understanding key concepts and theories of literature, folklore, anthropology, and cultural studies, scholars find their understanding and abilities to ascribe meaning, interpret, and teach artistic materials enhanced.

Michael Jackson offers an intriguing image of such interwoven processes:

With a single endless loop of string, the Polynesians could illustrate stories, depict mythological scenes and persons, or suggest the forms of houses, weapons, [etc.] . . . .Can our discourse be likened to these string figures, a game we play with words, the thread of an argument whose connection with reality is always oblique and tenuous, which crosses to and fro, interlacing description with interpretation, instruction with entertainment, but always ambiguously placed between practical and antinomian ends? If so, truth is not binding. It is in the interstices as much as it is in the structure, in fiction as much as in fact. (1989, 187)

Performance theory is also based upon this recognition of the "interlacing" of "description with interpretation." The similarity of this metaphor to Bauman’s "web of interrelationships" indicates the consensus among scholars of the need for a fluid approach that recognizes such interconnections. Text and context inform each other. The interlacing or web encompasses at once performer and analyst, difficult though such a pattern is to create.

Performance theory helps us to continue to discuss and appreciate what it means to be human and to give expression to our lives.

History of Folklore

by Mary Magoulick

The study of folklore (and of Native American culture) has moved from an attitude that the subjects (texts or culture) are decaying or disappearing to consideration of them as efficacious and meaningful parts of our present reality. Fieldwork connects us – scholars – to the community and provides contextual knowledge for textual synthesis and analysis. Fieldwork experience is at the root of major conceptual changes in folklore and Native American studies. Scholars in these fields – especially those who do fieldwork – are now less likely to use folklore or Native American texts to prove their own theories. Additionally, they are no longer content with merely documenting, collecting, classifying, and cataloguing information. Instead, folklorists focus upon the present realities of cultural forms and processes, using fieldwork to attempt a perspective based on "insider" discourse and practice, and to provide a more complete context by which to understand the people and their cultural productions equally. Attending to artfulness and greater context based on fieldwork, allows for the blending of social and aesthetic impulses of culture and represents an affirmative understanding of culture.

Folklore studies have always focused on interrelationships between language, literature, philosophy, and history (Johann Gottfreid von Herder and Jacob and Wilhelm Grimm are founders of folklore, which they called philology). Past folklorists focused on salvaging texts (mostly songs and folktales) in order to understand the past and sometimes to shape the present. Nevertheless, Richard Dorson points out that "folklorists, in this country at any rate, are not especially history minded, and prefer to examine folk materials by category, such as folktale and folksong, proverb and riddle, rather than by historical period" (1961, 12-13). Aside from the occasional nationalistic impulses to use folklore to buoy a certain historical ideal, folklorists were scholars of categorization.

Dorson is referring to literary folklorists like Archer Taylor, Francis James Child, George Lyman Kittredge, Stith Thompson, and so on, who collected and categorized numerous amounts of stories, songs, and "lore." Thompson and his cohort and students produced indices by which to trace a tale’s diffusion and possible origin, and by which to identify tales in literary works (he also studied American Indian folktales). Stith Thompson said of his life’s work that "he had spent his time working on indexes and classifications in order to facilitate the process of archiving material" (Zumwalt 1988, 59). Scholars in folklore and anthropology have long had a wealth of empirical data (such as the amazing and voluminous Annual Reports of the Bureau of American Ethnology), but they did not generally synthesize or attempt to see the bigger picture, until the 1960's.

Even the anthropological folklorists of the early 20th century, namely Franz Boas and his students at Columbia University, focused on collection. Boas was a founding member and important force in the American Folklore Society as well as an anthropologist. Boas and his many famous students such as Benedict, Sapir, Kroeber, Jacobs, Radin, Mead, to name only a few, all considered themselves folklorists, contributing to and editing the Journal of American Folklore and serving as members and officers of the American Folklore Society. Zumwalt quotes Kroeber’s student George Foster as claiming, "In those days, we all did folklore" (1988, 68).

These heirs of Boas provided tremendous amounts of empirical data that they saw as reflective of culture. Their great contribution was as fieldworkers trying to present accurate, objective collections of the cultures they observed and lived among. Such experiences allowed them to overcome much of the racism of their predecessors in social theory: "Franz Boas was the first anthropologist to sweep evolutionary reconstructions aside and to assert at least partial custody of the sacred in behalf of all indigenous people. According to Boas, cultures were neither moral examples nor living fossils but simply different and equally valued" (Simmons 1988, 3). Such understanding comes from close contact with real people through the experience of fieldwork.

The Boasians used data they collected to understand given Native American cultures, although in the case of Tshimshian Mythology Boas considered the mythology to be meaningful and reflective of that culture but as it was in the past, so he largely ignored the contemporary culture he saw. This was partly due to his unwillingness to see cultural expressions as distorted or requiring psychoanalytical interpretation. Such understanding was foregrounded by his student Ruth Benedict (and others). But his attitude also encompassed a feeling of urgency because the culture would change from its pristine state: "Anthropologists also felt a powerful incentive to learn what they could about such cultures . . . pristine microcosms . . . before they succumbed to debilitating change" (Simmons 1988, 3).

When William Thoms coined the term "folk lore" in 1846 in England, "the folk," were considered the illiterate peasantry of a given region: "the term folk in its initial meaning referred to European peasants and to them alone" (Dundes 1980, 4). We now recognize as folk any collectivity (a group or a culture): "Who are the folk? Among others, we are!" (Dundes 1980, 19). This shift reflects a reorientation in thinking that recognizes the universality of the human condition and the vital importance of folklore to all cultures. "Lore" was originally seen as texts of stories and songs, and now encompasses any willed, individual, creative expression. Since the 1960's folklore has been defined as "artistic communication in small groups" (Ben-Amos 1972), meaning folklorists focus upon the relationship of individual creativity to the collective order. Folklorists are equally concerned with aesthetic and expressive aspects of culture and the people and societies that make and respond to creative acts.

From early on folklorists sought to classify the material they collected. In fact, the major shift in folkloristics (in the 1960's) was a move from collection and categorization (predominant among both the literary and anthropological folklorists working early in the century), to a new focus on synthesis. The new generation of folklorists recognize the interactions between how an individual tells a story and how the audiences react and interact, and interrelationships between art, architecture and other expressive elements of culture. Folklorists today look at the dynamic relations between the socially given, the traditional, and the creative individual. The field has re-calibrated itself from a focus on the traditional and ready-made, to a focus on the balance of traditional and emergent, socially given and creative. Such synthetic work seeks to better understand the world by recognizing the circular system of individual, group, and expression. Folklorists today have and use theories, but they also strive to maintain an empirical richness in their study, letting the fieldwork, the data, and the people involved direct the big picture as much as possible.

Today we appreciate collections and methods of previous generations, but the new insights of performance theory have further opened the field. Performance theory remains a valid and useful perspective but it must be attended to more frequently and fully. The more studies we have from a perspective of performance theory the better because culture is various and dynamic and can be almost infinitely described, analyzed, and appreciated (just as a text in literature can be read and understood from various perspectives).

Today, many folklorists use the word "consultant" rather than "informant" to refer to those with whom we work in the field. The word consultant represents a conceptual shift – giving the folk credit and space as performers and partners in understanding and analyzing material. They are not just a source to use. We work these days not to salvage something about to disappear, but to describe and analyze the present in cooperation with the people with whom we work. Those folklorists attendant to performance theory offer relatively full contextual pictures of the community in which they work. Those contexts aid our understanding of particular narratives or other expressive forms. Remember that folklore embodies a synthesis of the "folk" and the "lore." Ultimately, all of culture and humanity share these foci of folklore – creativity and society.

suoasis

多谢各位前辈、学长、同仁的帮忙、指点!在下感激不尽……鲍曼的表演理论最近很热门，似乎中文相关材料还是比较少哦!

suoasis

很是感谢各位学长、同仁们对鲍曼表演理论的关注，特别是为本人提供了相关的丰富资料，贴上本人最近对鲍曼及表演理论材料的梳理一文，望各位不吝赐教！

李扬

ethnomusicology 译为“民族音乐学”似更恰当。
member of editorial board 即“编委”。
national endowment 是“国家基金”。等等。
有些原文，如scholarship, class等，似乎不必引出。
（鲍曼论述）间接引语最好用“他”而不是“我”。
仅供参考。

stanza

李扬 于 2003-6-6 23:18 写道：
ethnomusicology 译为“民族音乐学”似更恰当。

或“民族志音乐学”？
比如“ethnopoetics”一般译作“民族志诗学”。如果“民族诗学”就狭义化了。

此外，这篇译介文的工作肯定有一定难度。译者贴此也是力图精治。但确实还有诸如版主提出的一些基本问题，尤其是译介的文字表述非常重要，这等于也是译者解析观的体现。但首先要从“表述”上找到翻译与阐释之间的通衢。要不先就找一篇他的重要论文采取直译，比如文中提到的那篇序，这样在理解他的思想之后再作下一步的译介也好。

有关的术语与关键词的迻译，则需更多的推敲，对学界业已形成的一些基本共识，不要轻易去冲撞，否则你在转换为自己的表述时，如果后面不再跟英文原词的话就会发生歧义。如Hymes的“讲述民族志”是学界已经沿用的，“语境”与“情境”之别，也是表演理论的关捩点。

总之，已经是不错了，再将表述方式换换。

李扬

楼上所言极是。
惟ethnomusicology之译法，乃据《美国传统双解词典》：

The study of music that is distinct from the European classical tradition.
民族音乐学，研究区别于欧洲古典形式的音乐的学科
The comparative study of music of different cultures.
比较音乐学，对不同文化音乐的比较研究

参照ethnomusicology学会的介绍：
The Society for Ethnomusicology is multidisciplinary in concept and worldwide in scope. Members' interests range from Japanese shakuhachi performance practice to popular musics in New York; from the conservation and display of Native American musical instruments to teaching world music in public schools.

Members of the Society from Ethnomusicology are scholars, students, performers, publishers, museum specialists, and librarians from numerous disciplines, including:

Acoustics
Aesthetics
Anthropology
Archeomusicology
Archives and Museums
Area Studies
Art and Art History
Composition
Cultural Studies
Dance
Diaspora Studies
Folklore
Gender
Linguistics
Literature Music Education
Music Journalism
Musicology
Organology
Performing Arts
Physics
Popular Music
Psychology
Public Culture
Public Sector Ethnomusicology
Sociology
Technoculture
Theatre
Theory
World Music/World Beat  

可见是从诸多学科的角度，去研究不同民族的音乐（包括乐器等），
不知“民族音乐学”、“民族志音乐学”哪个涵括更广些，学界通用的
译名是什么，偶对此毫无研究，望方家赐教则个！

suoasis

谢谢各位前辈的悉心指点，确实受益匪浅，本人在以后的学习、工作中亦将会加倍谨慎。关于学术界通用的术语有些限于接触的太少，未免有些差强人意，希望能在与多位内行的交流探讨中不断加强这方面的学力。
Enthnomusicology李杨老师已经给我们作出了较为详细的介说，我在这想补充杨利慧、安德明老师关于Enthnomusicology的一些解释，以供参考。
音乐文化学（Enthnomusicology）是一门研究世界各地各种音乐的学科。它不仅关注音乐的声乐属性，更着力于讨论音乐在人类生活中的作用、分析音乐与文化的关系并对音乐进行跨文化的研究。这一学科认为，世界各地的人们每一天都在创造和聆听音乐。在人们的生活中，音乐既是娱乐性的，又是具有政治、社会、宗教和经济诸方面属性的一种严肃的文化事项，人们既用它来丰富自己的生活，又通过它来表达对社会的评判。作为一种表达自我的文化交流形式，音乐既反映着社会的变化，同时又引导着社会的变化。（参考杨利慧、安德明《民俗学与音乐文化学系的学生培训与课程设置——印第安纳大学访学札记之二》，民俗研究2001.3，第139页。）
另外，本人贴出的一文实属仓促之作，确实存在很多问题，再次感谢各位老师的不吝赐教，本人将在此基础上进一步加以修改，也诚恳希望有更多的学辈们提出建议和批评！

suoasis

silver老师对本人贴上的一文也提出了非常宝贵的意见和建议，在此附上，供大家参考，同时，本人也要再次感谢silver 老师的支持和帮助！   
1)“交流民族志”或“言语民族志”（Ethnography of
Communication, Ethnography of Speaking）。
Ethnography of Speaking:讲述民族志(Dell Hymes)
2）Context:语境
情境一词则是situation
具体的情境（situational contexts）：情境中的语境
（given situation）：既定情境
3)ethnography of communication
译作交流民族志还是传播民族志，要看上下文。
4）形态学理论（morphological framework）：形态学构架
5）互动关系维度（dimensions of
interrelationship）：相互关联的维度（没有互动的意思）
6）存在（production）？
7）类型问题（the problem of genre）：文类问题
8）言语（speaking）：言说或说话(ways of speaking, Dell
Hymes, breaking into performance)，相对与于speech art(言语J.
Austin, how to dothing wit words）

叶涛

《民俗研究》2003年第1期刊有安德明、杨利慧对鲍曼的长篇访谈，可供参考。

suoasis

关于鲍曼的表演理论一书，杨利慧、安德明老师正在翻译，希望能早日看到中译本!上次对鲍曼表演理论的相关介绍，本人参考各位老师、学长的意见和建议作了一些修改，现将其贴出，供大家参考!（原是本人的一份读书报告）

nanwan

Performance Studies: Issues and Methods
Resource Bibliography

[ 本帖由 nanwan 于 2003-6-17 13:34 最后编辑 ]

nanwan

Performance: Kep Concept (4 vol.)

Edited by Philip Auslander

Routledge

Due/Published May 2003, 1696 pages, cloth

ISBN 0415255112

Featuring a multi-disciplinary approach that reflects the growing importance of the concept of performance across a variety of disciplines, this collection brings together the key texts articulating perspectives on performance and performativity. The set includes an introduction contextualizing the growth of this field, and a full index.

Contents

Volume I
Part I. Foundations and Definitions
Section 1.1 Foundational Texts and Concepts
1. Arnold Van Gennep, 'The Territorial Passage' in The Rites of Passage, Monika B.Vizedom and Gabrielle L.Caffee, trans., pp. 15-25 (Chicago:University of Chicago Press 1960 [1908?])
2. Johan Huizinga, 'Nature and Significance of Play as a Cultural Phenomenon', in Homo Ludens:A Study in the Play-Element of Culture, pp. 1-27 (Boston:Beacon Press, 1955 [1938])
3. Milton Singer, 'Search for a Great Tradition in Cultural Performances', in When a Great Tradition Modernizes, pp. 67-80 (New Yorkraeger, 1972)
4. Kenneth Burke, Ritual Drama as 'Hub', in The Philosophy of Literary Form:Studies in Symbolic Action, pp. 87-113 (New York:Vintage Books, 1957)
5. J.L.Austin, 'Lecture I' in How to Do Things with Words, 2nd Ed., J.O.Urmson and Marina Sbisa, eds., pp. 1-11(Cambridge:Harvard University Press, 1975)
6. Erving Goffman, 'Introduction', in The Presentation of Self in Everyday Life, pp. 1-16 (New Yorkoubleday, 1959)
Section 1.2 Definitions, Distinctions, and Debates
7. Bert O.States, 'Performance as Metaphor', Theatre Journal, 48, 1, pp. 1-26, 1996
8. Grahame F.Thompson, Approaches to 'Performance', Screen, 26,5, pp. 78-90, 1985
9. Janelle Reinelt, 'The Politics of Discourseerformativity Meets Theatricality', Substance, 31,1 & 2, 2002
10. Jon McKenzie, 'Virtual Realityerformance, Immersion, and the Thaw', TDR:The Journal of Performance Studies, 38,4, pp. 83-106, 1994
Section 1.3 Disciplinary Actions
11. Clifford Geertz, 'Blurred Genres:The Refiguration of Social Thought',The American Scholar, 49, pp. 165-179, 1979
12. Sheldon L., Messinger, Harold Sampson, Robert D.Towne, 'Life as Theater:Some Notes on the Dramaturgic Approach to Social Reality', Sociometry 25,1, pp. 98-110, 1962
13. Ronald J.Pelias and James VanOosting,'A Paradigm for Performance Studies', Quarterly Journal of Speech, 73,2, pp. 219-231, 1987
14. Elizabeth Bell, 'Performance Studies as Women's Work:Historical Sights/Sites/Citations from the Margin', Text and Performance Quarterly, 13,4, pp. 350-374, 1993
Part II:Elements and Circumstances of Performance
15. Richard Schechner, 'Performers and Spectators Transported and Transformed', The Kenyon Review,New Series, 3,4, pp. 83-113, 1981
16. Freddie Rokem,'Theatrical and Transgressive Energies', Assaph, 15, pp. 19-38, 1999
17. Michael Kirby, 'On Acting and Not-Acting', The Drama Review, 16,1, pp. 3-15, 1972
18. John O. Thompson, 'Screen Acting and the Commutation Test', Screen, 19,2, pp. 55-69, 1978
19. Peter Middleton, 'Poetry's Oral Stage', in Salim Kemal and Ivan Gaskell, eds., Performance and Authenticity in the Arts, pp. 215-253, Cambridge:Cambridge University Press, 1999
20. Stan Godlovitch, 'The Integrity of Musical Performance', The Journal of Aesthetics and Art Criticism, 51,4, pp. 573-587, 1993

Volume II
Part I:Representation
21. Jacques Derrida, 'The Theater of Cruelty and the Closure of Representation', in Writing and Difference, Alan Bass, trans., pp. 232-250 (Chicago:University of Chicago Press, 1978)
22. Jean-François Lyotard, 'The Tooth, the Palm,' Anne Knap and Michel Benamou, trans., SubStance, 15, pp. 105-110, 1976
23. Barbara Freedman 'Frame-Up:Feminism, Psychoanalysis, Theatre', Theatre Journal, 40, 3, pp. 375-397, 1988
24. Jill Dolan, 'The Dynamics of Desire:Sexuality and Gender in Pornography and Performance', Theatre Journal, 39,2, pp. 156-174, 1987
Part II:Textuality
25. Marvin Carlson, 'Theatrical Performance:Illustration, Translation, Fulfillment, or Supplement?', Theatre Journal, 37,1, pp. 5-11, 1985
26. W.B.Worthen, 'Drama, Performativity, and Performance ', Publications of the Modern Language Association, 113,5, pp. 1093-1107, 1998
27. Elinor Fuchs, 'Presence and the Revenge of Writing:Rethinking Theatre After Derrida', Performing Arts Journal, 9,2/3, pp. 163-173,1985
28. Ric Allsop, 'Performance Writing', Performing Arts Journal, 21, 1, pp. 76-80, 1999
29. Bernard Hibbitts, 'Making Motions:The Embodiment of Law in Gesture', Journal of Contemporary Legal Issues, 6, pp. 51-81,1995
Part III:Bodies
30. David Graver, 'The Actor's Bodies', Text and Performance Quarterly, 17, 3, pp .221-235,1997
31. Jon Erickson, 'The Body as the Object of Modern Performance', Journal of Dramatic Theory and Criticism, 5, 1, pp. 231-245, 1990
32. Ann Cooper Albright, 'Strategic Abilities: Negotiating the Disabled Body in Dance', Michigan Quarterly Review, 37, 2, pp. 475-501,1998
33. Peta Tait, 'Feminine Free Fall:A Fantasy of Freedom', Theatre Journal 48, 1, pp. 27-34, 1996
Part IV:Audiences/Spectatorship
34. Marco De Marinis, 'Dramaturgy of the Spectator' , TDR:The Journal of Performance Studies, 31, 2, pp. 100-114, 1987
35. Anne Ubersfeld, 'The Pleasure of the Spectator', Pierre Bouillaguet and Charles Jose, trans., Modern Drama, 25, 1, pp. 127-139, 1982
36. Alice Rayner, 'The Audience:Subjectivity, Community and the Ethics of Listening', Journal of Dramatic Theory and Criticism, 7, 2, pp. 3-24, 1993
37. Herbert Blau, 'Odd, Anonymous Needs:The Audience in a Dramatized Society' (Part One), Performing Arts Journal, 9, 2/3, pp. 199-212, 1985
38. Elizabeth Klaver, 'Spectatorial Theory in the Age of Media Culture', New Theatre Quarterly, 11, pp. 309-321, 1995
Part V:Culture
5.1 Cultural Studies
39. Raymond Williams, 'Drama in a Dramatised Society', pamphlet (Cambridge:Cambridge University Press, 1975)
40. Shannon Jackson, 'Why Modern Plays Are Not Cultureisciplinary Blind Spots', Modern Drama, 44, pp, 31-51
41. Jane C.Desmond, 'Embodying Difference:Issues in Dance and Cultural Studies', Cultural Critique, 26,pp.33-63, 1993-94
V.2 Inter-and Intracultural Studies
42. Cynthia Ward, 'Twins Separated at Birth? West African Vernacular and Western Avant Garde Performativity in Theory and Practice', Text and Performance Quarterly, 14, 4, pp.269-288, 1994
43. Avanthi Meduri,'Western Feminist Theory, Asian Indian Performance, and a Notion of Agency', Women and Performance, 5, 2, pp. 90-103, 1992
44. Daryl Chin,'Interculturalism, Postmodernism, Pluralism', Performing Arts Journal, 11,3/12,1,pp.163-175, 1989

Volume III
Part I:Science and Social Science
I.1Performing Science
45. Gautam Dasgupta, 'From Science to Theatreramas of Speculative Thought', Performing Arts Journal, 9, 2/3, pp. 237-246, 1985
46. Robert Crease,'Performance and Production:The Relation between Science as Inquiry and Science as Cultural Practice', in The Play of Nature:Experimentation as Performance, pp. 158-177 (Bloomington:Indiana University Press, 1993)
I.2 Social Behavior as Performance
47. Richard Bauman, 'Verbal Art as Performance ' American Anthropologist, 77, 2, pp. 290-311, 1975
48. Roger D.Abrahams, 'A Performance-Centered Approach to Gossip', Man, New Series, 5, 2, pp. 290-301, 1970
49. Leonard C. Hawes, 'Becoming Other-Wise: Conversational Performance and the Politics of Experience' , Text and Performance Quarterly, 18, 4, pp. 273-299, 1998
50. Victor Turner, 'Social Dramas and Stories about Them', Critical Inquiry 7, 1, pp. 141-168, 1980
I.3 Performing Ethnography
51. Dwight Conquergood,'Performing as a Moral Act:Ethical Dimensions of the Ethnography of Performance', Literature in Performance, 5, 2, pp. 1-13, 1985
52. Michael M.McCall and Howard S.Becker,'Performance Science', Social Problems, 37, 1, pp. 117-132, 1990
53 Richard A.Hilbert, 'The Efficacy of Performance Science:Comment on McCall and Becker', Social Problems, 37, 1, pp. 133-135, 1990
54. E.Patrick Johnson, 'SNAP! Culture:A Different Kind of Reading', Text and Performance Quarterly, 15, 2, pp. 122-142, 1995
Part II:History, Politics, Political Economy
II.1 Performing History
55. Anthony Kubiak, 'Disappearance as History:The Stages of Terror', Theatre Journal, 39, 1, pp. 78-88, 1987
56. Michal Kobialka, 'Historical Events and the Historiography of Tourism', Journal of Theatre and Drama, 2, pp. 153-174, 1996
57. Vivian M.Patraka, 'Spectacles of Sufferingerforming Presence, Absence, and Historical Memory at U.S.Holocaust Museums', in Elin Diamond, ed., Performance and Cultural Politics, pp. 89-107 (London:Routledge, 1996)
II.2 Political Activism and Performance
58. Lee Baxandall, 'Dramaturgy of Radical Activity 'The Drama Review, 13, 4, pp. 52-71, 1969
59. Baz Kershaw, 'Fighting in the Streetsramaturgies of Popular Protest, 1968-1989', New Theatre Quarterly, 13, 3, pp. 255-276, 1997
II.3 Theorizing Political Performance
60 Una Chaudhuri, 'There Must Be a Lot of Fish in That Lake:Toward an Ecological Theater', Theater, 25,1, pp. 23-31, 1995
61. Elin Diamond, 'Brechtian Theory/Feminist Theory:Toward a Gestic Feminist Criticism', TDR:The Journal of Performance Studies, 32,1, pp. 82-94, 1988
62. Peggy Phelan, 'The Ontology of Performance:Representation without Reproduction' in Unmarked:The Politics of Performance, pp. 146-166 (London:Routledge, 1993)
63 Andrew Parker, 'Praxis and Performativity', Women and Performance, 8, 2, pp. 265-273, 1996
64. Joseph Roach, 'The Future that Worked', Theater, 8, 2, pp.19-26, 1998
65. Richard A. Rogers. 'Rhythm and Performance of Organization', Text and Performance Quarterly, 14, 3,1994
66. Miranda Joseph, 'The Performance of Production and Consumption', Social Text, 16, 1, pp. 25-62, 1998,
67. Philip Auslander, 'Legally Live', TDR:The Journal of Performance Studies, 41, 2, pp. 9-29, 1997

Volume IV
Part I:Identity and the Self
I.1. The Performing Self
68. Richard Poirier, 'The Performing Self', in The Performing Self, pp. 86-111 (New York:Oxford University Press, 1971)
69. Frances Harding, 'Presenting and Re-Presenting the Self:From Not-Acting to Acting in African Performance', TDR:The Journal of Performance Studies, 43, 2, pp. 118-135, 1999
I.2 Performing Identity
70. Candace West and Susan Fenstermaker, 'Doing Difference', Gender and Society, 9, 1, pp. 8-37, 1995
71. Kimberly W. Benston, 'Prologueerforming Blackness', in performing Blackness:Enactments of African-American Modernism, pp. 1-21, London:Routledge, 2000
72. Judith Butler, 'Performative Acts and Gender Constitution:An Essay in Phenomenology and Feminist Theory ',Theatre Journal 40, 4, pp. 519-531, 1988
73. Susan Leigh Foster, 'Choreographies of Gender', Signs, 24, 1, pp. 1-34, 1998
74. Sue-Ellen Case, 'Performing Lesbian in the Space of Technologyart 1', Theatre Journal, 47, 1, pp. 1-18, 1995
Part 2:Visual Art and Performance Art
2.1 Visual Art
75. Michael Fried, 'Art and Objecthood', ArtForum, 5, 10, pp. 12-23, 1967
76. Henry Sayre,'The Object of Performance:Aesthetics in the Seventies', The Georgia Review, 37, 1, pp. 169-188, 1983
2.2 Performance Art
77 Josette Féral, 'Performance and Theatricality:The Subject Demystified', Terese Lyons, trans., Modern Drama, 25, 1, pp. 171-181, 1982
78. Nick Kaye,'British Live Art '[......Live Artefinition & Documentation'] ,Contemporary Theatre Review, 2, 2, pp. 1-7, 1994
79. Erika Fischer-Lichte, 'Performance Art and Ritual:Bodies in Performance', Theatre Research International, 22, 1, pp. 22-37, 1997
80. Jeanie Forte,'Women 's Performance Art:Feminism and Postmodernism ',Theatre Journal, 40, 2, pp. 217-235, 1988
81 Britta B.Wheeler, 'Negotiating Deviance and Normativityerformance Art, Boundary Transgressions, and Social Change', in Marilyn Corsianos and Kelly Amanda Train, eds. Interrogating Social Justiceolitics, Culture, and Identity, pp. 155-179 (Toronto:Canadian Scholars' Press,,1999)
Part 3:Media and Technology
3.1 Media and Mediatization
82. Susan Sontag, 'Film and Theatre', The Drama Review, 11, 1, pp. 24-37, 1966
83. Roger Copeland, The Presence of Mediation,TDR:The Journal of Performance Studies, 34, pp. 28-44, 1990
84. Chantal Pontbriand, 'The eye finds no fixed point on which to rest', C.R.Parsons.trans.Modern Drama, 25, 1, pp. 154-162, 1982
85. Theodore Gracyk,'Listening to Musicerformances and Recordings', The Journal of Aesthetics and Art Criticism, 55. 2, pp. 139-151, 1997
3.2 Performance and Technology
86. Andrew Murphie, 'Negotiating Presenceerformance and New Technologies', in Philip Hayward, ed., Culture, Technology & Creativity, pp. 209-226 (London:John Libbey, c.1990)
87. Steve Tillis, 'The Art of Puppetry in the Age of Media Production', TDR:The Journal of Performance Studies, 43.3, pp. 182-195, 1999
88. Matthew Causey, 'Screen Test of the Double:The Uncanny Performer in the Space of Technology,' Theatre Journal, 51, 4, pp. 383-394, 1999
89. David Z.Saltz, 'The Art of Interaction:Interactivity, Performativity, and Computers', The Journal of Aesthetics and Art Criticism, 5, 2, pp. 117-127, 1997