{"title":"The Performative Dimensions of Academic and Public Philosophy","authors":"Mariia Lihus","doi":"10.18523/2617-8907.2023.6.57-64","DOIUrl":null,"url":null,"abstract":"The article conceptualizes the phenomenon of performance in the context of academic and public philosophy as an innovative practice of philosophy teaching and a means to encourage wider communities to participate in the events of philosophical communication. The performative nature of philosophy is traced back to Antiquity when philosophy involved both practice and dramatic action alongside logical theorization. The author argues that the performative turn of the second part of the 20th century provides a theoretical basis for rethinking academic philosophy as performance and for actualizing public philosophy as a means of transferring philosophical inquiry to the public space to address global and local challenges. The author suggests that both modern academic and public branches of philosophy enable actors’ self-presentation and can be analyzed as platforms of performance communication given their open, creative, and reflexive character. This perspective is based on H. U. Gumbrecht’s concept of the production of presence, which explains the performance’s potential for transformation in the public realm. The article demonstrates how performance can challenge the collective representations and norms by suggesting alternative worldviews and defines performance as a collective action and event of communication that can shape a public space. The article argues that performances can be reflexive and creative events that visualize social scripts, making them an effective instrument of public self-reflection and democratic change. Thus, the author analyzes educational performance in the context of modern academic and public philosophy, demonstrating the heuristic role of performance as a cause and platform of public discussion, its transformative role as an event of the common experience of moments of intensity, and its effectiveness as an innovative educational model based on the principles of presentation, self-presentation, interactivity, and co-presence.","PeriodicalId":273276,"journal":{"name":"NaUKMA Research Papers. History and Theory of Culture","volume":"63 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"NaUKMA Research Papers. History and Theory of Culture","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.18523/2617-8907.2023.6.57-64","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
The article conceptualizes the phenomenon of performance in the context of academic and public philosophy as an innovative practice of philosophy teaching and a means to encourage wider communities to participate in the events of philosophical communication. The performative nature of philosophy is traced back to Antiquity when philosophy involved both practice and dramatic action alongside logical theorization. The author argues that the performative turn of the second part of the 20th century provides a theoretical basis for rethinking academic philosophy as performance and for actualizing public philosophy as a means of transferring philosophical inquiry to the public space to address global and local challenges. The author suggests that both modern academic and public branches of philosophy enable actors’ self-presentation and can be analyzed as platforms of performance communication given their open, creative, and reflexive character. This perspective is based on H. U. Gumbrecht’s concept of the production of presence, which explains the performance’s potential for transformation in the public realm. The article demonstrates how performance can challenge the collective representations and norms by suggesting alternative worldviews and defines performance as a collective action and event of communication that can shape a public space. The article argues that performances can be reflexive and creative events that visualize social scripts, making them an effective instrument of public self-reflection and democratic change. Thus, the author analyzes educational performance in the context of modern academic and public philosophy, demonstrating the heuristic role of performance as a cause and platform of public discussion, its transformative role as an event of the common experience of moments of intensity, and its effectiveness as an innovative educational model based on the principles of presentation, self-presentation, interactivity, and co-presence.
本文将学术和公共哲学语境下的表演现象定义为哲学教学的创新实践,是鼓励更广泛的群体参与哲学传播活动的一种手段。哲学的表演本质可以追溯到古代,当时哲学除了逻辑理论化之外,还包括实践和戏剧行动。作者认为,20世纪下半叶的表演转向为将学术哲学重新思考为表演提供了理论基础,并为实现公共哲学作为一种将哲学探究转移到公共空间以应对全球和地方挑战的手段提供了理论基础。作者认为,无论是现代学术哲学还是公共哲学,由于其开放性、创造性和反思性,都可以使演员的自我呈现成为表演交流的平台。这一观点基于H. U. Gumbrecht的临在生产概念,这解释了表演在公共领域的转化潜力。这篇文章展示了表演如何通过提出不同的世界观来挑战集体表现和规范,并将表演定义为可以塑造公共空间的集体行动和交流事件。文章认为,表演可以是反思性和创造性的活动,将社会剧本形象化,使其成为公众自我反思和民主变革的有效工具。因此,作者在现代学术和公共哲学的背景下分析了教育绩效,展示了绩效作为公共讨论的起因和平台的启发式作用,它作为强烈时刻共同体验的事件的变革作用,以及它作为基于呈现、自我呈现、互动性和共同在场原则的创新教育模式的有效性。