To see the other types of publications on this topic, follow the link: Performative utterance.
Journal articles on the topic 'Performative utterance'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Performative utterance.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Berube, Michael. "Autobiography as Performative Utterance." American Quarterly 52, no. 2 (2000): 339–43. http://dx.doi.org/10.1353/aq.2000.0012.
Full text
2
de Gaynesford, M. "Geoffrey Hill and Performative Utterance." British Journal of Aesthetics 53, no. 3 (July 1, 2013): 359–64. http://dx.doi.org/10.1093/aesthj/ayt018.
Full text
3
Widyarsono, Antonius. "Bahasa Dan Kebenaran Menurut John Langshaw Austin." DISKURSUS - JURNAL FILSAFAT DAN TEOLOGI STF DRIYARKARA 12, no. 2 (October 14, 2013): 191–216. http://dx.doi.org/10.36383/diskursus.v12i2.104.
Full textAbstract:
Abstrak: John Langshaw Austin menjadi terkenal sebagai filosof Lingkaran Oxford yang menekankan pentingnya tuturan performatif. Namun dalam artikelnya “Truth” (1950) ia menggunakan teori korespondensi dalam memahami masalah kebenaran. Austin mengkritik Strawson yang menggunakan teori deflasioner tentang kebenaran berdasarkan analisis mengenai pentingnya tuturan performatif. Dalam tulisan ini akan dijelaskan mengapa Austin lebih memilih teori korespondensi dari pada teori deflasioner dalam memahami kebenaran. Juga akan ditunjukkan sumbangan khas Austin yang membarui teori korespondensi umum yang menggunakan metafora “cermin” dan “peta” realitas dengan menekankan sifat konvensional ide korespondensi. Menurut penulis, hal ini merupakan suatu usaha yang serius dan berguna dalam mengartikulasikan cara kita menggunakan simbol-simbol bahasa yang ditentukan secara sewenang-wenang untuk merepresentasikan realitas dunia.
Kata-kata Kunci: Kebenaran, teori korespondensi, teori koherensi, teori deflasioner, teori tindak-tutur, aspek ilokusioner bahasa, tuturan deskriptif, tuturan performatif, konvensi deskriptif, konvensi demonstratif.
Abstract: John Langshaw Austin is an “Ordinary Language Philosopher” of Oxford, who is famous for emphasizing the importance of performative statements. In his article, “Truth” (1950), however, he used correspondence theory for understanding the problem of truth. Austin criticized Strawson, who uses the deflationary theory of truth that is compatible with the analysis of performative utterances. This article will explain why Austin chooses the correspondence theory of truth rather than deflationary one. It will also elaborate Austin’s specific contribution in changing the version of the correspondence theory, which uses the metaphor of “mirroring” or “mapping”’ the world, to a conventional correspondence theory. It is, in my opinion, a serious and notable attempt to articulate our use of arbitrary symbols in the representation of brute reality.
Keywords: Truth, correspondence theory, coherence theory, deflationary theory, speech-act theory, the illocutionary aspect of language, descriptive utterance, performative utterance, descriptive convention, demonstrative convention.
4
Proskurin, Sergey, and Vladimir Feshchenko. "Voice and bodily deixis as manifestation of performativity in written texts." Semiotica 2019, no. 227 (March 5, 2019): 317–34. http://dx.doi.org/10.1515/sem-2017-0133.
Full textAbstract:
AbstractThis article deals with voice and bodily deixis as manifestations of performativity in written texts. A speech act of origin presents as both vocal and performative events. Ritual matrixes of culture contain performative complexes, as suggested by Austin. Such performative nuclei are neither true nor false, that is, their negation cannot be logically inferred from true premises. The term deixis describes the performative moment of the utterance, its active and transformative force. The first embodied deictic utterance in Western history would be the biblical phrase “And the word made flesh.” It is the first mythopoetical performative denoting the bodily incarnation of logos. In the article, the term bodily deixis is considered against the background of experimental poetry of E.E. Cummings.
5
Wong, Lisa. ""Between You and I": The Performative Utterance in Lyric." International Journal of the Humanities: Annual Review 3, no. 8 (2006): 135–38. http://dx.doi.org/10.18848/1447-9508/cgp/v03i08/41763.
Full text
6
Jakovljevic, Branislav. "Shattered Back Wall: Performative Utterance of A Doll's House." Theatre Journal 54, no. 3 (2002): 431–48. http://dx.doi.org/10.1353/tj.2002.0085.
Full text
7
Fulford, Amanda, and Claire Skea. "3. Student Complaints: Performative or Passionate Utterances?" Philosophy and Theory in Higher Education 1, no. 2 (January 1, 2019): 55–74. http://dx.doi.org/10.3726/ptihe.2019.02.03.
Full textAbstract:
Abstract In a well-documented case from late 2016, Oxford University graduate, Faiz Siddiqui, sued his alma mater, claiming that the “appallingly bad tuition” he received cost him the first-class degree that he felt he should have received. In tracing how the rise in such complaints seems ineluctably linked to the increasing commodification of the sector, we ask what it means for a student to express her voice within the university. In doing this, we draw a contrast between the (safety of the) formal procedures to which many students resort when making a complaint, and the possibilities of addressing issues in a face-to-face encounter. To understand the differences in these two approaches, we make an unusual move to consider the work of J. L Austin (1962). We then outline Stanley Cavell’s criticisms of the formal procedures that underlie such utterances. We suggest that a commitment to passionate utterance along Cavellian lines, highlights not only the place of emotion in a complaint, but also the responsibility, and answerability, of each party to the other.
8
Strother, Zoe S. "From Performative Utterance to Performative Object: Pende Theories of Speech, Blood Sacrifice, and Power Objects." Res: Anthropology and aesthetics 37 (March 2000): 49–71. http://dx.doi.org/10.1086/resv37n1ms20167493.
Full text
9
Komariah, Satiul. "THE SPEECH ACT ANALYSIS OF DIRECT UTTERANCES ON SHORT STORY "THE LOST BEAUTIFULNESS� BY ANZIA YEZIERSKA." EduLite: Journal of English Education, Literature and Culture 2, no. 1 (February 13, 2017): 347. http://dx.doi.org/10.30659/e.2.1.347-360.
Full textAbstract:
This research aimed to investigate (1) the form of direct sentences on short story entitled The Lost �Beautifulness�, (2) analyze the purpose of the direct utterances in the short story, (3) show the kind of direct utterances in short story The Lost �Beautifulness�. The object used in this research are direct utterances of short story The Lost �Beautifulness�. The data were collected by observation method. The writer selecting the direct utterances which can be found in the short story. The result of the research showed that: (1) three forms of the direct utterances are declarative, interrogative and imperative sentence; (2) purposes of the utterances depend on the four factors; locution, illocution, perlocution and social context; (3) seven kinds of speech acts are assertive, performative, verdictive, expressive, directive, commisive and phatic utterances.Keywords: Speech act, Direct Utterance, Short Story
10
Morrissey, Belinda Caroline, and Susan Yell. "Performative trolling: Szubanski, Gillard, Dawson and the nature of the utterance." Persona Studies 2, no. 1 (May 17, 2016): 26–40. http://dx.doi.org/10.21153/ps2016vol2no1art503.
Full textAbstract:
In 2012 the Australian public witnessed three important examples of trolling play out in the public sphere that are the focus of this paper: the trolling of Julia Gillard’s Facebook page when she attempted to discuss education policy, the anonymous trolling of Charlotte Dawson’s Twitter page, and the trolling of Magda Szubanski on YouTube after she came out on The Project. These attacks may seem similar in that a public persona has been ridiculed and denigrated in flamboyant onslaughts. However, we will argue that there are important differences in the effects of these attacks, and that underpinning these are differences relating to the individual persona, the social medium and the nature of the utterance. The attacks on Gillard and Szubanski are primarily descriptive attacks on a deliberate and somewhat stage-managed public performance of identity, not a call to action. On the other hand, the anonymous trolling of Charlotte Dawson, which led directly to her attempted suicide, is clearly a performative utterance from the start, meant to have consequences on the object of attack. In Dawson’s case, the separation between her public persona and her private self is far less distinct than in the case of Gillard or Szubanski. These instances demonstrate that trolling exists on a performative continuum, engaging in constant disruption, but also lending itself to the production of social action. The kind of impact trolling will have depends, thus, on the affordances of social media, the persona under attack, and on the very nature of the utterance itself.
11
Ahmad, Amirah, Norizah Ardi, and Rozaimah Rashidin. "Speech Acts in Trials of Underage Sexual Criminal Case." Environment-Behaviour Proceedings Journal 6, SI5 (August 29, 2021): 3–9. http://dx.doi.org/10.21834/ebpj.v6isi5.2922.
Full textAbstract:
Language usage in a court trial of a criminal case is usually associated with utterances that lead to justification of the imposed punishment for the offender. Utterances of justification are usually categorized as a performative speech act. Each utterance can be categorized into five types of speech, namely representatives, directives, commissive, expressive, and declaratives. This descriptive study uses the text analysis technique, by analysing the utterance delivered in the court trial. The findings showed that mostly the Deputy Public Prosecutor and the advocates are using the directive speech act whereas the OKT and the witnesses are using representative speech acts. Keywords: speech acts; court trial; under age criminal case eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2922
12
Jäuregui, Miguel Herrero De. "Emar Tode." Classical Antiquity 32, no. 1 (April 1, 2013): 35–77. http://dx.doi.org/10.1525/ca.2013.32.1.35.
Full textAbstract:
The expression “(on) this day” has an extremely pregnant meaning in different contexts of early Greek poetry. It is used in rituals and in solemn utterances, but it is much more than an emphatic way of saying “today.” It shows that the speaker is recognizing that a decisive, irreversible moment is approaching. Such knowledge of the appointed destiny is only accessible to the gods or to mortals inspired by them, which often makes the authoritative utterance “this day” a performative speech-act that brings immediate accomplishment. The study of the instances of this expression, both with ἦμαρ and ἡμέρα, in epic, religious poetry, and tragedy, also sheds light on the different Greek notions of what a decisive day was.
13
Kasmani, Mohd Faizal, Sofia Hayati Yusoff, and Osama Kanaker. "Muḥammad’s Conversations with the Bedouin: a Speech-Act Analysis of Prophetic Discourse in Hadith." Al-Bayān – Journal of Qurʾān and Ḥadīth Studies 17, no. 1 (June 26, 2019): 1–23. http://dx.doi.org/10.1163/22321969-12340067.
Full textAbstract:
Abstract Speech-act theory allows us to study how words have an impact in real life and the performative nature of words. At the same time, it can also contribute to an understanding of communication style and communication strategy. In this article, speech-act theory is applied to the conversations of Prophet Muḥammad with the Bedouin in two ways. First, the speech acts of the Prophet are analyzed using the categories put forward by John Searle to see how they function within the conversation. Second, the illocutionary force of an utterance and its perlocutionary effect – based on words and expressions that the Prophet used in his utterances – are examined to discover patterns in his communication strategy towards the Bedouin.
14
BARBER, KARIN. "Text and performance in Africa." Bulletin of the School of Oriental and African Studies 66, no. 3 (October 2003): 324–33. http://dx.doi.org/10.1017/s0041977x03000223.
Full textAbstract:
If written texts usually involve some kind of performative dimension, oral performances also entail the constitution of a text. American linguistic anthropology uses the term ‘entextualization’ for the process by which stretches of spoken discourse are detached from their immediate context and rendered repeatable and thus transmissible. In African oral poetry there are entextualizing strategies which involve rendering discourse object-like: by making it the focus of exegesis, or by presenting it as quotable, thus foregrounding the perception that these words pre-existed their present moment of utterance and could continue to exist after it. However, African oral praise poetry is also highly dynamic. Text is not consolidated in order to constitute it as an unchanging monument, but rather so that it can be re-activated in a new context of utterance, where it has an effectual engagement and dialogic force. Thus the performative and the entextualizing dimension can be seen to be inseparable and mutually dependent.
15
Andersen, Tawny. ""Any Search for an Origin is Hysterical": Summoning the Ghost of J.L. Austin." Performance Philosophy 2, no. 2 (January 31, 2017): 189. http://dx.doi.org/10.21476/pp.2017.22102.
Full textAbstract:
As the father of the concept of the “performative utterance”, British philosopher of language J.L. Austin is regularly cast as the point of origin in a genealogy tracing the influence of linguistic theory on performance theory. Based on extensive research into Austin’s writing praxis, this paper demonstrates that the philosopher produced and disseminated his research orally, dialogically, and pedagogically through contexts that privileged the inter-subjective exchange. It frames Austin’s self-described practice of “linguistic phenomenology” as a pragmatic one in which philosophy is context. I demonstrate that this mode of “doing” or “performing” philosophy is also at play within the dramaturgy of Austin’s texts, which restage his thought processes and invite his readers to become spectators to the dramatization of his ideas. My analysis offers up a portrait of a J.L. Austin who enacted his philosophy about the performative utterance in a performative manner. In so doing, it exposes the inaugural texts about performativity as hybrid objects that trouble the concepts of “authorship” and “origin”. It also shows that these texts are infected, at their inception, by parasites, by literature, by the Other, and by the ghosts that Austin tried so hard to exorcise, yet that—on some level of consciousness—he simultaneously allowed to haunt his philosophical voice.
16
Kukla, Rebecca. "Performative Force, Convention, and Discursive Injustice." Hypatia 29, no. 2 (2014): 440–57. http://dx.doi.org/10.1111/j.1527-2001.2012.01316.x.
Full textAbstract:
AbstractI explore how gender can shape the pragmatics of speech. In some circumstances, when a woman deploys standard discursive conventions in order to produce a speech act with a specific performative force, her utterance can turn out, in virtue of its uptake, to have a quite different force—a less empowering force—than it would have if performed by a man. When members of a disadvantaged group face a systematic inability to produce a specific kind of speech act that they are entitled to perform—and in particular when their attempts result in their actually producing a different kind of speech act that further compromises their social position and agency—then they are victims of what I call discursive injustice. I examine three examples of discursive injustice. I contrast my account with Langton and Hornsby's account of illocutionary silencing. I argue that lack of complete control over the performative force of our speech acts is universal, and not a special marker of social disadvantage. However, women and other relatively disempowered speakers are sometimes subject to a distinctive distortion of the path from speaking to uptake, which undercuts their social agency in ways that track and enhance existing social disadvantages.
17
Hirschová, Milada. "Logophoricity in discourse." Topics in Linguistics 21, no. 2 (December 1, 2020): 1–15. http://dx.doi.org/10.2478/topling-2020-0006.
Full textAbstract:
Abstract This paper deals with the notion of logophoricity as a phenomenon pertaining to discourse, not grammar. An examination of the discourse role configurations (discourse environments) proposed by Peter Sells has shown that particular configurations are either overloaded by role-multiplication or non-specific. Instead of discourse environments, a general pragmatic matrix (a non-overt abstract sentence) is suggested, anchoring any utterance event to the current speaker’s perspective, including his/her communicative activity and temporal and spatial location. The role of the pragmatic matrix shows that all utterance events can be considered logophoric. At the same time, the pragmatic matrix underlines specific properties of explicit performative formulae.
18
DUNCAN, MICHELLE. "The operatic scandal of the singing body: Voice, presence, performativity." Cambridge Opera Journal 16, no. 3 (November 2004): 283–306. http://dx.doi.org/10.1017/s0954586704001879.
Full textAbstract:
This essay addresses the materiality of voice in opera production, proposing a shift away from methodological models that posit voice as silent and disembodied towards one in which the body figures central. Comparing the voice in opera with the voice of the performative utterance, the article assesses the relevance of performativity to opera studies. A distinction between Derrida's critique of the ‘metaphysics of presence’ and the presence of performance leads to a discussion of the ‘force’ of the vocal utterance and its relationship to the real via Shoshana Felman's The Scandal of the Speaking Body. The central argument is that voice upsets the model of distanced reason upon which enlightened subjectivity depends.
19
Lorenzini, Daniele. "Performative, Passionate, and Parrhesiastic Utterance: On Cavell, Foucault, and Truth as an Ethical Force." Critical Inquiry 41, no. 2 (January 2015): 254–68. http://dx.doi.org/10.1086/679074.
Full text
20
Moffat, Nicola. "Monstrous Promises: Performative Acts and Corporeality in Mary Shelley's Frankenstein." Somatechnics 8, no. 2 (September 2018): 232–47. http://dx.doi.org/10.3366/soma.2018.0253.
Full textAbstract:
Promises are an example of what linguist JL Austin described as performative acts, in that their very utterance allows the act of promising to take place. Austin formed his theory of performative speech acts as a way in which to make fully predictable the effects of certain speech acts, promises amongst them. Using Mary Shelley's Frankenstein, this article demonstrates the impossibility of predicting the effects of promises, explaining that Austin and Frankenstein both lack a consideration of the bearing different bodies have on the effects of promises. Taking a feminist deconstructive approach, this article examines the technics of speech and the gaze, the accumulation of knowledge, the status and reproductive abilities of women, and how these relate to monsters and monstrosity in both the novel and Austin's seminal work, How to Do Things With Words.
21
Wibowo, Ary Iswanto, and Gilang Cempaka. "Speech Act Classification and Request Strategy in “Tall Girl” Movie Directed by Nzingha Stewart." LINGUA : Jurnal Bahasa, Sastra, dan Pengajarannya 17, no. 1 (February 24, 2020): 25–34. http://dx.doi.org/10.30957/lingua.v17i1.622.
Full textAbstract:
The research is aimed to find out the speech act classification and types of request strategy from a dialogue of the characters in Tall Girl movie. The method of this study is descriptive qualitative analysis. Data is taken out of all dialogues of the characters and is observed by using theories. In this analysis, the writers found the speech Act Classification and Types of Request Strategy in the Speech Act. The speech act is classified in declaration, representatives, directives, commissives, and expressive. Directives served the dominant form among the five types of illocutionary act mostly expressed their utterance. And as request strategy is typed in mood derivable, explicit performative, hedged performative, locution derivable, want statement, suggestive formula and preparatory. Mood derivable served the dominant form among the other types to deliver their willingness.
22
Aronson-Lehavi, Sharon. "The Performative Utterance “I”: Theatricality and Subversion of Identity in the Works of Eyal Weiser." TDR/The Drama Review 61, no. 4 (December 2017): 22–39. http://dx.doi.org/10.1162/dram_a_00690.
Full textAbstract:
Israeli playwright and director Eyal Weiser challenges the language of performance by creating fictional performance artists who respond to real events in Israel. By reintroducing fiction and theatricality into the autobiographical mode of performance art, Weiser destabilizes a coherent sense of identity and underscores some of the complex issues of history and identity facing Israeli society.
23
Prihatin, Yulianah. "TINDAK TUTUR ILOKUSI SANDIAGA UNO DALAM TALKSHOW MATA NAJWA." SASTRANESIA: Jurnal Program Studi Pendidikan Bahasa dan Sastra Indonesia 9, no. 2 (July 5, 2021): 102. http://dx.doi.org/10.32682/sastranesia.v9i2.1901.
Full textAbstract:
The purpose of this article is to find out the illocutionary speech acts of Sandiaga Uno in the mata najwa talk show in TRANS 7 based on the form and type. The data obtained by the author comes from the utterances spoken by Sandiaga Uno in the Mata Najwa talk show on TRANS 7 which is re-aired on Najwa Shihab's Youtube channel April 15, 2021. The author collects data using listening and note-taking techniques. A speech act is an utterance that contains action as a functional unit in communication that considers aspects of the speech situation. Speech acts are classified into three, namely locutionary speech acts, illocutionary speech acts, and perlocutionary speech acts. In this article, the writer analyzes the illocutionary speech acts. Illocutionary speech acts are speech acts that are usually interpreted with explicit performative sentences. Based on the results of data analysis, it can be concluded that the forms of illocutionary speech acts obtained are declarative and imperative forms. While the types of illocutionary speech acts obtained are assertive, directive, and expressive.
24
Shandler, Jeffrey. "Postvernacular Yiddish: Language As a Performance Art." TDR/The Drama Review 48, no. 1 (March 2004): 19–43. http://dx.doi.org/10.1162/105420404772990655.
Full textAbstract:
Within less than a decade, almost half of the world's 11 million Yiddish speakers were murdered, and the language's centuries-old cultural heartland in Eastern Europe was demolished. The implications for Yiddish have been profound, both instrumentally and symbolically. There is at present a heightened awareness of the use of Yiddish as a language of conversation, both on the part of the speakers and on the part of observers. In “postvernacular Yiddish,” every utterance is enveloped in a performative aura and freighted with significance as a speech act quite apart from the meaning of whatever words are spoken.
25
Martin, Elaine. "A Small Story Concerning a Big Mistake: Returning Voice to a Breast Cancer Narrative." Narrative Works 10 (May 3, 2021): 21–38. http://dx.doi.org/10.7202/1076915ar.
Full textAbstract:
This article arose from an error. In 2000, I began recording the story of myself and nine other university women with later stage breast cancer. Following the fifth death, I took on the task to make what I could of the archive. An introduction to Cathy Riessman and narrative research began to direct and support this work. Of major significance was the performative aspects of our storytelling, especially our vocality. Text and reason, not voice and utterance, is privileged in the academy, but still I committed to honouring vocality in telling our story. My initial attempts failed, but this paper begins the redress.
26
Amalia, Rosaria Mita. "Use of implicit performative utterances at University of Padjadjaran and at University of Pennsylvania." Studies in English Language and Education 4, no. 1 (March 1, 2017): 66. http://dx.doi.org/10.24815/siele.v4i1.7005.
Full textAbstract:
The use of implicit performative utterances can be found in some announcements at Universitas Padjadjaran (Unpad) in Bandung, Indonesia and at the University of Pennsylvania (UPenn) in Philadelphia, U. S. A. In linguistics, there is a form of speech known as performative utterances (Austin, 1962). The word comes from the verb ‘perform’ and refers to the noun ‘action’; it is said that the word refers to a speech for performance or action. Performatives cannot be regarded as right or wrong statements, but refer to appropriate or inappropriate, legitimate or illegitimate actions. Implicit performatives are performative utterances with performative verbs but they are not explicitly stated. With an implicit performative, the sentence does not have an explicit performative verb, but it has illocutionary force which is known from the context. Knowing the context, the hearer assumes the performative verb that appears. The use of this kind of utterances in notices at Unpad and at UPenn is quite different. This paper examines the differences and the similarities between the announcements at Unpad and at UPenn which use implicit performative utterances.
27
Dada, Maria. "Queering Geographic Information information Systems." A Peer-Reviewed Journal About 8, no. 1 (August 15, 2019): 58–68. http://dx.doi.org/10.7146/aprja.v8i1.115415.
Full textAbstract:
What’s the relationship between GIS and the political subject? In an effort to address this question, this paper traces the movement from the map to GIS. The map is shown to be the performative utterance of the state, one that supports its national discourse and narrative. GIS, on the other hand, is shown to be a device of neoliberal governmentality, its non-representational economic practices, divided discourse and subjectivities. Despite the seemingly hopeless situation surrounding GIS, however, certain simulation and modelling practices are attempting to construct subjectivities out of economic neoliberalism’s fractured narratives. They do this by reading meaning into otherwise mathematical datasets and models. These practices could form a basis for queering GIS.
28
Marsili, Neri. "Lying by Promising." International Review of Pragmatics 8, no. 2 (2016): 271–313. http://dx.doi.org/10.1163/18773109-00802005.
Full textAbstract:
This paper is divided into two parts. In the first part, I extend the traditional definition of lying to illocutionary acts executed by means of explicit performatives, focusing on promising. This is achieved in two steps. First, I discuss how the utterance of a sentence containing an explicit performative such as “I promise that Φ” can count as an assertion of its content Φ. Second, I develop a general account of insincerity meant to explain under which conditions a given illocutionary act can be insincere, and show how this applies to promises. I conclude that a promise to Φ is insincere (and consequently a lie) only if the speaker intends not to Φ, or believes that he will not Φ, or both. In the second part, I test the proposed definition of lying by promising against the intuitions of ordinary language speakers. The results show that, unlike alternative accounts, the proposed definition makes the correct predictions in the cases tested. Furthermore, these results challenge the following necessary conditions for telling a lie with content p: that you have to assert p directly; that you have to believe that p be false; that p must be false; that you must aim to deceive the addressee into believing that p.
29
Barrowman, Kyle. "Morals of Encounter in Steve Jobs." Film and Philosophy 24 (2020): 134–55. http://dx.doi.org/10.5840/filmphil2020249.
Full textAbstract:
In this article, the author argues for the probative value of ordinary language philosophy for the discipline of film studies by way of an analysis of the conversational protocols discernible in the film Steve Jobs (2015). In particular, the author focuses on the work of J.L. Austin, specifically his theory of speech acts and his formulation of the performative utterance, and Stanley Cavell, specifically his extension of Austinian speech act theory and his formulation of the passionate utterance, and analyzes the interactions between the titular character and his daughter through this unique Austinian/Cavellian lens. In so doing, the author endeavors to encourage more scholars in the field of film-philosophy to explore the key concepts and arguments in ordinary language philosophy for use in analyzing films. Despite its having been virtually ignored by film scholars over the last half century, one of many regrettable effects of the Continental bias of film scholars generally and film-philosophers specifically, the author contends that ordinary language philosophy provides powerful tools for the analysis of dialogue and communication in film, with Steve Jobs serving as a particularly insightful test case of the broad utility of ordinary language philosophy for film studies.
30
Foster, Karl, Kimberley Foster, and Victoria Mitchell. "Pears, pistachios, pencils and punctuation: Performative encounter and the art of conversation." Journal of Writing in Creative Practice 13, no. 2 (February 1, 2020): 169–86. http://dx.doi.org/10.1386/jwcp_00002_1.
Full textAbstract:
Words, utterance, gesture, mark-making, ink, nut shells, a peach or a stray button prompt material-discursive engagement. Nothing is taken for granted in terms of knowledge or experience other than a belief that such engagement is a practice, revealing of itself. This article proposes and exemplifies an ‘apparatus’ of such practice, in which the materially embedded and/or physically embodied production of speech, writing, objects and images are intermingled. This practice has evolved through collaboration, within and across successive performative encounters. Through the intra-acting agencies of performative encounter, the material and the verbal are in conversation, questioning the production of knowledge, critically and metaphorically determined as a ‘digestive tract of knowing’. A material engagement emerges that is continuously enmeshed, unravelled and revealed as an embodied tract that surfaces as diagram, apparatus or a conjunction of vertices. In this context, words, whether written, spoken, uttered or as yet unsaid, are interior to the practice. Together and continuously, their shared and formative meanings are mobile, never settling, always productive. Whether critically informed or invented on the spur of the moment, words (including the writing of this article) act as material-discursive fabric. This research-in-action is evident both in the operative engagement and in the subsequent opening of the practice to others, whether as display, text, performance or dialogic example.
31
Naser, Angelo Ali, and Sharon Rose. "Ideophones in Moro." Faits de Langues 51, no. 1 (November 25, 2020): 37–62. http://dx.doi.org/10.1163/19589514-05101004.
Full textAbstract:
Abstract This article presents a descriptive study of ideophones in Moro, addressing both their structural characteristics and usage, with data from the Thetogovela dialect. We describe their sound patterns, word categorization and placement within sentences, and discuss their meaning and conventionalization. Moro ideophones convey a wide range of sensory meanings, including sound, touch, movement and visual patterns. They are uninflected and typically appear utterance finally, most closely resembling adverbs. Ideophones are often introduced by support verbs, including ‘do’, ‘be’ and ‘eat’, the latter for visual patterns. Ideophones may exhibit reduplication, which in some cases can correspond to pluractionality. The main distinctive sound pattern of Moro ideophones is a wider distribution of obstruents, as well as a performative use of expressive duration and phonation.
32
Rathmayr, Renate. "Strategies of Conflict Resolution and Mitigation: The Potential of the Speech Act of Apologizing in the Perspective of Intercultural Pragmatics." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 1 (March 2020): 6–17. http://dx.doi.org/10.15688/jvolsu2.2020.1.1.
Full textAbstract:
The article considers the linguistic and communicative nature of an apology (a request for forgiveness) as a corrective action that is aimed at preventing or mitigating conflict. By analyzing speech situations from Russian and Austrian culture and their illustrations in literary sources, it is established that apology occupies an intermediate position between performative and non-performative utterance. There have been recorded the situations, where even serious damage can be removed by an apology or an apology in combination with compensation. There are three categories of apologies: metacommunicative, conventional and substantive apologies. The latter two are described in the article. The hypothesis of the study is substantiated by the thesis that the apology depends not only on the severity of the damage, but also on the traditions of culture and peculiarities of the communicative situation. This issue is one of the insufficiently studied questions of linguistics. The article allocates the cultural universals of apologetic speech actions and culturally specific features of apology situations in Russian and Austrian cultures. It is shown that in the sphere of politics, even decades after the infliction of serious harm, a sincere apology for an insult or violation of the norms of behavior, uttered by the responsible person or his descendant, can be the basis for improving inter-state relations.
33
Tardif, Stephen. "“The Wreck of the Deutschland” and the Birth of the Poet: Literary Form, Performative Utterance, and Hopkins’s “Gift of Tears”." Victorian Poetry 54, no. 3 (2016): 275–96. http://dx.doi.org/10.1353/vp.2016.0013.
Full text
34
GASPER-HULVAT, MARIE E. "The icon as performer and as performative utterance: The sixteenth-century Vladimir Mother of God in the Moscow Dormition Cathedral." Res: Anthropology and aesthetics 57-58 (March 2010): 174–85. http://dx.doi.org/10.1086/resvn1ms25769978.
Full text
35
Álvarez Menéndez, Alfredo. "Caracterización funcional de la interxección: a propósitu de delles interxecciones del asturianu." Revista de Filoloxía Asturiana 16, no. 16 (January 30, 2017): 9. http://dx.doi.org/10.17811/rfa.16.2016.9-48.
Full textAbstract:
L'espaciu funcional de les interxecciones queda acotáu polos comportamientos evidenciaos nel procesu de tresllación d'un sintagma nominal o verbal a la función espresiva o apelativa característiques de les llamaes interxecciones impropies. N'otres palabres, la interxección va definise a partir de los trazos que dexen en camín un verbu como venga o un sustantivu como demoñu o axetivos como claro cuando pasen a ser interxecciones. O, nun sen quiciabes inversu, a partir de los qu'adquier una espresión como vaya cuando d'usos interxectivos pasa a comportase como un sintagma axetivu espresivu en ¡Vaya!, la suegra ¡Vaya suegra! Esti procesu nun ye otru que'l de la inmovilización de toos y caún de los planos que definen un sintagma: el morfemáticu, el sintácticu y el léxico-semánticu. Les interxecciones van ser, en resultes, sintagmes, constitutivos d'enunciaos esclamativos, estraoracionales na midida en que nun establecen dependencies na estructura oracional, amorfemáticos desque nin presenten variaciones morfolóxiques nin puen ser morfolóxicamente referíos y, semánticamente, instruccionales sin posibilidá de representación conceptual. Esta caracterización permítenos abordar la descripción d'un conxuntu d'unidaes na frontera con otres clases funcionales (frases esclamatives, frases formularies, apelativos, vocativos, espresiones malsonantes, marcadores conversacionales, etc.) y determinar la so inclusión o esclusión del paradigma de les interxecciones.Palabres clave: interxección, inmovilización, frase esclamativa, mensaxe realizativu, apelación, expresión afectiva, marcador conversacional, espresión malsonante, tacu, eufemismu, disfemismu. The functional scope of interjection is defined by its behaviour as shown on several metabasis, e.g. the transcategorization phenomena involving the emotive use of noun or verbal phrases as «improper» interjections. In other words, interjection will be defined based on the features which fade away when a verb such as venga, a noun like demoño or adjectives such as claro are used as interjections. Or, taking the opposite view, based on the features added to a phrase such as Vaya… when used as an expressive adjectival phrase ¡Vaya!, la suegra ¡Vaya suegra! This process is nothing but the immobilization of every single aspect (morphological, syntactic and semantic) within such phrases. Interjections are, therefore, phrases taking part of an exclamatory utterance, extrasentential (since they trigger no dependencies at sentential level), amorphematic (for they present no morphological variation, nor can they be morphologically referred to), and semantically instructional, having no possibility of conceptual representation. This approach allows us to tackle the description of a set of units which lie halfway between several categories (exclamatory utterance, performative message, exclamation, affective statements, conversational markers, euphemism, dysphemism, etc.) and consider whether to include or exclude them from the interjections paradigm.Keywords: interjection, immobilization, exclamatory utterance, performative message, exclamation, affective statements, conversational markers, dirty words, swearwords, euphemism, dysphemism
36
Kaufmann, David. "A Plea for Perlocutions." Conversations: The Journal of Cavellian Studies, no. 4 (May 1, 2016): 41–60. http://dx.doi.org/10.18192/cjcs.v0i4.1612.
Full textAbstract:
After staging the shipwreck of the constative-performative distinction halfway through How To Do Things With Words, J.L. Austin goes on famously to “make a fresh start on the problem.” He relinquishes the original opposition between making statements and doing things and then introduces a ternary account of speech acts. He distinguishes between locutionary acts (in which we produce sounds with “a certain sense and a certain reference”[95]), illocutionary acts (in which we perform acts such as “asking or answering a question, giving some information… announcing a verdict...and the numerous like” [98-99]), and perlocutionary acts (in which we “produce consequential effects upon the feelings, thoughts or actions of an audience, or of the speaker, or of other persons”[101]). For all the philosophical ink that has been spilled on Austin, not much has been devoted to perlocutions. Locutions and illocutions get almost all the action.Stanley Cavell has been one of the few philosophers to emphasize the importance of the perlocutionary for speech act theory. In his forward to the second edition of Shoshana Felman’s The Scandal of the Speaking Body and in his essay “Performative and Passionate Utterances,” Cavell assumes, as Stephen Mulhall puts it, that Austin believes that “the perlocutionary effect of any utterance [is] extrinsic to its sense and force” and thus that the perlocutionary can be opposed to the illocutionary act. Because Austin maintains that the illocutionary is conventional and the perlocutionary is not (121), Cavell argues that illocutions come down on the side of the Law, while perlocutions give voice to Desire. Where the illocutionary is scripted and prescribed, the perlocutionary opens up space for improvisations. According to Mulhall, Cavell proposes a radical innovation to Austin’s theory by suggesting that the perlocution is “as internal to any genuine speech-act as are its locutionary and illocutionary dimensions.” I am going to argue in this essay that Cavell does not really revise Austin’s theory. He gives voice to what Austin actually says.
37
Aruan, Abel Kristofel. "Surat Jerami di Meja Austin." Indonesian Journal of Theology 4, no. 2 (December 1, 2017): 257–79. http://dx.doi.org/10.46567/ijt.v4i2.43.
Full textAbstract:
Many hermeneutical approaches have been developed in response to interpretive difficulties arising from the reading of text, especially sacred writings. The linguistic ontology developed by John Langshaw Austin (1911-1960) might offer a novel perspective for “reading” such an utterance. For Austin, there are multiple kinds of speech effected in the instance of human uttering. A given action therefore results out of a person’s given speech. Austin terms “performative utterance” that action performed by way of speech. Further explicating his speech-act theory, Austin outlines that the action exemplified by a given speech are, in fact, three simultaneous acts—first the “locutionary act,” as the compilation of the particular words uttered; next the “illocutionary act,” as the force rendered by this given speech; then the “perlocutionary act,” as the effect consequentially achieved upon a speech’s audience. By proposing that Austin’s approach be deployed to interpret the Epistle of James, I consider a number of ways in which such an interpretation would be demonstrably enriched via speech-act theory. I contend that an interpreter of James’ letter must distinguish among the three kinds of acts being performed in the work of the epistolary author. The culminating aim, then, is to discern what outcomes might have been intended by the epistolary author, in relation to the letter’s original audience.
38
Bannerman, Henrietta. "Is Dance a Language? Movement, Meaning and Communication." Dance Research 32, no. 1 (May 2014): 65–80. http://dx.doi.org/10.3366/drs.2014.0087.
Full textAbstract:
This essay explores western theatre dance as meaningful, despite its difference from language or discourse. I contend that although like language dance communicates through cultural codes, it does not convey literal messages but then neither is dance dominated by a requirement for factual specificity. I argue, however, that dance is structured like a language and I provide an analysis of the methods according to which language functions on an everyday basis. I review linguistic categories and argue for their counterparts in dance including vocabulary and syntax, the utterance and the speech act. The speech act is an important instance of language use which I hold is represented in dance; and in addressing this topic I shed new light on the performative quality of dance. The various theoretical issues discussed in the essay are illustrated by examples taken from modern and postmodern dance as well as from classical ballet.
39
Lepik, Peet. "(Religious) belief and atheism from a semiotic viewpoint." Sign Systems Studies 43, no. 1 (June 10, 2015): 48–76. http://dx.doi.org/10.12697/sss.2015.43.1.03.
Full textAbstract:
The article attempts to give a semiotic definition of the intellectual attributes of belief (in its broader sense), religious belief and atheism, treating all three of them as sign systems – cultural languages.To define the formal structure of the phenomenon of religion, five aspects of the corresponding communicative act should be considered – the orientational, the sign-creating, the cognitive, the teleological and the energetic ones. Belief as an orientational act cannot be treated without including autocommunication: the I-you relation is accompanied by the I-I relation in the form of vertical and horizontal topological imaginations. The sign-creating aspect of belief is expressed, on the one hand, in the performative characteristics of utterances (utterance = act) and, on the other hand, in symbolic mnemonic programming. As a cognitive act, communication typical of belief is mythological, expressing identification with the addressee and the subjective eternity of the relation. Teleologically, belief is connected with the existential projection; energetically we treat belief as energeia – the creative force of man. Relying on the Scriptures and theological literature (mainly the works of Paul Tillich), the article analyses the appearance of all these communicative characteristics in religious sign-creating.Atheism as negation of God is formally an antithetic structure of thinking, which is characterized by the symmetry of the antithetic plus-side with the intellectual characteristics of the minus-side. Based on the characteristics of belief, it is particularly interesting to observe how Marx (and his disciples) have “furnishedˮ the orientational, teleological and energetic characteristics of atheism, and how the dedicative structure of thinking has also given birth to earthly gods.
40
DE WIT, ASTRID, FRANK BRISARD, and MICHAEL MEEUWIS. "The epistemic import of aspectual constructions: the case of performatives." Language and Cognition 10, no. 2 (January 2, 2018): 234–65. http://dx.doi.org/10.1017/langcog.2017.26.
Full textAbstract:
abstractIn this study we chart the aspectual characteristics of performative utterances in a cross-linguistic sample of sixteen languages on the basis of native-speaker elicitations. We conclude that there is not one single aspectual type (e.g., perfectives) that is systematically reserved for performative contexts. Instead, the aspectual form of performative utterances in a given language is epistemically motivated, in the sense that the language will turn to that aspectual construction which it generally selects to refer to situations that are fully and instantly identifiable as an instance of a given situation type at the time of speaking. We use the method of Multidimensional Scaling to demonstrate this: whatever the exact value of a given aspectual marker, if it is used to mark performatives, then it also commonly features in the expression of states and habits, which have the subinterval property (they can be fully verified based on a random segment), demonstrations, and other special contexts featuring more or less predictable and therefore instantly identifiable events. On the other hand, our study shows that performative contexts do not normally feature progressive aspect, which is dedicated to the expression of events that are not fully and instantly identifiable.
41
English, Parker. "“Negro Expression” and Performative Utterances." Philosophia Africana 15, no. 1 (2013): 61–70. http://dx.doi.org/10.5840/philafricana20131519.
Full text
42
Rogland, M. "Performative utterances in classical Syriac." Journal of Semitic Studies 46, no. 2 (September 1, 2001): 243–50. http://dx.doi.org/10.1093/jss/46.2.243.
Full text
43
ROGLAND, M. "PERFORMATIVE UTTERANCES IN CLASSICAL SYRIAC." Journal of Semitic Studies XLVI, no. 2 (January 1, 2001): 243–50. http://dx.doi.org/10.1093/jss/xlvi.2.243.
Full text
44
Ibáñez Macías, Antonio. "Imperativos, normas y verdad | Imperatives, norms and truth." Cuadernos Electrónicos de Filosofía del Derecho, no. 38 (December 24, 2018): 123. http://dx.doi.org/10.7203/cefd.38.12689.
Full textAbstract:
Resumen: Antes de emprender el análisis lógico de las normas jurídicas constitucionales, o de las normas en general, es preciso intentar resolver una cuestión previa que afecta a la posibilidad de existencia de una lógica de las normas: el dilema de Jørgensen. Nuestra propuesta de solución de este dilema es la siguiente: las normas son expresiones performativas. Al mismo tiempo, las expresiones performativas son enunciados que tienen valor de verdad. Además, las normas jurídicas son enunciados del tipo “A dice p”, lo que explica que puedan existir normas verdaderas y, al mismo tiempo, contradictorias entre sí.
Abstract: Before embarking on the logical analysis of constitutional legal norms or norms in general, it is necessary to try to resolve a previous question that affects the possibility of the existence of a logic of norms: the Jørgensen’s dilemma.Our proposed solution to this dilemma is as follows: norms are performative utterances. At the same time, performative utterances are statements that have truth value. In addition, the legal norms are statements of type “A says p”, which explains that there may be true norms and, at the same time, contradictory to each other.
45
Hameed Mayuuf, Hussain, Ahmed Mukheef Hussein, and Rasha T. Awad. "Speech Acts of Request in O.Wilde’s The Happy Prince." Journal of Education College Wasit University 4, no. 38 (May 3, 2020): 14. http://dx.doi.org/10.31185/eduj.vol4.iss38.1318.
Full textAbstract:
Abstract
The theory of speech act contributed by Austin in 1962 has received much consideration in linguistic study. The main objective of this paper is to account for the ways whereby speakers express various actions via language. Accordingly, the current study tries to find answers to the following questions: (1) what is speech act theory? (2) what are the main classifications of speech act theory? (3) what is speech act of request , why it is made, and how it is achieved? The current study aims at: (1) presenting an illustration of speech acts (2) exploring the main classifications of speech acts (3) investigating the essence of speech act of request , the ways whereby it is achieved, and the reasons behind that. The study hypothesizes that (1) speech act denotes the verbal behaviour or the action which is done by the utterance or sentence uttered by a speaker in a certain occasion (2) Austin classifies speech acts into performative and constativeExpositions, whereas Searle states that there are three main acts performed in speech act including ;utterance act , propositional act and illocutionary act (3) speech act of request is an act asked by the speaker and accomplished by the hearer for the benefit of the speaker . There are three basic types of sentences by which speech act of request is made ; declaratives , imperatives, interrogatives. To achieve politeness interrogative sentences are the most recurrent ones so as to mitigate the impact of the action.
The Procedures followed are: (1) presenting a theoretical background of speech acts. (2) highlighting the primary classifications of speech acts (3) elucidating speech act of request, the ways by which it is fulfilled and the grounds that explicate its use. The study is limited to speech act of request in the short story "The Happy Prince " written by Oscar Wilde.
Section one exhibits the problem of the study exposing its aims, hypotheses, procedures and limits. Section two represents a theoretical framework including Austin’s Classification of speech acts, the speech act of request, schemes of requesting, sentence kinds denoting request. Section three depicts the data and its analysis. The study ends with a section for its conclusions.
46
Qureshi, Regula Burckhardt. "Musical Gesture and Extra-Musical Meaning: Words and Music in the Urdu Ghazal." Journal of the American Musicological Society 43, no. 3 (1990): 457–97. http://dx.doi.org/10.2307/831743.
Full textAbstract:
This ethnomusicological inquiry into the text-music relationship assumes a broadly contextual perspective that encompasses, but goes beyond, traditional considerations of textual and musical structures with the aim of exploring the sources of meaning for what Edward Cone terms the "gestural character" of the musical utterance. The approach calls for making explicit the ideational framework as well as the performative function of a vocal genre, both of which inform the way its musical idiom serves to communicate a text in performance. The ghazal, subject of this case study, is the principal poetic form in Urdu; it is set to music in a number of related but distinct genres. Illustrated by a set of transcribed and translated examples, the analytical procedure first considers the text-music structure as a performance idiom that is subject to the cultural-historical background norms of Urdu poetry on the one hand and North Indian "light" music on the other. The second stage considers each particular genre in terms of its idiom's specific function in performance. The general conclusion is that music linked to ghazal poetry is structurally constrained by the text as performed, but that purely musical features articulate, and thus link, the text with the content of its performance. Hence ghazal music represents a synthesis of text and context in its embodiment of features drawn from both and expressed directly through a unique vocabulary of musical gestures.
47
Bolotnikova, A. "EXPRESS AND IMPLICATE POLITENESS PERFORMATIVE UTTERANCES." International Humanitarian University Herald. Philology 4, no. 48 (2021): 33–36. http://dx.doi.org/10.32841/2409-1154.2021.48-4.8.
Full text
48
Blair, Kelsey. "Empty Gestures: Performative Utterances and Allyship." Journal of Dramatic Theory and Criticism 35, no. 2 (2021): 53–73. http://dx.doi.org/10.1353/dtc.2021.0005.
Full text
49
Grosholz, Emily R. "Simone de Beauvoir and Practical Deliberation." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 199–205. http://dx.doi.org/10.1632/pmla.2009.124.1.199.
Full textAbstract:
The view that philosophers take of their art and craft changes when they remember that philosophy is not merely descriptive but is also performative. To use J. L. Austin's vocabulary, this change occurs when philosophers admit that their writings have illocutionary and perlocutionary, as well as locutionary, import. Any proposition is at once a judgment made by a thinking person and an expressive utterance presented to an audience; any argument is rational persuasion (even when it is quoted in a logic textbook). To speak with Stanley Cavell and Ludwig Wittgenstein, from their caravansaries along the trade route between Harvard and Cambridge, the change occurs when philosophers admit that their writings always take place in language games and forms of life, so that the search for criteria in framing concepts and for evidence in framing arguments is also a claim to community. Aristotle, more than two thousand years ago, urged similar insights and questions on philosophers when he wrote about rhetoric as an extension of logic and ethics. Filtered through the editorial work of Richard McKeon, the Aristotelian tradition at the University of Chicago produced books about practical deliberation that to my mind deserve at least as much attention as those of Cavell and Austin, works by Wayne Booth, Edward Levi, David Luban, Paul Kahn, and Eugene Garver. Notably, their texts deal with works of literature and of law, discursive realms in which narratives of human action are central and irreducible, however much they may be subject to philosophical analysis.
50
Sanders, Seth L. "Performative Utterances and Divine Language in Ugaritic." Journal of Near Eastern Studies 63, no. 3 (July 2004): 161–81. http://dx.doi.org/10.1086/424769.
Full text