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Littérature scientifique sur le sujet « Performative utterance »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 18 février 2022

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Articles de revues sur le sujet "Performative utterance"

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Berube, Michael. « Autobiography as Performative Utterance ». American Quarterly 52, no 2 (2000) : 339–43. http://dx.doi.org/10.1353/aq.2000.0012.

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de Gaynesford, M. « Geoffrey Hill and Performative Utterance ». British Journal of Aesthetics 53, no 3 (1 juillet 2013) : 359–64. http://dx.doi.org/10.1093/aesthj/ayt018.

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Widyarsono, Antonius. « Bahasa Dan Kebenaran Menurut John Langshaw Austin ». DISKURSUS - JURNAL FILSAFAT DAN TEOLOGI STF DRIYARKARA 12, no 2 (14 octobre 2013) : 191–216. http://dx.doi.org/10.36383/diskursus.v12i2.104.

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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.
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Proskurin, Sergey, et Vladimir Feshchenko. « Voice and bodily deixis as manifestation of performativity in written texts ». Semiotica 2019, no 227 (5 mars 2019) : 317–34. http://dx.doi.org/10.1515/sem-2017-0133.

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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.
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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.

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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.

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Fulford, Amanda, et Claire Skea. « 3. Student Complaints : Performative or Passionate Utterances ? » Philosophy and Theory in Higher Education 1, no 2 (1 janvier 2019) : 55–74. http://dx.doi.org/10.3726/ptihe.2019.02.03.

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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.
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Strother, Zoe S. « From Performative Utterance to Performative Object : Pende Theories of Speech, Blood Sacrifice, and Power Objects ». Res : Anthropology and aesthetics 37 (mars 2000) : 49–71. http://dx.doi.org/10.1086/resv37n1ms20167493.

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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 (13 février 2017) : 347. http://dx.doi.org/10.30659/e.2.1.347-360.

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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
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Morrissey, Belinda Caroline, et Susan Yell. « Performative trolling : Szubanski, Gillard, Dawson and the nature of the utterance ». Persona Studies 2, no 1 (17 mai 2016) : 26–40. http://dx.doi.org/10.21153/ps2016vol2no1art503.

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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.
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Thèses sur le sujet "Performative utterance"

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Al-Malik, Fahad M. « Performative utterances : their basic and secondary meanings with reference to five English translations of the meanings of the Holy Qur'an ». Thesis, Durham University, 1995. http://etheses.dur.ac.uk/973/.

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Templin, Lisa Marie. « "I'le Tell My Sorrowes Unto Heaven, My Curse to Hell" : Cursing Women in Early Modern Drama ». Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31832.

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The female characters in Shakespeare’s 2 Henry VI and Richard III; Rowley’s All’s Lost by Lust; Fletcher’s The Tragedy of Valentinian; Rowley, Dekker, and Ford’s The Witch of Edmonton; and Brome and Heywood’s The Late Witches of Lancashire curse their enemies because, as women, they have no other way to fight against the injustices they experience. At once an extension of the early modern belief that words are “women’s weapons,” and dangerously beyond the feminine ideal of silence, the curse, as a performative speech act, resembles the physical weapons wielded by men in its potential to cause serious harm. Using Judith Butler’s theory of gender as performative and J. L. Austin’s theory of performative utterances, this thesis argues that curses function as part of the cursing woman’s performative identity, and by using speech as a weapon, the cursing woman gains a measure of social agency within the social order even if she cannot change her place within it.
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Pizarro, Aranxa. « Examining the Verificationist Theory of Meaning ». Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/119215.

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This paper purports to analyze the verificationist theory of meaning proposed by logical positivism. According to this theory, only sentences verifiably by means of empirical observation have meanings. Our purpose is to show the reasons why the verificationist theory collapses. In order to do so, we will examine both the internal and external critiques to it. Among the internal critiques, we will show the logical positivists’ failed attempts to formulate an adequate weak verification criterion. Among the external critiques, we will focus on the ones formulated by J.L. Austin on the basis of his theory of performative utterances.
El presente trabajo busca analizar la teoría verificacionista del significado propuesta por el positivismo lógico. De acuerdo a esta teoría, solo los enunciados verificables por medio de la observación empírica tienen significado. Nuestro propósito es mostrar las razones por las cuales la teoría verificacionista del significado colapsa. Para ello, examinaremos tanto las críticas internas como externas. En las críticas internas mostraremos los intentos fallidos de los positivistas lógicos en formular un criterio de verificación débil adecuado.  En las críticas externas nos centraremos en las formuladas por J.L. Austin a partir de su teoría de los enunciados realizativos.
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Buffoni, Caroline. « De la distance entre les visiteurs et les œuvres au sein de l'exposition muséale d'art : une approche communicationnelle des marges péri-opérales ». Thesis, Avignon, 2017. http://www.theses.fr/2017AVIG1173/document.

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La recherche porte sur les distances qui s’établissent entre les visiteurs et les œuvres exposées au sein de l’exposition muséale d’art, précisément celles qui, tout à la fois, sont périphériques aux artefacts, sont imposées par les règlements et consignes de visite, sont délimitées par des barrières, des cordons, des socles, des rubans adhésifs au sol, entre autres choses, sont souvent maintenues par les visiteurs, sont généralement reconnues comme étant vouées à la protection des biens patrimoniaux présentés et qualifiées de « bonnes distances », de « distances respectueuses », de « limites à ne pas franchir », de « zones de sécurité », par exemple. Considérant qu’elles s’inscrivent au sein d’un dispositif médiatique, il s’agit de comprendre de quelle manière elles contribuent à ce dernier. L’étude théorique des tracés régulateurs et des marges des médias du texte soutient la construction du concept de « marges péri-opérales » permettant de qualifier les distances entre les œuvres et les visiteurs et d’émettre l’hypothèse qu’elles participent à l’exposition en remplissant plusieurs fonctions et rôles d’ordre sémiotique. L’étude théorique de l’exposition muséale d’art conduit à une approche communicationnelle des marges péri-opérales consistant à les appréhender depuis les trois processus énonciatifs au cours desquels elles sont produites et dotées de sens – soit la réglementation de la visite de l’exposition muséale, la mise en espace de l’exposition muséale, la saisie visuelle des œuvres exposées lors de la visite de l’exposition muséale. L’étude des marges péri-opérales est alors pensée en trois enquêtes dédiées respectivement à chacun des processus identifiés et reposant sur l’analyse d’ « objets » qui sont inhérents à ces processus et qui préfigurent, configurent et actualisent les marges péri-opérales – soit les règlements de visite et les interdits comportementaux, les outils de mise à distance et les marges expographiques, les comportements et les alignements des visiteurs. La première enquête permet d’établir que, telles qu’elles apparaissent dans la réglementation de la visite de l’exposition muséale, les marges péri-opérales remplissent les fonctions de mesures de protection des biens et des personnes et d’accès aux œuvres dans certaines limites physiques et le rôle de règles constitutives de la visite de l’exposition muséale d’art. La deuxième enquête permet d’avancer que, telles qu’elles se concrétisent lors de la mise en espace de l’exposition muséale, les marges péri-opérales assurent les mêmes fonctions que les signes-vecteurs d’attention et d’interprétation et les rôles de repères signalétiques et de traces matérielles d’énonciation. La troisième enquête permet de déterminer que, telles qu’elles se manifestent lors de la saisie visuelle des œuvres exposées, les marges péri-opérales endossent les fonctions des signes d’engagement dans la situation d’interaction et des propriétés situationnelles et les rôles d’indices posturaux de co-énonciation et de figures rituelles. En somme, l’étude des marges péri-opérales révèle que ces dernières participent, du fait de leurs multiples fonctions et rôles sémiotiques, au fonctionnement communicationnel et à l’opérativité socio-symbolique de l’exposition muséale d’art
The research focuses on the distances between visitors and the works exhibited in the art exhibition, specifically those that are both peripheral to the artifacts, imposed by visitor rules and regulations, bounded by barriers, cords, pedestals, floor tapes, among other things, are often maintained by visitors, are generally recognized as being destined toConsidering that they are part of a media device, it is important to understand how they contribute to the latter. The theoretical study of the regulating lines and margins of the text's media supports the construction of the concept of "peri-operative margins", making it possible to qualify the distances between works and visitors and to make the hypothesis that they participate in the exhibition by fulfilling several semiotic functions and roles. The theoretical study of the museum art exhibition leads to a communicative approach to the peri-operative margins, which consists of understanding them from the three enunciating processes in which they are produced and endowed with meaning - that is, the regulation of the visit to the museum exhibition, the setting up of the museum exhibition, and the visual capture of the works exhibited during the visit to the museum exhibition. The study of peri-operative margins is then thought out in three surveys dedicated respectively to each of the processes identified and based on the analysis of "objects" that are inherent in these processes and that prefigure, configure and update the peri-operative margins - i. e. visit regulations and behavioural prohibitions, distance tools and expographic margins, visitor behaviours and alignments.The first survey makes it possible to establish that, as they appear in the regulations governing the visit to the museum exhibition, the peri-operative margins fulfil the functions of measures for the protection of property and persons and access to works within certain physical limits and the role of rules governing the visit to the art museum exhibition. The second survey suggests that, as they materialize when the museum exhibition is set up, the peri-operal margins perform the same functions as the vector signs of attention and interpretation and the roles of signposts and physical traces of enunciation. The third survey makes it possible to determine that, as manifested in the visual capture of the exhibited works, the peri-operative margins assume the functions of signs of engagement in the interaction situation and situational properties and the roles of postural clues of co-enonciation and ritual figures.In sum, the study of the peri-operative margins reveals that, because of their multiple semiotic functions and roles, they participate in the communicational functioning and socio-symbolic operability of the art museum exhibition
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Koláčková, Terezie. « Pro šťastný a spokojený život ? Mezinárodní den žen, první den školního roku a Závody míru v období normalizace jako příklady ideologické praxe ». Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-334668.

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The topic of this thesis is analysis of the International Women's Day, Peace Race and first day of a school year as normalization rituals. The aim of these rituals was to mediate and consolidate the official state ideology and transform the whole society. Each of these events is analysed in three steps - in the first step is described the ideological content, in the second step is probed the way of projecting this ideology into the rituals and in the third step are analysed the actors themselves. If they adopted the ideological practise and what were their motivation to participate in these rituals.
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Livres sur le sujet "Performative utterance"

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Récanati, François. Meaning and force : The pragmatics of performative utterances. Cambridge [Cambridgeshire] : Cambridge University Press, 1987.

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Meaning and force : The pragmatics of performative utterances. Cambridge : Cambridge University Press, 1987.

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Rushdy, Ashraf H. A. Private Apologies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190851972.003.0009.

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This chapter discusses two philosophical approaches to understanding the dynamics and work of private apologies: either as performative speech acts or as remedial exchanges. Drawing on the writings of J. L. Austin, an ordinary language philosopher, and Erving Goffman, a sociologist, this chapter examines the different ways of conceiving of apology as an illocutionary act, that is, an utterance that performs an action, or as a rehabilitative ritual, involving bodily gestures and facial expressions in addition to the utterance itself. It then explores how these theories from the 1950s and 1960s can shed light on contemporary writers on apology who wish more dogmatically to identify the categorical features of an apology.
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Phillips, Tom. Polyphony, Event, Context. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805823.003.0009.

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This chapter argues that Pindar’s Paean 9 creates a complex relationship between enunciative and performative situations. This complexity is pragmatic, but is also informed by the poem’s intertextuality, its construction of voice, and its self-consciousness about its status as an aesthetic artefact. Paean 9 positions itself in a tradition of poems about eclipses; doing so reinforces its control over the event it memorializes. Its opening utterance is meant to be understood simultaneously as a spontaneous response to the eclipse and a crafted authorial utterance, and attunes audiences both to the gods’ ineffable power and man’s capacities for meaningful if provisional understanding of it. The poem’s capacity to make itself understood as separable from its performance context inflects the specific way in which it discharges its ritual aims.
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Menotti, Gabriel, et Virginia Crisp, dir. Practices of Projection. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190934118.001.0001.

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This volume makes an intervention in the fields of film studies and visual culture by examining projection as a pivotal element in the continuing technological becoming of media systems. The chapters come together to paint a picture of projection that incorporates a range of practices across time and space. From studies of travelling projectionists in early twentieth-century Scotland and modern-day Uruguay to considerations of the (almost) lost mediums of the slide-tape and the magic lantern, the authors invite us to consider the varied nature of the technologies, apparatuses, practices, and histories of projection in a holistic manner. In doing so, the volume departs from the psychological metaphors of projection often employed by apparatus theory, instead emphasizing the performative character of the moving image and the labour of the various actors involved in the utterance of such texts.
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Recanati, Frangois. Meaning and Force : The Pragmatics of Performative Utterances (Cambridge Studies in Philosophy). Cambridge University Press, 1988.

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Chapitres de livres sur le sujet "Performative utterance"

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Harnish, Robert M. « Are Performative Utterances Declarations ? » Dans Speech Acts, Mind, and Social Reality, 41–64. Dordrecht : Springer Netherlands, 2002. http://dx.doi.org/10.1007/978-94-010-0589-0_4.

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« PERFORMATIVE AND PASSIONATE UTTERANCE ». Dans Philosophy the Day after Tomorrow, 155–91. Harvard University Press, 2006. http://dx.doi.org/10.2307/j.ctv1dv0tfs.12.

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Swinburne, Richard. « Forgiving as a Performative Utterance ». Dans Forgiveness and Its Moral Dimensions, 127–45. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190602147.003.0006.

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When A wrongs B, A incurs an obligation to make atonement to B by apologizing with repentance, making reparation, and perhaps also doing a bit more for B, which I call “penance.” For B to forgive A (in the morally most important sense of “forgive”) is for B to promise to treat A in the future as someone who has not wronged B. It is normally good for B to forgive A after A has made at least some attempt at making atonement, but B has no obligation to forgive. To wrong someone is analogous to occurring an (unauthorized) debt to the person, and forgiving is deeming the debt to have been paid. Christ taught that, in order to forgive humans, God requires them to apologize with repentance. But God requires no reparation or penance (apart from that provided for us by Christ’s life and death) and imposes a condition on forgiving us—that we should forgive other humans who seek our forgiveness.
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Cummings, Brian. « Prayer, Bodily Ritual and Performative Utterance ». Dans Prayer and Performance in Early Modern English Literature, 16–36. Cambridge University Press, 2018. http://dx.doi.org/10.1017/9781108555135.002.

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McLaughlin, Emily. « Performative Utterance in Dans le leurre du seuil ». Dans Yves Bonnefoy and Jean-Luc Nancy, 22–64. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198849582.003.0002.

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This chapter investigates how Bonnefoy develops a theatrical model of poetic performance in the long sequence of poems ‘La Terre’, published in Dans le leurre du seuil in 1975. Examining how the poet repeatedly stages apostrophes to a flame and acts of address to a lover, it explores how he models his poetic performance on the fleeting movement of the light and the restless interactions between the lovers’ bodies. It analyses how Bonnefoy develops an inherently rhythmic conception of the act of relation, presenting it as an ecstatic gesture that has to be repeated endlessly. Investigating how both Bonnefoy and Nancy present this rhythmic act of relation as a generative worldly dynamic, this chapter scrutinizes how they develop a mobile and relational conception of ontology, conceiving of it as an open-ended and ongoing performance.
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Salisbury, Matthew Cheung. « The Austinian Performative Utterance and the Thomistic Doctrine of the Sacraments ». Dans Performing Medieval Text, 70–78. Modern Humanities Research Association, 2017. http://dx.doi.org/10.2307/j.ctv16kkz85.12.

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Cove, Patricia. « Wounded Utterance : Trauma and Italy’s Second War of Independence in Elizabeth Barrett Browning’s Poems Before Congress and Last Poems ». Dans Italian Politics and Nineteenth-Century British Literature and Culture, 125–56. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447249.003.0005.

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Chapter 4 traces the traumatic impact of the 1859 Second Italian War of Independence in Elizabeth Barrett Browning ’s Poems Before Congress (1860) and Last Poems (1862). Despite voicing enthusiastic support for unification, Barrett Browning’s poems also recognise the Risorgimento’s failures and costs. ‘Napoleon III. in Italy’, ‘Mother and Poet’, ‘Died . . .’, ‘The Forced Recruit’ and ‘A Tale of Villafranca Told in Tuscany’ explore the uses and limits of lyric utterance, using familial and intergenerational motifs to demonstrate how a performative poetic voice that ushers Italy into being conflicts with the historical trauma that precludes speech and severs the correspondence between words and deeds. EBB attempts a kind of wounded utterance, exploring a poetics of recognition that acknowledges the deep roots of political trauma embedded in the nation-making process while accepting and respecting the wartime suffering and grief that are beyond the powers of poetic convention and speech.
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Ferguson, Robert A. « Proposals and Performative Utterance in the Nineteenth-Century Novel : The Professional Man's Plight ». Dans Subversion and Sympathy, 274–85. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199812042.003.0014.

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« THE ADJURATION OF THE PRINCE OF THE PRESENCE : PERFORMATIVE UTTERANCE IN A JEWISH RITUAL ». Dans Ancient Magic and Ritual Power, 185–206. BRILL, 1995. http://dx.doi.org/10.1163/9789004283817_013.

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« J.L. Austin’s “Performative Utterances” ». Dans Words, Deeds, Bodies : L. Wittgenstein, J.L. Austin, M. Merleau-Ponty and M. Polanyi, 22–45. Brill | Rodopi, 2019. http://dx.doi.org/10.1163/9789004412361_003.

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Actes de conférences sur le sujet "Performative utterance"

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Kataoka, Kuniyoshi. « Poetics through Body and Soul : A Plurimodal Approach ». Dans GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.4-1.

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In this presentation, I will show that various multimodal resources—such as utterance, prosody, rhythm, schematic images, and bodily reactions—may integratively contribute to the holistic achievement of poeticity. By incorporating the ideas from “ethnopoetics” (Hymes 1981, 1996) and “gesture studies” (McNeill 1992, 2005), I will present a plurimodal analysis of naturally occurring interactions by highlighting the interplay among the verbal, nonverbal, and corporeal representations. With those observations, I confirm that poeticity is not a distinctive quality restricted to constructed poetry or “high” culture, but rather an endowment to any kind of natural discourse that is co-constructed by various semiotic resources. My claim specifically concerns a renewed interest in an ethnopoetic kata ‘form/ shape/ style/ model’ embraced as performative “habitus” among Japanese speakers (Kataoka 2012). Kata, in its broader sense, is stable as well as versatile, often serving as an organizational “template” for performance, which at opportune moments may change its shape and trajectory according to ongoing developments. In other words, preferred structures are not confined to an emergent management of performance, but should also incorporate culturally embedded practices with immediate (re)actions. In order to promote this claim, I explore a case in which mutually coordinated performance is extensively pursued for sharing sympathy and camaraderie. Such a kata-driven construction was typically observed in a highly involved, interactional interview about the Great East Japan Earthquake, in which both interviewer and interviewee were recursively oriented and attuned to the same rhythmic and organizational pattern consisting of an odd-number of kata. Based on these observations, I argue that indigenous principles of organizing discourse are as crucial as the mechanisms of conversational organization, with the higher-order, macro cultural preferences inevitably infiltrating into the micro management of spontaneous talk.
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Slavkova, Svetlana. « Tense and Aspect in Performative Utterances in Bulgarian ». Dans 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France : Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.78.

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Ezan, Irina. « The semantic and pragmatic aspect of performative utterances of modern German politicians ». Dans 45th International Philological Conference (IPC 2016). Paris, France : Atlantis Press, 2017. http://dx.doi.org/10.2991/ipc-16.2017.61.

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