When the speaker in Shakespeare's sonnets swears that his dark lady is fair, against what is self-evidently true, what sort of speech act is he performing? Though this is an act of swearing, and thus what J. L. Austin would call a "performative," his swearing also describes, or "constates" something about the dark lady, albeit falsely. In this article, I identify a form of speech act that both performs and constates, and which has performative force only because its description is (...) dubious, or untrue. (shrink)

There is a curious moment in the balcony scene in Romeo and Juliet. Thinking she speaks in solitude, Juliet says, “Romeo, doff thy name, / And, for thy name, which is no part of thee, / Take all myself”. Emerging from the shadows, Romeo replies, “I take thee at thy word” (Act 2, Scene 1, 92). Suddenly, Juliet’s utterance has seemingly become binding: because they have been overheard by Romeo, her words have become her word. But is Juliet truly bound (...) by her words given that she did not know they were being overheard, let alone intend for them to be binding? Using J. L. Austin’s notion of the performative, I consider the nature and status of Juliet’s utterance, its influence on the remainder of the scene, and what insight it might afford into the play as a whole. (shrink)

Authenticity is a formidable word, a dangerous word, a word whereby fortunes, careers, and reputations can be won or lost. But what has authenticity to do with art? The essays in this book focus on their turbulent relationship ranging across the fields of literature and the visual arts and philosophy, and covering topics as diverse as fictional biography, portraiture, copies and forgeries, war photography, letters as testimony and texts in translation. The reader encounters erasmus, Rousseau, Heidegger, Beckett, Borges, and Houellebecq; (...) engages with subjects as varied as Sir Gawain and the Green Knight, da Vinci's La Belle Ferronniere, and Million Dollar Baby. (shrink)