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)

Writers on action theory have said much about the notion of basic action but little about that of doing an action basically. In my paper I set forth a definition of basic action, then argue that neither it nor the definitions of various other philosophers captures the distinct notion of doing an action basically, and finally propose a definition of this latter notion.

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)

Lamb, Judith Australian Catholic women religious have played a significant role in the spread of the Gospel and in the provision of services, especially in education and health care, from the middle of the nineteenth century. One such group is the Congregation of the Daughters of Our Lady of the Sacred Heart. From their base in Sydney in 1885, missionaries were sent to remote communities in Australia, Papua New Guinea and beyond. In 2011, as part of the celebration of the (...) centenary of the promulgation of the Australian Province, the Provincial Council invited sisters to tell their stories in a series of interviews. These interviews have been used to provide personal perspectives on the challenges and rewards of missionary life. (shrink)

Draws on the book of Job as a touchstone for the contradictions and polemics that infect various eighteenth-century works - poetry, philosophy, political oratory, accounts of exploration, commentaries on criminal law - which try to account for the relations between human suffering and systems of secular and divine justice.

Prologue -- Part 1: Property, personification, and idols: Owning things; the crying of lost things; making babies in the South Seas; the growth of idols; The rape of the lock as still life -- Part 2: Persons and fictions: Locke's wild fancies; fictionality and the representation of persons -- Part 3: Authors and nonpersons: me and my ink; things as authors; authors owning nothing.

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)