In conventional identity politics subjective differences are understood negatively, as gaps to be overcome, as lacks of sameness, as evidence of failed or incomplete unity. In _Alterity Politics _Jeffrey T. Nealon argues instead for a concrete and ethical understanding of community, one that requires response, action, and performance instead of passive resentment and unproductive mourning for a whole that cannot be attained. While discussing the work of others who have refused to thematize difference in terms of the possibility or impossibility (...) of sameness—Levinas, Butler, Derrida, Foucault, Deleuze, Guattari, Zizek, Jameson, Heidegger, Bakhtin—Nealon argues that ethics is constituted as inexorable affirmative response to different identities, not through an inability to understand or totalize the other. _Alterity Politics_ combines this theoretical itinerary with crucial discussions of specific and diverse sites of literary and cultural production—the work of William S. Burroughs, Amiri Baraka, Andy Warhol, Ishmael Reed, Rush Limbaugh, and Vincent Van Gogh—along with analyses of the social formation of subjects as found in identity politics, and in multicultural and whiteness studies. In the process, Nealon takes on a wide variety of issues including white male anger, the ethical questions raised by drug addiction, the nature of literary meaning, and the concept of “becoming-black.” In seeking to build an ethical structure around poststructuralist discourse and to revitalize the applied use of theoretical concepts to notions of performative identity, _Alterity Politics_ marks a decisive intervention in literary theory, cultural studies, twentieth-century philosophy, and performance studies. (shrink)

ABSTRACT Performative activism is a critical label that is applied to instances of shallow or self-serving support for social justice causes. The accusation rests on a distinction between what is said by supposed supporters and what they actually do. One of the challenges of understanding the rhetoricity of the phrase “performative activism” is that its definition seems to place it at odds with the most common scholarly definitions of “performative,” in which there is little or no difference (...) between saying and doing. Nonetheless, making a distinction between what is said and done is rhetorically effective in itself. By understanding the accusation of performative activism as a type of critique, we can begin to see how such critical gestures are better understood as demands rather than condemnations. (shrink)

Dispossession describes the condition of those who have lost land, citizenship, property, and a broader belonging to the world. This thought-provoking book seeks to elaborate our understanding of dispossession outside of the conventional logic of possession, a hallmark of capitalism, liberalism, and humanism. Can dispossession simultaneously characterize political responses and opposition to the disenfranchisement associated with unjust dispossession of land, economic and political power, and basic conditions for living? In the context of neoliberal expropriation of labor and livelihood, dispossession opens (...) up a performative condition of being both affected by injustice and prompted to act. From the uprisings in the Middle East and North Africa to the anti-neoliberal gatherings at Puerta del Sol, Syntagma and Zucchotti Park, an alternative political and affective economy of bodies in public is being formed. Bodies on the street are precarious - exposed to police force, they are also standing for, and opposing, their dispossession. These bodies insist upon their collective standing, organize themselves without and against hierarchy, and refuse to become disposable: they demand regard. This book interrogates the agonistic and open-ended corporeality and conviviality of the crowd as it assembles in cities to protest political and economic dispossession through a performative dispossession of the sovereign subject and its propriety. (shrink)

In response to the interruption of all levels of education following COVID-19, we start by underlining the difference between emergency remote teaching and online learning. Next, we inquire into the question of presence in physical and virtual classrooms, and offer a discussion of presence as “being-here-now,” a “movement toward becoming,” and as gelassenheit or “releasement toward things.” We highlight the materiality of communication, and the performative production and transformation of the classroom space. Finally, we illustrate how performative writing (...) enhances the sense of being-here-now, and facilitates the co-inhabiting of online learning spaces that lack co-presence of bodies in the same physical environment. (shrink)

School leaders are expected to act with integrity, but values are always contested: one person’s ‘moral purpose’ is not the same as another’s. Researchers have explored these issues from different angles. One approach focusses on individual leaders, seeking to understand how their values inform their practice. Other work highlights that individual values are only part of the story: values are embedded within professional norms and organisational cultures, while policy and governance frameworks serve to structure and constrain individual agency, particularly in (...) marketised and performative systems. This paper draws on examples from recent research in England to argue that leadership responses to structural constraints should be seen on a spectrum in terms of how far they reflect individual agency and values, proposing four possible categories – ‘toxic leadership’, ‘pragmatic compliance’, ‘principled infidelity’ and ‘authentic agency’. It also discusses the question of how values operate at locality and national levels as well as within individual schools and draws the analysis together into a conceptual frame. (shrink)

Volume 23, Issue 3-4, November - December 2024, Page 219-244.

Professor Recanati's book is a major new contribution to the philosophy of language. Its point of departure is a refutation of two views central to the work of speech-act theorists such as Austin & Searle: that speech acts are essentially conventional, & that the force of an utterance can be made fully explicit at the level of sentence-meaning & is in principle a matter of linguistic decoding. The author argues that no utterance can be fully understood simply in terms of (...) its linguistic meaning, but that only a contextual inference can provide an adequate framework. In pursuit of this argument, he deals with the major issues of pragmatics & speech-act theory: conversational implicatives & indirect speech acts, the classification of illocutionary forces, the performative/constative distinction, delocutivity, locutionary meaning, non-literal uses of languages, the principle of expressibilty, & the difference between institutional & communicative illocutionary acts. (shrink)

Name der Zeitschrift: Deutsche Zeitschrift für Philosophie Jahrgang: 65 Heft: 2 Seiten: 183-205.

This article draws on the conceptual link between power and causality to develop an account of the relational, discursive, and performative dimensions of power. Each proposed dimension of power is grounded in a different understanding of social causes: relational-realist, discursive-hermeneutic, and performative-pragmatic. For the purposes of empirical analysis, this dimensional schema crosscuts the classic sources of power typology developed by Michael Mann and others, thus rendering the conceptual apparatus for pursuing sociological research on power more complex and explanatorily (...) effective. The schema is illustrated by an example from comparative-historical sociology: explaining the storming of the Bastille and its effects. A series of research questions for investigating the relative autonomy of performative power is proposed. Finally, the current schema is situated vis-à-vis classic sociological theories of power, including the arguments of Steven Lukes, Michel Foucault, and Pierre Bourdieu, among others. (shrink)

In a series of works published over the last thirty years, Rudolf Makkreel accomplished what can be called a hermeneutical rehabilitation of Kant’s Critique of Judgment. Such a rehabilitation has been formulated in explicit opposition to the negative hermeneutical image of Kant’s aesthetics which originated in the work of Hans-Georg Gadamer, and according to which the subjectivization of aesthetics perpetrated by Kant reduced aesthetic judgments to a mere communication of feelings, sanctioning thereby their hermeneutical irrelevance. In this essay I do (...) not intend to evaluate the legitimacy of Makkreel’s considerations about the hermeneutical importance of Kant’s Third Critique. Rather, I aim to question the pertinence of those considerations for Gadamer’s criticism of Kant, specifically in relation to the notion of sensus communis, which plays a central role both in Gadamer’s and Makkreel’s analyses. (shrink)

Derogatory terms can be powerful mechanisms of subordination, while re-appropriating these terms can be a strategy to fight back against social injustice. I argue that projects seeking to reclaim slurs have a performative structure that raises particular hazards. Whereas more familiar forms of protest may fail to bring about their intended result, attempts to re-appropriate slurs can fail to be understood as transgressive acts at all. When attempts at reclamation fail, their force is distorted; context and convention lead the (...) hearer to give uptake to the speech act as a traditional deployment of the slur. The force of this traditional use is to validate and re-entrench the very norms the act was intended to subvert. This is the precarious structure of reclamation projects: when successful, reclamation is the subversion of powerful mechanisms of oppression, but when unsuccessful, the act has the ironic force of constituting mechanisms of oppression. (shrink)

Without seeking to diminish its authority as the Word of God, this article acknowledges the Fourth Gospel as a brilliant piece of literary artistry by the implied author. The aim of this article is to substantiate this assertion by conducting a study on focalisation and illustrating how it invites the implied reader’s participation in the narrative. This contribution acknowledges the existence of insightful contributions on the topic, particularly in relation to the Fourth Gospel. However, it asserts that the study of (...) the performative nature of focalisation in this particular Gospel has not received the attention it deserves. The main contribution of this article is its analysis of a selected narrative of the Fourth Gospel using focalisation as an analytical tool, with the objective of demonstrating that the Fourth Gospel is performative in nature, crafted and formulated to consistently engage the implied reader in considering its purpose, as stated in 20:30–31.Contribution: The article showcases that focalisation, when used as an analytical tool, can unlock, and enable the interpreter of the Fourth Gospel to recognise its performative nature to the implied reader of the text. This is critical, given that the text is crafted to encourage the reader to participate in it by making decisions regarding their faith in Jesus Christ. (shrink)

Name der Zeitschrift: Deutsche Zeitschrift für Philosophie Jahrgang: 64 Heft: 6 Seiten: 1034-1039.

Judith Butler’s idea of gender as performative (introduced in Gender Trouble and now a commonplace in feminist theory) is brought into dialogue with feminist performance art (exemplified by Valie Export, the Austrian media- and performance-artist). Butler’s claim that gender is performative and that it can be changed only through a parodic repetition of performative acts is revisited through the lens of Export’s subversive performance pieces. This “interaction” between theory and art practice shall highlight the political potential of (...) Butler’s work and serve to expand her notion of parody as it pertains more directly to women and the female body. (shrink)

How to Do Things with Myths: A Performative Theory of Myths and How We Got There assembles a radically updated collection of the author's oft-cited publications on myth. Together, they tell how theories of myth have changed and led to a novel "performative" theory of myth.

In Malicious Deceivers, Ioana B. Jucan traces a genealogy of post-truth intimately tied to globalizing modernity and connects the production of repeatable fakeness with capitalism and Cartesian metaphysics. Through case studies that cross times and geographies, the book unpacks the notion of fakeness through the related logics of dissimulation (deception) and simulation (performativity) as seen with software/AI, television, plastics, and the internet. Specifically, Jucan shows how these (dis)simulation machines and performative objects construct impoverished pictures of the world, ensuring a (...) repeatable sameness through processes of hollowing out embodied histories and lived experience. Through both its methodology and its subjects-objects of study, the book further seeks ways to counter the abstracting mode of thinking and the processes of voiding performed by the twinning of Cartesian metaphysics and global capitalism. Enacting a model of creative scholarship rooted in the tradition of writing as performance, Jucan, a multimedia performance-maker and theatre director, uses the embodied "I" as a framing and situating device for the book and its sites of investigation. In this way, she aims to counter the Cartesian voiding of the thinking "I" and to enact a different kind of relationship between self and world from the one posited by Descartes and replayed in much Western philosophical and - more broadly - academic writing: a relationship of separation that situates the "I" on a pedestal of abstraction that voids it of its embodied histories and fails to account for its positionality within a socio-historical context and the operations of power that define it. (shrink)

Sometimes, political bald-faced lies pass for truth. That is, certain groups of people behave according to them – behave as if the political bald-faced lies were true. How can this phenomenon be explained? I argue that to explain it we need to take political bald-faced lies to be performative utterances whose goal is to bring about a worldly state of affairs just in virtue of making the utterance. When the former US-President tweeted ‘we won the election’, people stormed Capitol (...) Hill to protest election fraud and some were killed. In this way, the bald-faced lie was successful in passing for truth. My performative view of political bald-faced lies is to be preferred over various other views such as the contempt for truth view (Lynch 2021), the deception view (Lackey 2013), and the value-signaling view (Stanley 2012). These alternative views fail to adequately account for how political bald-faced lies pass for truth. (shrink)

This book investigates the phenomenological ways that dance choreographing and dance performance exemplify both Truth and meaning-making within Native American epistemology, from an analytic philosophical perspective. Given that within Native American communities dance is regarded both as an integral cultural conduit and “a doorway to a powerful wisdom,” Shay Welch argues that dance and dancing can both create and communicate knowledge. She explains that dance—as a form of oral, narrative storytelling—has the power to communicate knowledge of beliefs and histories, and (...) that dance is a form of embodied narrative storytelling. Welch provides analytic clarity on how this happens, what conditions are required for it to succeed, and how dance can satisfy the relational and ethical facets of Native epistemology. (shrink)

According to Positioning Theory, participants in narrative interaction can position themselves on a representational level concerning the autobiographical, told self, and a performative level concerning the interactive and emotional self of the tellers. The performative self usually is much harder to pin down, because it is a non-propositional, enacted self. In contrast to everyday interaction, psychotherapists regularly topicalize the performative self explicitly. In our paper, we study how therapists respond to clients' narratives by interpretations of the client’s (...) conduct, shifting from the autobiographical identity of the told self, which is the focus of the client’s story, to the present performative self of the client. Drawing on video-recordings from three psychodynamic therapies (tiefenpsychologisch fundierte Psychotherapie) with 25 sessions each, we will analyze in detail five extracts of therapists‘ shifts from the representational to the performative self. We highlight four findings: • Whereas clients’ narratives often serve to support identity-claims in terms of personal psychological and moral characteristics, therapists rather tend to focus on clients’ feelings, motives, current behavior and ways of interacting. • In response to clients’ stories, therapists first show empathy and confirm clients’ accounts, before shifting to clients’ performative self. • Therapists ground the shift to clients’ performative self by references to clients’ observable behavior. • Therapists do not simply expect affiliation with their views on clients’ performative self. Rather they use such shifts to promote the clients’ self-exploration. Yet, if clients resists to explore their selves in more detail, therapists more explicitly ascribe motives and feelings that clients do not seem to be aware of. The shift in positioning levels thus seems to have a preparatory function for engendering therapeutic insights. (shrink)