Most work on reflexivity has focused on individuals exercising their reflexivity through discourse. However, agents have three major aspects (intentionality, causal efficacy and embodiment) and they are fundamentally social. This article examines the possibility of collective reflexivity conducted not just by saying, but also by doing—that is, through their embodiment. By expanding the concept of ‘performatives’ to encompass not just speech acts but also acts that speak (i.e. embodied activities as socially meaningful) and applying the work of Charles S. (...) Peirce in order to develop an ontology of embodied reflexivity, it becomes possible to determine several criteria defining embodied collective reflexivity. Assessing possibilities such as legislative debate, political demonstrations, religious ritual and dramatic performance reveals that a certain set of practices does in fact meet those criteria and discloses additional aspects of what constitutes embodied collective reflexivity. (shrink)

This article aims to connect Austin's seminal notion of a speech act with developments in philosophy of language over the last forty odd years. It starts by considering how speech acts might be conceived in Austin's general theory. Then it turns to the illocutionary acts with which much philosophical writing on speech acts has been concerned, and finally to the performatives which Austin's own treatment of speech as action took off from.

Paradoxical though it may seem, there are certain things one can do just by saying what one is doing. This is possible if one uses a verb that names the very sort of act one is performing. Thus one can thank someone by saying 'Thank you', fire someone by saying 'You're fired', and apologize by saying 'I apologize'. These are examples of 'explicit performative utterances', statements in form but not in fact. Or so thought their discoverer, J. L. Austin, who (...) contrasted them with 'constatives'. Their distinctive self-referential character might suggest that their force requires special explanation, but it is arguable that performativity can be explained by the general theory of speech acts. (shrink)

[...] I will only investigate [Austin's] claims as challenges to present-day model theoretic semantics. My main point will be to draw a sharp line between the semantic and pragmatic aspects of performatives and thereby discover a gap in Austin’s treatment. This will in my view naturally lead to the proposal in Section 2, that is, to treating performatives as denoting changes in intensional models. The rest of Section 2 will be concerned with the status of felicity conditions and (...) a tentative extension of Montague’s PTQ. (shrink)

In order to maximize human performance, defence forces continue to explore, develop, and apply human performance enhancement (HPE) methods, ranging from pharmaceuticals to (bio)technological enhancement. This raises ethical, legal, and societal concerns and requires organizing a careful reflection and deliberation process, with relevant stakeholders. We discuss a range of ethical, legal, and societal aspects (ELSA), which people involved in the development and deployment of HPE can use for such reflection and deliberation. A realistic military scenario with proposed HPE application can (...) serve as a starting point for such an iterative and participatory process. Stakeholders can discuss this application, modify its features, and design appropriate processes around it – for instance, procedures for informed consent. We propose that organizing aspects into these three categories – ethical, legal, and societal – can help involve appropriate interlocutors at different moments: legal aspects with people in strategy or management roles, from the start of a project; ethical aspects with people in operations and medical roles, during development; and societal aspects with people in communication and personnel roles, during deployment. Notably, we developed and discussed this framework and the three aspects in close collaboration with personnel from the military. (shrink)

This paper contains an analysis of performatives with special attention to performatives in the law. It deals with the possibility to recognise performativity by means of a grammatical-syntactic criterion, the self-verifying and norm-promulgating character of legal performatives, an analysis of the effects of performatives by means of causal logic, the different forms of performativity and a theory of promise-performatives.

SummaryThis paper develops a semantical account of sentences containing performative principal verbs in which these verbs are analyzed as indexical expressions: the proposition picked out by a sentence containing a performative verb depends on aspects of the context of use of the sentence; and these same aspects of context of use also determine the truth value of the proposition picked out. A two‐dimensional modal operator is utilized in analyzing non‐ performative sentences that contain principal verb which, in other contexts, have (...) performative uses. Thus, the analysis developed accounts for the performative — non‐performative distinction within a formal semantic‐pragmatic framework; the more common approach of relegating the distinction to the somewhat vague realm of ‘language use’ is avoided.RésuméCet article développe un traitement sémantique des phrases contenant un verbe principal performatif. Ces verbes sont analysés comme des expressions indicées: la proposition sélectionnée par une phrase contenant un verbe performatif dépend du contexte d'usage de cette phrase; et ces mêmes aspects du contexte d'usage déterminent également la valeur de vérité de la proposition sélectionnée. Un opérateur modal à deux dimensions est utilisé pour l'analyse de phrases non‐performatives contenant un verbe principal performatif dans d'autres contextes. L'analyse développée rend ainsi compte de la distinction performatif — non‐performatif dans un cadre sémantico‐pragmatique; on évite ainsi la solution habituelle consistant à reléguer cette distinction dans le domaine plutôt vague de l'usage linguistique.ZusammenfassungEs wird eine semantische Darstellung von Sätzen entwickelt, die performative Hauptverben enthalten, indem diese Verben als indexikale Ausdrücke analysiert werden: die Proposition, die durch einen Satz mit einem performativen Verb bezeichnet wird, hängt von Aspekten des Gebrauchskontextes des Satzes ab; und gerade diese Aspekte bestimmen auch den Wahrheitswert der Proposition. Ein zweidimensionaler Modaloperator wird verwendet, um nicht‐performative Sätze zu analysieren, die Hauptverben enthalten, welche — in andern Kontexten — einen performativen Gebrauch haben. Auf diese Weise gibt die entwickelte Analyse innerhalb eines formalen semantisch‐syntaktischen Rahmenwerkes Rechenschaft über die Unterscheidung performativ — nicht‐performativ; man vermeidet dadurch das übliche Vorgehen, die Unterscheidung in den etwas vagen Bereich des sog. 〈Sprachgebrauchs〉 abzuschieben. (shrink)

The late John Austin's William James Lectures 1 might well have borne the subtitle ‘In Pursuit of a Vanishing Distinction’. Although the chase is remorseless, glimpses of the quarry become increasingly equivocal and the hunter is left empty-handed at last. It is hard to know what has gone awry. Has the wrong game been pursued—and in the wrong direction?

‘Tympaniser’, Alan Bass tells us, is an ‘archaic verb meaning to ridicule publicly’ or to decry. In the essay fronting Margins of Philosophy called ‘Tympan’ Derrida decries the philosophy that would own its limits, absorbing ‘the margin of its own volume’. While it is Derrida’s late work on the ‘animal question’ that has brought his insistence on the nourishment of the limits between species as limitrophy to wider attention, it is also named as the general condition of the interface of (...) the limits in the much earlier text, ‘Tympan.’ There, in dislocating the tympanum, the margins of philosophy are eaten. Equally, given the rhythmic address of the tympanum, we might say that the margins of philosophy are beaten. Struggling within the strictures of a small town amateur dramatic rehearsal, Selma, the lead protagonist in Dancer in the Dark, makes a plea for more rhythm. But there is no license for tap-dancing in The Sound of Music. This chapter considers Dancer’s persistent play on rhythmic sounds as that which trip Selma’s fantasy song and dance numbers as a ‘tympanising’ of the limits, notably of the limits of the law in both juridical and symbolic senses, as they also work the edges of the film’s two styles. In a provocative analysis of this film, Cary Wolfe suggests that we might understand Selma’s vocal style as a refusal of the phallic imposition of language, and that her virtually suicidal submission to the death sentence construed as a Lacanian ‘feminine’ act, allow for a notion of a ‘posthuman feminine’. ‘Tympan Alley’ redirects Wolfe’s tantalising term ‘posthuman feminine’ through a more consistently Derridean line of thought. It draws on Derrida’s late work on the animal, in which it is polemically clear that deconstruction has never been confined to the signifier nor to the human, and sounds out the implications of his early work on b/eating the limits through Selma’s percussive ear. (shrink)

It sometimes happens that a philosopher will develop a view on some topic and then later come to reject it. J. L. Austin was perhaps unique in that he not only rejected a philosophical view of which he himself was the author, he patiently developed the view and then showed it to be ultimately unsatisfactory within the compass of the same work. And he did this not once but three times, in material intended for publication. I am thinking, of course, (...) of his notion of performative utterances: the view that there is a class of utterance, the members of which would on standard grammatical grounds be classed as statements, yet whose proper business is not to state anything but to perform some act. For example, to say ‘I promise to be there’ is to promise to be there, and not to state that one promises nor even to state that one will be there. (shrink)

Dieser Band entwickelt eine "mediensensible" Fachdidaktik Philosophie/Ethik. In Bezug auf die Lebenswelt der Schüler*innen werden Unterhaltungen und Kunstfilme des Medienphilosophen Alexander Kluge auf dessen Web-TV dctp.tv für eine philosophisch-ethische Bildung wahrnehmbar und denkbar. Kluges audiovisuelle Clips werden als Unterrichtsmedien ernst genommen, ihre Bild- und Tonspur(en) didaktisch gewürdigt. Das Montieren diskursiver und präsentativer Elemente ermöglicht zugleich eine medienphilosophiedidaktische Propädeutik zugunsten des Umgangs mit anderen Web-Inhalten (etwa auf YouTube).

My primary goal in this paper is to defend the plausibility of Kripke’s thesis that there are contingent a priori truths, and to fill out some gaps in Kripke’s own account of these truths. But the strategy here adopted is, to the best of my knowledge, still unexplored and different from the one adopted both by Kripke himself and by his critics. I first argue that Kripke’s examples of such truths can only be legitimate if seen as introduced by performative (...) utterances sense). And, if this is so, we can apply the machinery of illocutionary act theory to these utterances to explain how one can have a priori knowledge of some contingent facts generated by the utterances themselves. I shall argue that the overall strategy can fill out two gaps in Kripke’s original account: first, we can explain the nature of the truth-makers of contingent a priori truths sense, broadly conceived) and, second, we can explain how contingent a priori knowledge can be transmitted from one speaker to another. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 209 Seiten: 231-248.