Performative Acts in Elizabeth Gaskell’s Cranford

Elizabeth Gaskell's Cranford presents the lives of Cranford ladies consisting of old maids and widows living in a provincial town, Cranford. This study is aimed at analyzing the performance and performative acts performed by the Cranford ladies. This study shows that the performance and performative acts institute not only their gender but also their class identity as middle-class women. Therefore, gender and class identity intertwine and are constituted by stylized repetition of acts. Key words: performance, performative acts, gende

Reflexive Learning and Performative Failure

In this paper we emphasize the importance of context for student learning. Based on reflective logs and interview data, we explore how students learn outside of the classroom as they undertake an experiential dissertation project. We identify three different forms of reflexive learning and critique, all triggered by some form of performative failure; scholarly critique, engaged critique and engaged action. Drawing on Butler’s theory of performativity we illustrate how reflexivity is not purely the action of any individual student, rather it is a practice that is co-created within a certain context. As such, we contest individualistic understandings of reflexivity and encourage a careful consideration of the places students and managers are encouraged to be reflexive

APPLICATION OF PERFORMATIVE CONCEPT ON ENGLISH LEGAL DOCUMENTS: A STUDY OF PRAGMATICS

The legal documents contain statements binding between several parties involved in the issues listed in the document. Prenuptial agreement, power of attorney to a case, insurance payments, inheritance issues are commonly discussed in terms of a legal document. In linguistics, there is a terminology known by performative utterances. Performative concept is one example of application of language use through legal documents as a media. The concept is mentioned by Austin (1962:6). The naming comes from the verb 'perform' or refers to the noun 'action', it is said that the word refers to a speech that shows the performance or action. Performative utterance , or sometimes just simply mentioned ‘performative’ has characters : first person singular subject and followed performative verbs in active present form (1962:5).Performative cannot be regarded as right or wrong statements, but it refers to appropriate or inappropriate, legitimate or illegitimate contents of statements. Performative utterances can be explicit and implicit. Implicit performative is performative utterances with performative verbs but they are not explicitly stated. On implicit performative, conversational context greatly affects assuming the performative verb that appears. This research will try to explain the form of performative and pragmatic mechanism on the legal documents. The method used in this research is qualitative descriptive and this research is expected to contribute in application of linguistics, especially pragmatics

The Performativity of Literature Reviewing: Constituting the Corporate Social Responsibility Literature through Re-Presentation and Intervention

Although numerous books and articles provide toolkit approaches to explain how to conduct literature reviews, these prescriptions regard literature reviewing as the production of representations of academic fields. Such representationalism is rarely questioned. Building on insights from social studies of science, we conceptualize literature reviewing as a performative endeavor that co-constitutes the literature it is supposed to “neutrally” describe, through a dual movement of re-presenting—constructing an account different from the literature, and intervening—adding to and potentially shaping this literature. We discuss four problems inherent to this movement of performativity—description, explicitness, provocation, and simulacrum—and then explore them through a systematic review of 48 reviews of the literature on Corporate Social Responsibility (CSR) for the period 1975-2019. We provide evidence for the performative role of literature reviewing in the CSR field through both re-presenting and intervening. We find that reviews performed the CSR literature and, accordingly, the field’s boundaries, categories, priorities in a self-sustaining manner. By reflexively subjecting our own systematic review to the four performative problems we discuss, we also derive implications of performative analysis for the practice of literature reviewing

Critical Performances

Philosophers of music commonly distinguish performative from critical interpretations. I would like to suggest that the distinction between critical and performative interpretations is well captured by an analogy to legal critics and judges. This parallel draws attention to several features of performative interpretation that are typically overlooked, and deemphasizes epistemic problems with performative interpretations that I believe are typically blown out of proportion and ultimately fail to capture interesting features of performative interpretation. There is an important distinction to be made between critical and performative interpretation, but its source lies in a difference between the authority of critical and performative interpretations

Performativity, fabrication and trust: exploring computer-mediated moderation

Based on research conducted in an English secondary school, this paper explores computer mediated moderation as a performative tool. The Module Assessment Meeting (MAM) was the moderation approach under investigation. I mobilise ethnographic data generated by a key informant, and triangulated with that from other actors in the setting, in order to examine some of the meanings underpinning moderation within a performative environment. Drawing on the work of Ball (2003), Lyotard (1979) and Foucault (1977, 1979), I argue that in this particular case performativity has become entrenched in teachers’ day-to-day practices, and not only affects those practices but also teachers’ sense of self. I suggest that MAM represented performative and fabricated conditions and (re)defined what the key participant experienced as a vital constituent of her educational identities - trust. From examining the case in point, I hope to have illustrated for those interested in teachers’ work some of the implications of the interface between technology and performativity

How Did I Get to Princess Margaret? (And How Did I Get Her to the World Wide Web?)

The paper explores the growing use of tools from the arts and humanities for investigation and dissemination of social science research. Emerging spaces for knowledge transfer, such as the World Wide Web, are explored as outlets for "performative social science". Questions of ethnics and questions of evaluation which emerge from performative social science and the use of new technologies are discussed. Contemporary thinking in aesthetics is explored to answer questions of evaluation. The use of the Internet for productions is proposed as supporting the collective elaboration of meaning supported by Relational Aesthetics. One solution to the ethical problem of performing the narrations of others is the use of the writer's own story as autoethnography. The author queries autoethnography's tendency to tell "sad" stories and proposes an amusing story, exemplified by "The One about Princess Margaret" (see Appendix). The conclusion is reached that the free and open environment of the Internet sidelines the usual tediousness of academic publishing and begins to explore new answers to questions posed about the evaluation and ethics of performative social science

Crossing borders: new teachers co-constructing professional identity in performative times

This paper draws on a range of theoretical perspectives on the construction of new teachers’ professional identity. It focuses particularly on the impact of the development in many national education systems of a performative culture of the management and regulation of teachers’ work. Whilst the role of interactions with professional colleagues and school managers in the performative school has been extensively researched, less attention has been paid to new teachers’ interactions with students. This paper highlights the need for further research focusing on the process of identity co-construction with students. A key theoretical concept employed is that of liminality, the space within which identities are in transition as teachers adjust to the culture of a new professional workplace, and the nature of the engagement of new teachers, or teachers who change schools, with students. The authors argue that an investigation into the processes of this co-construction of identity offers scope for new insights into the extent to which teachers might construct either a teacher identity at odds with their personal and professional values, or a more ‘authentic’ identity that counters performative discourses. These insights will in turn add to our understanding of the complex range of factors impacting on teacher resilience and motivation

Performativity, progressive avoidance and aspect

Unlike other reports of ongoing actions, English explicit performatives do not normally take progressive form. This suggests that “there is something over and above a mere concurrent report” in utterances like I bet you I’ll win the race that is absent in utterances like I’m betting you I’ll win the race (Levinson 1983: 259). For Krifka (2014), an explicit performative describes not the utterance act being produced, but the adoption of a new commitment, which has already happened at encoding time. If this is so, however, we might expect to find preterit- or present-perfect-form performative clauses and it appears that we do not. Using cross-linguistic data from genetically and geographically unrelated languages, we establish a strong typological tendency: explicit performative utterances use the same verbal construction that is used for reporting states holding at coding time. We attribute this tendency to an epistemic commonality between explicit performatives and state reports. In addition, we offer an explanation for exceptional uses of progressive aspect in apparently performative expressions, noted by, e.g., Searle (1989). Building on Dahl (1985), we have developed a questionnaire that allows us to identify the aspectual distinctions made in individual languages and which of these categories are employed in the various performative contexts (as classified by Searle 1976). Imperfective aspect is used to encode performatives and present-time states in, e.g., Arabic, Turkish and Bosnian/Croatian/Serbian. In Bantu languages like Lingala and Kirundi, performative predications receive perfective encoding, and this same form is used to report states holding at present. Japanese and the Austronesian language Kilivila feature unmarked verb forms in both present state reports and performative expressions. Progressive aspect is systematically excluded in the languages of our sample. Thus, in light of these typological observations, the use of the English simple present in performative contexts is not unexpected. The fact that present-time states and performative events receive the same aspectual construal across languages suggests a semantic commonality that cannot be conceived in terms of boundedness, one of the major parameters used to describe aspectual distinctions. We argue instead that aspectual categories encode epistemic distinctions, and that states and performative events are similar at this epistemic level: the situation type expressed by a performative or state predication is verifiable at the time of speaking. States have the subinterval property, according to which every segment of a state counts as an instance of that state, including that segment that overlaps the speech event. In the case of performatives, the reporting event and the performed event (promising, etc.) are one and the same; therefore, performative events are verifiable as such at speech time. The few scholars who touch on performativity and aspect in English appear to assume that in the rare attestations of progressive perfomatives, the predication does not perform a speech act (like promising) but rather reports on one’s own performance, as in I’m not just saying, I’m promising (Langacker 1987; Verschueren 1995; Krifka 2014). However, this characterization is not evidently applicable to examples like I’m warning you, Mrs. Hinkle: one more obscenity and I’ll charge you with contempt, which does count as a warning. Analysis of COCA data reveals that one type of performative clause, the exercitive type (Austin 1962), involving verbs such as warn and order, accounts for the majority of progressive performative tokens. Following McGowan (2004), we assume that exercitive acts change the boundaries of permissible or appropriate conduct. We postulate that progressive-form exercitive acts do not change these boundaries but rather describe an effort to do so. More generally, progressive performatives are action glosses like I’m trying to repair this; they explain the purpose of ongoing actions, both linguistic and nonlinguistic. This account naturally extends to non-exercitive progressive performatives like I’m withdrawing as a candidate

Connecting Research with Communities through Performative Social Science

A pioneer in Performative Social Science, Kip Jones makes a case for the potential of arts-based social science to reach audiences and engage communities. Jones contextualises both the use of the arts in Social Science, as well as the utility of Social Science in the Arts and Humanities. The discussion turns next to examples from his own work and what happens when Art talks to Social Science and Social Science responds to Art. The benefits of such interaction and interdisciplinarity are outlined in relation to a recently completed project using multi-methods, which resulted in the production of a professional short film. In conclusion, Performative Social Science is redefined in terms of synthesis that can break down old boundaries, open up channels of communication and empower communities through engagement