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As Ratnam makes clear, a cultural–historical perspective on teacher/faculty excessive entitlement is indispensable if we are to use this concept to work with, rather than undermine, education practitioners. In this chapter, a networked relational model of activity is proposed as a tool for understanding excessive entitlement from a cultural–historical activity theory (CHAT) perspective, so that the transformative potential of both entitlement and the modeling of it may be harnessed. The networked relational model, which represents CHAT activity systems as a hand-draw or painted network of relationships between actors and artifacts, allows its creators, in their capacity as researchers or academics, to use it as an imaginative artifact in the Wartofskian sense. That is, by representing activity systems of academic performance as networks of interacting entities, the emergence of excessive entitlement can be traced to, and perhaps mitigated through the relationships that they represent. In this regard, the why, what, and how artifacts proposed by Engeström are taken up as useful means for enhancing the functioning of the networked relational model not just as a tool for analyses of entitlement but also a means for envisioning alternative countercultures into being. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

The purpose of the present paper is to analyze the dynamics of performatives, with special focus on normatively charged institutions as legal-political ones, with the help of a case study coming from Roman antiquity: the appointment of Julius Caesar as "perpetual dictator", as it is analyzed by Licandro (2022). That analysis shows both how institutional performatives are established and how they are subject to tensions and changes in their course of application. On that basis, I will make two hypotheses. First, the power of legal-political performatives is (also) grounded in what I will call "symbolic value": a special feature of certain linguistic expressions which is historically related to religious rituals. Second, symbolic value and practical (i.e., means-end) reasoning are not alternative explanations, they are partners both in establishing legal-political performatives and in driving their application through time. [ABSTRACT FROM AUTHOR]

There are increasing demands for Participatory Arts-Based (PAB) programs involved in health research to better evidence outcomes using robust quantitative evaluation methodologies taken from science, such as standardized questionnaires, to inform commissioning and scale-up decisions. However, for PAB researchers trying to do this, barriers arise from fundamental interdisciplinary differences in values and contexts. Researchers are required to navigate the tensions between the practice-based evidence produced by the arts and the evidence-based practice sought by psychologists. Consequently, there is a need for interdisciplinary arts-science collaborations to produce alternative methods of evaluation that are better aligned to PAB approaches, and which combine systematic rigor with a sensitivity to the values, contexts and strengths of this approach. The current article centers on the development of an alternative transdisciplinary analytic tool, the Participatory arts Play Framework (PP-Framework), undertaken as part of an arts-psychology collaboration for a UK AHRC-funded PAB research project: Playing A/Part: Investigating the identities and experiences of autistic girls. We present details of three stages in the development of the PP-Framework: 1. preliminary emergence of the framework from initial video analysis of observational data from participatory music and sound workshops run for 6 adolescent autistic girls (aged 11-16); 2. identification and application of modes of engagement; and 3. further testing of the framework as an evaluation tool for use in a real-world setting, involving professional musicians engaged in delivery of a creative music project at a center for homeless people. The PP-Framework maps types of participation in terms of performative behaviors and qualities of experience, understood as modes of play. It functions as a vehicle for analyzing participant engagement, providing a tool predicated on the processes of working in creative participatory contexts while also being sensitive to the esthetic qualities of what is produced and capable of capturing beneficial changes in engagement. It offers a conceptual approach for researchers to undertake observation of participatory arts practices, taking account of embodied engagement and interaction processes. It is informed by understandings of autistic performativity and masking in conjunction with an ecological understanding of sense making as being shaped by environments, social relations and sensing subjectivity. The framework has the potential to be a bi-directional tool, with application for both practitioners and participants. [ABSTRACT FROM AUTHOR]

The present paper investigates participial root configurations, i.e. participial clauses that are grammatically independent of a host clause. Unlike previous work, which has focussed on either directive or (non-directive) performative uses of so-called past participles (i.e. participles that have passive and/or perfect(ive) interpretations), the present paper establishes a typology of 'root participles' in Germanic and contrasts the properties of four main types: (1) directive (RPdir), (2) expressive (RPexp), (3) commissive (RPcom), (4) representative root participles (RPrep). The main claim with respect to the properties of these distinct types is that they differ in terms of whether they include a verbal or an adjectival (passive) participle. In fact, arguments based on argument structure, orientation, aspect, and adverbial modification are presented to substantiate the claim that types (1) and (2) are formed with verbal and types (3) and (4) with adjectival participles. Additionally, the distinct types will be shown to differ in their status of either being non-sentential (i.e. structurally different from potential clausal counterparts) or merely elliptical (just phonologically reduced): types (1) and (3) can be shown to be non-sentential and hence receive a dedicated syntactic analysis, where special attention is paid to the contribution of the (imperative vs. declarative) left periphery. [ABSTRACT FROM AUTHOR]

Copyright of EurAmerica is the property of EurAmerica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The notions of Performance and Performative are emerging in architectural design discourses including heritage processing and repurposing. The literature review shows that the terms are semantically wide and they are linked to a variety of concepts: the open form, the flexible, the dynamic, the event—based spatial settings and the active engagement with space. The essay examines how – beyond museumification -the activation and the reuse of heritage sites can be seen through the lens of Performance and the concept of the Performative, and the difference between passive engagement and active engagement. The essay has three folds aims unfolding as follow: The first explores a literature review analysis of Performative and Performance in architectural discourse, arriving to explore those concepts in the discourses of reuse of historical heritage sites as exhibitions performative venues. The second examines a proposed performative-oriented approach to the reuse of heritage sites which aims at a dynamic and active engagement with the space, opposing to museumification which usually leads to passive engagement while taking examples from Europe. The third one will be centered on the case of the old heart of Sharjah in the United Arab Emirates as a heritage site reinvented and inhabited by the Sharjah Art Foundation, which we will analyze through the lens of the Performative and the practice of Exhibiting. [ABSTRACT FROM AUTHOR]

The article investigates the performative nature of asides that aim to define or specify something in the Fourth Gospel. Despite scholars exploring the prevalence and significance of asides in this Gospel, there has been limited attention given to studying or demonstrating the pragmatic and/or performative nature of these literary devices. The assertion is that asides are not mere literary embellishments, but carry a substantial performative role for the reader. This article seeks to address this gap in the study of Johannine asides. Employing a speech act interpretive approach, the article examines the nature and potential effects (i.e., the illocutionary and perlocutionary force) of these specific asides on the reader in the Fourth Gospel. While there is a general consensus that asides are not events and therefore do not advance the plot of the story, this contribution contends that asides play a crucial role in guiding the reader towards embracing or acting on the implied author’s propositions as they engage with the narrative. The Fourth Gospel serves as an apt text to illustrate this literary phenomenon and is believed to be consistent with the Gospel’s purpose as stated in 20:31. Contribution: The article contributes to Johannine literary research by exploring and demonstrating how the implied author of the Fourth Gospel intentionally utilises various types of asides (in this case, asides that function to define or specify something) to invite the reader’s participation as they read the Gospel.

The main purpose of this work is to explore the experience of confronting guilt ‘after Auschwitz’ in the creative dialogue between two significant poets of the twentieth century — Paul Celan and Johannes Bobrowski. Despite their importance, their works remain inade­quately studied, particularly in the context of the interaction between language and existence, or more precisely, poetic semiotics and the ontological foundation of existence. Sander Gil­man, an American Germanist, in his work “Why and How I Study German” aimed at stu­dents of the German language in the United States, notes: “Learning German means under­standing the path that leads from the text to the crematory”. Celan shared a similar senti­ment. Bobrowski, while agreeing with Celan's belief that Auschwitz revealed the infernal nature of the German language, attempted to counter him by suggesting that even within the language of the underworld, a poet could serve as a synergistic participant in the manifesta­tion of Truth from the Light of Truth in the performative "production of the presence" of God. One of those who supported him in this argument was perhaps the most complex author in German history, Hamann, whom Goethe considered to be “the brightest mind of his time” and the future “forefather and teacher” of all Germans. In this context, the poetic dialogue between Celan and Bobrowski concerning the German ‘language after Auschwitz’ could be seen as an effort to prevent its complete deontologization, due to what the philosopher Hei­degger referred to as “the lack of holy names," stemming from “the defining characteristic of the present era of the world being the closed dimension of the Sacred”.

I collected data from political social media pages to show how memes serve as means to engage in heated "nation-talk." Contending claims are made through memes on the identity of an "Indian" and on the sense of belonging to India. I collected memes over a period of twenty months from two overtly political Facebook pages with hundreds of thousands of followers. After multiple rounds of coding and filtering we arrived at a final sample of memes to be studied in depth. The memes, from opposing political sides, draw inter-textual component elements from the same popular culture, mythology etc. Through the repetition of specific components, slogans etc. these memes exclude certain claims of belonging to India while enforcing others. Key to this repetition are the circulatory dynamics of memes over digital networks, and their performative aspects. India's history emerges as a significant battleground for these memes. [ABSTRACT FROM AUTHOR]

This article seeks to investigate how asides that function to stage an event in the Fourth Gospel fulfil their pragmatic/performative role. Despite numerous insightful contributions on this topic, the article contends that scholars have not comprehensively explored this specific literary device in the Fourth Gospel. It therefore seeks to contribute to Johannine research by analysing these specific asides from a speech act interpretive perspective. It aims to demonstrate that these asides are inherently performative, representing a deliberate communicative strategy by the implied author to engage and compel participation from the reader. The article concludes that asides that function to stage an event play a performative role and contribute to enhancing the attainability of the overall purpose of the Gospel (20:30-31). [ABSTRACT FROM AUTHOR]

In this article, I will use the frame-model to analyze different kinds of concept change. Mainly, I will use frames to distinguish between what I will call inter-conceptual change and intra-conceptual change as well as between conceptual structure change and conceptual content change. Further, I will introduce the notion of conceptual enrichment as opposed to conceptual change. To achieve these goals, I will expand the frame-model where necessary and exemplify the proposed extensions by means of a frame-based analysis of John L. Austin's distinction between constative and performative utterances. [ABSTRACT FROM AUTHOR]

There are increasing demands for Participatory Arts-Based (PAB) programs involved in health research to better evidence outcomes using robust quantitative evaluation methodologies taken from science, such as standardized questionnaires, to inform commissioning and scale-up decisions. However, for PAB researchers trying to do this, barriers arise from fundamental interdisciplinary differences in values and contexts. Researchers are required to navigate the tensions between the practice-based evidence produced by the arts and the evidence-based practice sought by psychologists. Consequently, there is a need for interdisciplinary arts-science collaborations to produce alternative methods of evaluation that are better aligned to PAB approaches, and which combine systematic rigor with a sensitivity to the values, contexts and strengths of this approach. The current article centers on the development of an alternative transdisciplinary analytic tool, the Participatory arts Play Framework (PP-Framework), undertaken as part of an arts-psychology collaboration for a UK AHRC-funded PAB research project: Playing A/Part: Investigating the identities and experiences of autistic girls. We present details of three stages in the development of the PP-Framework: 1. preliminary emergence of the framework from initial video analysis of observational data from participatory music and sound workshops run for 6 adolescent autistic girls (aged 11–16); 2. identification and application of modes of engagement; and 3. further testing of the framework as an evaluation tool for use in a real-world setting, involving professional musicians engaged in delivery of a creative music project at a center for homeless people. The PP-Framework maps types of participation in terms of performative behaviors and qualities of experience, understood as modes of play. It functions as a vehicle for analyzing participant engagement, providing a tool predicated on the processes of working in creative participatory contexts while also being sensitive to the esthetic qualities of what is produced and capable of capturing beneficial changes in engagement. It offers a conceptual approach for researchers to undertake observation of participatory arts practices, taking account of embodied engagement and interaction processes. It is informed by understandings of autistic performativity and masking in conjunction with an ecological understanding of sense making as being shaped by environments, social relations and sensing subjectivity. The framework has the potential to be a bi-directional tool, with application for both practitioners and participants.

The article is part of a series of investigations into the Johannine text, specifically focussing on the performative nature of focalisation. Previous contributions by the researcher posited and illustrated that the construction of a narrative involves a deliberate intention by the author to prompt the reader to take action based on their reading. The present article continues to explore the pragmatic power of the narrative of John 6:1–14 and 22–71, utilising focalisation as an analytical tool. The analysis underscores what the narrative strives to teach, revealing Jesus as the bread of life, crucial for satisfying the hunger of the soul, that is salvation leading to eternal life. The careful selection of narrative materials in this passage aligns with the overarching purpose of the Fourth Gospel, as outlined in 20:30–31, and is deemed to have a performative function towards the reader. Intradisciplinary and/or interdisciplinary: The article’s unique contribution lies in demonstrating that traditional exegetical methods, for example, grammatical-historical approach and others, can be supplemented by literary critical methods such as focalisation to expound or extract meaning from biblical narratives. In this article, the field of (traditional) hermeneutics is supplemented by a literary critical approach to get the better of what the text can offer to the reader.

This article suggests that the process of crafting a narrative reflects the author’s intentional introduction of bias to guide the reader towards taking specific actions based on their reading. The reader is intentionally steered towards a particular cognitive and pragmatic engagement with the text through the author’s selection, organisation and presentation of narrative materials. This claim forms the impetus for the current exploration. The article explores the pragmatic nature and/or power of the author’s selection of narrative material in John 4:1–42 on the reader. It seeks to demonstrate that the selection and presentation of narrative material are not neutral in their pragmatic intent. While acknowledging a few insightful contributions to this topic, this article contends that certain pragmatic dynamics related to narrative material selection have not been extensively explored by scholars, particularly in the context of utilising focalisation as an analytical tool. Intradisciplinary and/or interdisciplinary: The distinctive contribution of the article lies in its demonstration that focalisation, when employed as an analytical tool, particularly in the context of John 4:1–42, exerts pragmatic effects on the implied reader of the text.

The active turn of modern theatre towards democratization and social forms of existence took place in a foreign context in the early 1990s and was associated with the desire to change the usual ways of producing art, as well as with the cultural policy of neoliberal states aimed at supporting artists whose efforts make social problems visible. In Russia, similar processes began in the 2010s, when the documentary trend provoked the interest of theatre in the oppressed, and together with that, inclusion and the idea of diversity — cultural, social, and bodily — began to develop. At the same time, contemporary dance makes a turn from strong author’s choreography to practices that are more minimalistic and focused on a specific body in its vulnerability. In the field of theater as a whole, a performative turn is taking place — its influence affects the work with the categories of presence, everyday life, procedurality and multidisciplinarity. All this is accompanied by a trend towards the social in contemporary art. We understand the social as an umbrella term, which implies different types of work with citizens, the community, and representatives of excluded groups in the forms of theatre or produced with the help of theatre tools. The social is also a quality immanent to theatre and signifying the desire of artists to overcome the alienation project that dominates the world and poses a threat to the future. Though the practices described in the article encompass different things, they all converge in their interest in an engaging, that is social, way of communication. From this point of view, these works are performatives in the classical sense, when the gesture is real, the spoken word is equal to the action, and the participants’ co-creative work either directly affects their lives or changes the viewer’s lens.

Austin’s groundbreaking distinction between constative and performative utterances and his investigation of how to act in saying something initiated a whole new research programme in linguistics and philosophy of language. Within this programme, the arguments and discussions concerning the constative-performative distinction are based on linguistic intuitions. However, generally, they are only based on the respective linguist’s or philosopher’s own intuitions. This fact makes the whole programme seem incomplete because the linguistic intuitions of native speakers should be considered an important contribution which, so far, is mostly missing. With this article, we contribute to closing this gap by empirically investigating native speakers’ linguistic intuitions with respect to the following four aims: Aim 1 is concerned with the question of whether Austin’s criteria for distinguishing between performatives and constatives work. In order to achieve Aim 2, we introduce a new criterion for distinguishing between constatives and performatives, representing what we call the event character of performatives. For Aim 3, we evaluate Austin’s presumably strongest argument to reject the constativeperformative distinction which we call the Constative Expositive Argument. Aim 4 is concerned with the much-discussed question of whether performatives have truth values and, thus, are statements. In order to achieve the four aims, we present the findings of an online study comparing native speakers’ responses to vignettes containing constative or performative utterances.

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.

Patent law remains stubbornly undertheorized; we have surprisingly little understanding of the social role of patents or its implications. To help address this deficit, this paper examines patents as performatives, that is, as social assemblages that enact what they disclose, and that create their own social facts. To demonstrate patent performativity, I briefly trace the development of performative concepts, from Austinian declarations, through Butlerian enactments, to Barnesian social constitutives. I then indicate how patents function in each of these respective modes of performativity, first as performative speech acts, then as normative inscriptions, and ultimately as mechanisms of social fabrication. Drawing on these observations, I identify what it means to perform patents, and suggest some practical and doctrinal implications of patent performativity, particularly for the “gender gap” that is manifest in the patent system.

This contribution is positioned between what might be considered an artistic portfolio and a paper. It is perhaps best understood as a visual essay, in which a speculative correspondence with a prominent Ugandan chief and intellectual, the late Ham Mukasa (ca. 1870-1956), affords the activation of an ambiguous colonial legacy. It aims to complicate and question our relationship to- and understanding of archival materials and the web of privilege and precarity in which they were compiled and exist. [ABSTRACT FROM AUTHOR]

This paper argues that reading English Medium Instruction (EMI) as a performative technology of acceleration in the highly competitive conditions of today's global higher education (HE) contexts is one way to gain insights into present-day realities of EMI orientations, experiences, and practices. In so doing, it examines the interplay of EMI, HE, and Tomlinson's [2007. The Culture of Speed: The Coming of Immediacy. London: Sage] three cultural narratives of speed. A Saudi HE institution, Sroor University (SU; a pseudonym), is used as a case example study to explore how the cultural narratives of speed have been experienced by language teachers, administrators, and engineering faculty members. The findings of this interview-led study show that a sense of urgency, active control, and an overwhelming tendency to direct all its educational efforts towards the needs of industry is prevalent in the operations of the university. It was also found that the culture of speed has brought about excitement, pleasure, pains, and risk to the academics in their everyday EMI practices. It concludes that reading these complex constellations of experiences through temporal perspectives allows us to capture not only the effects of the culture of speed but also how unequal power relations are played out among social actors within and across individual contexts. [ABSTRACT FROM AUTHOR]

How does a profession that prides itself on standing for the common good and working through action –not mere analysis or gesturing- demonstrate its effectiveness in a city devastated by intractable political, economic, financial, health, and social crises? In this essay, I dive into the current context of planning in Beirut (Lebanon) where I have been deeply engaged for decades. Recognizing that planning is deeply embedded in the making of the ongoing overlapping crises in the country, I propose three pathways for thinking about a possible positive role for planning in these circumstances: (i) to (re)construct a source of legitimacy for planning by reconsidering who has custody over the planning process and how the legitimacy of planning is secured; (ii) to accept a "tactical" practice in which grand schemes are replaced with tentative, experimental, and incremental micro-interventions that may succeed or not in reaching an integrated vision and, (iii) to activate the performative dimension of planning, its ability to imagine shared spaces and allow for transgressing contemporary limited realities. [ABSTRACT FROM AUTHOR]

A Novel of Production was an important stage in the Hungarian prose turn. The Introduction to Literature and Esterházy's later works, which could be interpreted as a further reflection on it, were rearranged in a direction in which the unresolved dilemmas already indicated came to the fore. The questions of the integrity of the personality and the relationship between personality and community came to the forefront of the horizon of the writer's approach. The question is not unrelated to the context of spatial existence, because one of the burning issues of the post-regime change world is the question of self-interpretation of identity. Esterházy's She Loves Me can be related to contemporary Hungarian and world literature that simultaneously posits the inability of the grand narrative and the self-identical narrative subject to function, linking this to the problem of the literary representation of gender roles. It is composed of ninety-seven short chapters, in which only the numbering shows a building character, since there is no narrative progression. The title is repeated in almost every short section, which may give the reader a sense of the hopelessness of constantly trying again. At the same time, the repetitive structure and the inherent differences and spatio-temporal shifts may lead the reader to rethink the fixed structures stuck in the tradition, which are no longer suitable for reinterpreting the integrity of identity and interactivity with the other. [ABSTRACT FROM AUTHOR]

This text engages a performative method of writing in the form of speculative transcripting. Operating mutually between practice/research, writing is proposed as ingestion and metabolic processing: one that negotiates a perceived paradoxical condition of transmission. Interlocutors (fictionalized, human and non-human) transmit to 'you', a user, across contemporary dimensions and materialities of transmission (physical, virtual, online). This aims to offer productive openings that take us beyond the binaries of writing/making, practice/theory, image/text and their constituent material–immaterial conditions. Conducted through a speculative grief tense, it is both witness and enactment of the realtime materiality of online searches, image captures, data transmissions and word processing comments facility. The following embodied writing techniques are reformulated here to encompass a somatic estrangement: J. L. Austin's theory of performative utterances, ficto-criticism utilized by authors Kraus, Nelson and Barthes, along with Sedgwick's development of reparative reading. This emergent process identifies online forms of transmission (broadcasting, publishing, data) as a new paradigm in the reception, production and distribution of art/ expanded (self)publishing. [ABSTRACT FROM AUTHOR]

Teacher identity is integral for teachers' professional growth and shapes how they address persistent educational disparities and inequities. Teachers' embodied relationships with self, others, and the world play a vital role in the ways teachers (co-)construct and (re)negotiate their identities as professionals. Still, little is known about how the relations among teachers' bodies, material, and power may affect teacher identity. This study adopted a diffractive methodology to examine how elementary teacher candidates' (TCs) engagement in body maps--that is, arts-informed tools and processes of (re)presenting one's lived experiences and identities--may contribute to their embodied aspects of identity work. A diffractive methodology also enabled the researcher to draw on three theoretical perspectives on teacher identity (i.e., post-structural, critical race, and new material) and use the data to think with theory. Data sources included one TC's presentation of her body mapping, its associated narratives, and two responses from her peers. These data were collected in an online asynchronous course in the Southeastern U.S. during the COVID-19 pandemic. The findings highlight how one focal TC's embodied experiences, her interactions with two peers, and material practices affected the three TCs' identity work in an online discussion space in performative, intersectional, and material-discursive ways. Diffractive methodological approaches can benefit teachers' continuous professional learning and development and can open new methodological perspectives in analyzing teacher identities at the intersection of discourses, bodies, and materials. [ABSTRACT FROM AUTHOR]

This paper provides a corpus-based analysis of so-called "hedged performatives," which, although frequently referred to in the literature, have never been the subject of an in-depth functional study. Using data from the Corpus of Contemporary American English, the focus is on I must / have to say, I must / have to admit, and I must / have to confess, as the hedged performatives which are among the most frequent and score highest in terms of collocational strength. The qualitative analysis identifies two main functions, viz., downtoner and emphasizer. They are shown to derive from the interplay of three co(n)textual parameters: (i) "semantic valency" of the host clause (i.e., positive, negative, or neutral semantic content), (ii) "thematic orientation" of the host clause (i.e., toward the speaker, the addressee, or a third person/the situation), and (iii) conversational "alignment" of the speaker with the interlocutor (i.e., agreement or disagreement). It is further shown that hedged performatives play an important role in rapport management, serving (mainly positive face) politeness strategies, which are captured in terms of face-preservation, face-damage, and face-boost. [ABSTRACT FROM AUTHOR]

The article analyzes Hristo Botev's poem „Farewell in 1868“, tracking the different genre paradigms to which it can be referred. Adopting the thesis that the typology of lyrical genres is mainly determined by the performative character of lyrical discourse, the author clarifies the discursive characteristics of the poem. It is established that the appellative nature of the „message“, as the poem is in appellative form, is only an artistic convention. The real communicative purpose of the literary text is not appellative, but declarative, and wants to achieve the joining of the perceiving community to the value system and value architectonics of the world shared by the lyrical hero. This discursive analysis allows to determine the place of the poem in the typology of lyrical genres. [ABSTRACT FROM AUTHOR]

Copyright of Studia Ukrainica Posnaniensia is the property of Adam Mickiewicz University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The notions of Performance and Performative are emerging in architectural design discourses including heritage processing and repurposing. The literature review shows that the terms are semantically wide and they are linked to a variety of concepts: the open form, the flexible, the dynamic, the event—based spatial settings and the active engagement with space. The essay examines how – beyond museumification -the activation and the reuse of heritage sites can be seen through the lens of Performance and the concept of the Performative, and the difference between passive engagement and active engagement. The essay has three folds aims unfolding as follow: The first explores a literature review analysis of Performative and Performance in architectural discourse, arriving to explore those concepts in the discourses of reuse of historical heritage sites as exhibitions performative venues. The second examines a proposed performative-oriented approach to the reuse of heritage sites which aims at a dynamic and active engagement with the space, opposing to museumification which usually leads to passive engagement while taking examples from Europe. The third one will be centered on the case of the old heart of Sharjah in the United Arab Emirates as a heritage site reinvented and inhabited by the Sharjah Art Foundation, which we will analyze through the lens of the Performative and the practice of Exhibiting.

This article considers the form of dementia conversation as it features in literary memoirs, in sociological and drama research papers, and in theatrical works, exploring the intersubjective nature of such conversation, and in particular the way that laughter serves to structure it and connect those who engage in it. In losing our ability to remember, we also lose our ability to expect: to anticipate and organize future time. Those with dementia continue to be able to initiate, conduct, and organize conversations in time, however, and to regulate shared affect, via the "melody" of speech. We examine the ways in which certain forms of language and extralinguistic gestures remain in place when propositional speech is lost. These are forms of conversation that wield some illocutionary force, perform some action, in making ongoing relationships possible, functional, and even fulfilling. The discussion builds on the work of theater scholar Elinor Fuchs—her memoir about her mother's dementia, but also her writing about theater and the insights its formal modes have given her into dementia and ageing in general—to formulate an account of dementia language and the way it operates, as theater does, in the mode of Now. [ABSTRACT FROM AUTHOR]

In the cannon of Shakespeare's criticism, Othello's Desdemona is often depicted as an icon of modesty, wifeliness, and Christian virtue; however, many psychoanalytic critics tout a more venal and meretricious interpretation of her character. The subtle process of gradually goading teen Desdemona into the trap of a prostituted, soft-porn practitioner by the male agency is orchestrated through extolling her to an exquisitely beautiful, feminine icon while dropping seemingly innocuous innuendoes of the need to offer such beauty and charm, whether platonically or carnally, to men. Her culpable passivity and disinclination to unequivocally reject attempts to prostitute her render her in collusion to her moral descent. Taking her amorous history, erotic propensity, and resolute decision-making, Desdemona strikes us as a sexual experimenter who marries Othello for her own gratification, having turned away many European princes. Shakespeare projects an image of her as an exquisitely beautiful celebrity who takes pride in flaunting her charms, seducing men, and leaving a trail of broken hearts. In the psychologically intense slap scene, without verbally agreeing to the behests of her spouse-turned-pimp, she nonetheless undertakes his every utterable and non-utterable whim. Desdemona's sudden, inexplicable reticence to spurn Othello's prompting in this scene while surrounded by her Venetian compatriots who are oxymoronically transformed to function as depraved, ferocious voyeurs reinforce her image as purposely feeble and unerringly eroticized, rendering her a complicit performer rather than a helpless victim. Whether willing or compelled, Desdemona's conflicting, character-trope served Shakespeare's performative histrionics, business acumen, and rendered Othello a popular, considerably successful classic. [ABSTRACT FROM AUTHOR]

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The combination of perfective aspect and present tense is frequently considered as an example of semantically incompatible grams. If verbal forms including markers of both perfective aspect and present tense do exist in a language, they tend not to express present resp. perfective in the strict sense. Thus, in Russian such forms usually convey the future, as in napishu ‘I will write’. The article discusses a specific type of contexts where these forms develop a less trivial meaning of what can be called “prospective present”. Obligatory components of these contexts are first person of the verb and negation. We focus on three instances of this kind : ne skazhu (lit. ‘I won’t tell’), ne dam (lit. ‘I won’t give’) and ne pushchu (lit. ‘I won’t let’)’. With the data of Russian National Corpus (RNC) and notably of the parallel corpora within RNC, we demonstrate that in certain uses, these constructions correspond to speech acts of refusal or prohibition and can be viewed, accordingly, as expressing a kind of performative meaning. As performatives, these verbs refer to a present situation: the speaker’s refusal or prohibition comes into operation at the moment of utterance, and not at some point in the future. The present-tense reference is corroborated by the translational counterparts of ne skazhu / ne dam / ne pushchu from parallel corpora, as other languages regularly use present forms in these contexts. Thus, performative-like constructions provide new data on potential non-future meanings of perfective present forms.

This article is an autoethnographic performative account based on my story as a transnational adopted academic disabled scholar of color finding my own sense of personal and professional "home." The format was constructed based on my previous work of specific movie scenes and corresponding dialogue appearing throughout the text. The resulting piece showcases the journey and the struggles to find and to intentionally build my home in the academy using my complex identities as the foundation. [ABSTRACT FROM AUTHOR]