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The theory of performative acts of John Austin’s survived enough critics and modifications with some marginalization this author in philosophy. This article proposes to rethink the main ideas of John Austin through the perspective of the integral role individual with his abundance of inner life that has especial value in Austin’s theory of performative acts. The article offers detailed analyses of Austin’s main texts and through them reflect on two applications of this theory in the area of the cultural anthropology and Bible studies. This comparison will show how attentive preserving the authentic intention of the author can influence the right or wrong interpretation of speech act in this area. Teoria aktów performatywnych Johna Austina przetrwała wystarczająco dużo krytyki i modyfikacji z pewną marginalizacją tego autora w filozofii. Niniejszy artykuł proponuje ponowne przemyślenie głównych idei Johna Austina z perspektywy integralnej roli jednostki z jej bogactwem życia wewnętrznego, która ma szczególną wartość w teorii aktów performatywnych. Artykuł zawiera szczegółowe analizy głównych tekstów Austina, a za ich pośrednictwem refleksję nad dwoma zastosowaniami tej teorii w obszarze antropologii kulturowej i studiów biblijnych. Porównanie to pokaże, jak uważne zachowanie autentycznej intencji autora może wpłynąć na właściwą lub błędną interpretację aktu mowy w tym zakresie.

Between Beauvoir and Butler, we will question whether the "becoming woman" establishes the distinction between sex and gender, becoming a mode of acculturation that, in addition to the anatomical differentials, designates a performance in transformation. From Beauvoir, we will see: situated, subjectivity is established between civilization and intercorporeal relations. Marking the woman as the second sex, Beauvoir ratifies the ambiguity as a human factor, weaving reflections to the freedom, oppression, recognition and feminine condition. Of this, Beauvoir is questioning that Butler interrogates the genders. By tracing the incipient use of gender in "becoming woman," Butler suggests revisions to the phenomenological notions of subject, body, situation, and sexual difference. It promotes a performative conception where the genre is a constant becoming. It describes how the genres are constituted, considering that there are no ideal genres. Thus, becoming gender means that as a body we dramatize and style it. Criticism, this performance personifies a way of acting where repetition, innovation, necessity and contingency are re-signifiable. Entre Beauvoir e Butler, questionaremos se o tornar-se mulher instaura a distinção entre sexo e gênero, convertendo-se num modo de aculturação que, aquém dos diferenciais anatômicos, designa uma performance em transformação. De Beauvoir, veremos: situada, a subjetividade se estabelece entre a civilização e as relações intercorpóreas. Assinalando a mulher como o segundo sexo, Beauvoir ratifica a ambiguidade como fator humano, tecendo reflexões à liberdade, opressão, reconhecimento e condição feminina. Disto, é interpelando Beauvoir que Butler interroga os gêneros. Rastreando no tornar-se mulher o uso incipiente do gênero, Butler sugere revisões às noções fenomenológicas de sujeito, corporeidade, situação e diferença sexual. Fomenta uma concepção performática onde o gênero é um constante devir. Descreve como se constituem os gêneros, considerando que não existem gêneros ideais. Assim, tornar-se gênero significa que, enquanto corpo, o dramatizamos e estilizamos. Crítica, esta performance personifica um modo de agir onde repetição, inovação, necessidade e contingência são ressignificáveis.

Between Beauvoir and Butler, we will question whether the "becoming woman" establishes the distinction between sex and gender, becoming a mode of acculturation that, in addition to the anatomical differentials, designates a performance in transformation. From Beauvoir, we will see: situated, subjectivity is established between civilization and intercorporeal relations. Marking the woman as the second sex, Beauvoir ratifies the ambiguity as a human factor, weaving reflections to the freedom, oppression, recognition and feminine condition. Of this, Beauvoir is questioning that Butler interrogates the genders. By tracing the incipient use of gender in "becoming woman", Butler suggests revisions to the phenomenological notions of subject, body, situation, and sexual difference. It promotes a performative conception where the genre is a constant becoming. It describes how the genres are constituted, considering that there are no ideal genres. Thus, becoming gender means that as a body we dramatize and style it. Criticism, this performance personifies a way of acting where repetition, innovation, necessity and contingency are re-signifiable.

This article proposes a new theoretical category, the “monstrative,” which is used both as a way to explain the performative acts that produce a monster and as a point of departure for feminist ontologies seeking a more positive model of identity formation. As such, I contrast monstrative acts, the theory of which is based on Judith Butler’s understanding of performativity, with a positive reading of Deleuzean becoming, which in turn is based on Rosi Braidotti’s feminist conceptualization of becoming-monster. In order to demonstrate both monstrativity and becoming-monster at work, I use J. M. Coetzee’s 1999 Booker Prize–winning novel Disgrace as an illustration of the monstrative acts of narrative discourse and rape, and the atoning effects of becoming-monster. I conclude that there are two types of monster: one that is produced through violent and injurious acts and another that is a hybrid being, made possible through sympathizing with the abject other.

This study analyses the presence of feminism in Jan Guillou's Blue Star. The study is also looking for similarities between the main character Johanne Lauritzen and Guillou's male character in the series about Coq Rouge, Carl Hamilton. Answers are also sought for the question whether these two characters are heroes on the same terms.

El presente artículo forma parte de un proceso abierto de investigación en el que se abordan las relaciones, fricciones, posibilidades y transformaciones entre nombres, cuerpos e identidades. A partir de la concepción de los nombres propios como actos performativos que, más allá de describir la identidad de quien porta dicho nombre, la producen, se propone el análisis del nombre propio como soporte narrativo fundamental para la ficción de una identidad homogénea, estable, fija y unitaria. Desde una perspectiva de pensamiento crítica y antiesencialista respecto a la categoría de identidad, el nombre propio será examinado como un elemento clave en la construcción de las identidades individuales y su ficción en tanto que estables y unitarias a lo largo del tiempo. Los cambios de nombre suponen, así, una brecha y una posibilidad de ruptura, a la vez que ofrecen la oportunidad de (re)narrarnos, mostrando la inestabilidad, rearticulación y heterogeneidad de las identidades. This article is part of a research process that explores the relations, frictions, possibilities and transformations between names, bodies and identities. Based on the conception of proper names, understood as performative acts that not only describe the identity of the name bearer but create that very identity, this paper aims to analyse the proper name as a basic narrative structure sustaining over time the fiction of a homogeneous, stable and unified identity. From the perspective of critical thinking and anti-essentialism applied to the identity category, the proper name will be considered as a key element in the construction of individual identities and the embodiment of a fictional essence. Name changes thus point to a gap and a potential rupture, offering the opportunity to show us in a different light, while revealing the instability, re-articulation and heterogeneity of identities.

Este trabajo propone un acercamiento doble a la novela La Revuelta de Sonia Montecino, donde pensamos que tanto la teoría queer como el origen mapuche son de gran importancia en la construcción identitaria de la protagonista. Nuestro análisis consiste en un intento de relacionar la búsqueda de una identidad por parte de la protagonista, mediante una subversión del sexo, por un lado, y mediante la vuelta a los ancestros, por otro. La hipótesis principal de nuestro trabajo es que La Revuelta presenta una propuesta alternativa sobre la construcción identitaria femenina. Para abarcar nuestra investigación nos empleamos de diferentes herramientas metodológicas, como la teoría queer desarrollada por Judith Butler y la cultura mapuche sintetizada por el antropólogo Rolf Foerster. Al igual que nos detenemos en los estudios del sociólogo chileno Jorge Larraín que nos sirven para comprender el contexto en el que se sitúa la trama de la novela, asimismo como recurrimos a Genette y Greimas para llevar a cabo un estudio narratológico, dado que nuestro cuerpo de investigación ha sido un texto narrativo. This paper proposes the use of a dual approach of queer theory and the importance of the indigenous Mapuche identity, to analyze the identity construction of the protagonist in the novel La Revuelta. The analysis is an attempt to relate the search for identity by the protagonist, through a subversion of gender on the one hand and the return to the ancestral past on the other. The main hypothesis of our work is that La Revuelta presents an alternative proposal on female identity construction. To execute our research we employ different methodological tools, such as queer theory developed by Judith Butler and the theories on Mapuche culture compiled by anthropologist Rolf Foerster. We also focus on the studies of the Chilean sociologist Jorge Larraín, which allow us to understand the context in which the plot of the novel is set, as well as referring to Genette and Greimas in order to conduct a narratological study.

This article is part of a research process that explores the relations, frictions, possibilities and transformations between names, bodies and identities. Based on the conception of proper names, understood as performative acts that not only describe the identity of the name bearer but create that very identity, this paper aims to analyse the proper name as a basic narrative structure sustaining over time the fiction of a homogeneous, stable and unified identity. From the perspective of critical thinking and anti-essentialism applied to the identity category, the proper name will be considered as a key element in the construction of individual identities and the embodiment of a fictional essence. Name changes thus point to a gap and a potential rupture, offering the opportunity to show us in a different light, while revealing the instability, re-articulation and heterogeneity of identities. El presente artículo forma parte de un proceso abierto de investigación en el que se abordan las relaciones, fricciones, posibilidades y transformaciones entre nombres, cuerpos e identidades. A partir de la concepción de los nombres propios como actos performativos que, más allá de describir la identidad de quien porta dicho nombre, la producen, se propone el análisis del nombre propio como soporte narrativo fundamental para la ficción de una identidad homogénea, estable, fija y unitaria. Desde una perspectiva de pensamiento crítica y antiesencialista respecto a la categoría de identidad, el nombre propio será examinado como un elemento clave en la construcción de las identidades individuales y su ficción en tanto que estables y unitarias a lo largo del tiempo. Los cambios de nombre suponen, así, una brecha y una posibilidad de ruptura, a la vez que ofrecen la oportunidad de (re)narrarnos, mostrando la inestabilidad, rearticulación y heterogeneidad de las identidades.

With this paper, I aim to contribute to the understanding of the teaching portfolio as a genre. I analyse the linguistic construction and performative nature of the reflective voice in the portfolio of one pre-service teacher. The results reveal her voice to have been constructed upon the convergence of other voices and to perform diverse reflective actions. The portfolio is conceptualised as a complex performative space that is used to construct a complex thought about practice and, accordingly, verbally act upon the development of the teacher's reflective cognition. I finally equate some research questions that are set by this conceptualisation., This research was financially supported by national funds provided by FCT (Fundação para a Ciência e a Tecnologia) under the project PEst-OE/CED/UI1661/2014 through CIEd (Centro de Estudos em Educaçã) at the Universidade do Minho, Portugal.

Artykuł dotyczy metamorficznej natury Dionizosa jako patrona teatru. Autor przedstawia dwie główne linie interpretacyjne dominujące w dyskusjach na temat rytualnych teorii genezy teatru i jej związków z kultem Dionizosa: nazywa je na potrzeby tekstu „misteryjną” (na polskim gruncie reprezentowaną przez Jana Kotta) i „rzymską” (reprezentowaną przez Mirosława Kocura). Bielawski kładzie nacisk na metamorficzny aspekt boga; odnosi do teorii aktów performatywnych, wskazując nie tylko na symboliczny, ale i sprawczy charakter powodowanej przez Dionizosa zmiany – zarówno w kwestiach struktury społecznej, organizacji przestrzeni i czasu, jak i przemiany scenicznej. The article concerns the metamorphic nature of Dionysus as the patron of the theater. The author presents the two main lines of interpretation that dominate discussions on the subject of the ritual theories of the genesis of theater and its links with the cult of Dionysus: for the purposes of this text he calls them "mystery" (represented in Poland by Jan Kott) and "Roman" (represented by Mirosław Kocur). Bielawski emphasizes the metamorphic aspect of the god; he refers to theories of performative acts, indicating not only the symbolic, but also the causative nature of the changes brought about by Dionysus – in terms of social structure, organization of space and time, and stage transformations.

A study of the 8th campaign of Sargon II (722-705) against Urartu. The study gravitates around the question of the numerous sensorial perceptions (especially sight, hearing, and smell) that pervade the literary descriptions of the campaign. I argue that the presence of such sensorial descriptions is strongly connected to the literary form in which the campaign is reported: a Letter to the God Ashur.

Este documento analiza los discursos de siete varones autorreconocidos como homosexuales en la ciudad de Cali en los que se refieren a la visibilización de la homosexualidad y sus consecuencias. Se toma distancia de la posibilidad de explicar dichos discursos a partir de una 'homofobia interna' o de una práctica de 'endodiscriminación', y se recurre al análisis performativo propuesto por la filósofa norteamericana Judith Butler, basado en tres categorías de análisis: alegorías, reglas (explícitas e implícitas) y deseo/aversión. A partir del análisis de las afirmaciones de los participantes, se concluye que el lenguaje de odio es una sucesión de actos performativos que constituye sujetos idealizados, a la vez que reafirma una masculinidad deseada pero amenazada, que permite defenderse de la supuesta persecución de la abyección sexual que amenaza la heteronormatividad, y que también da rienda suelta a un fuerte componente de deseo homoerótico inmerso en tales discursos. This article analyzes the speech of a group of self-identified homosexual men in Cali in which they refer to the visibilization of homosexuality and its consequences. Distancing itself from the explanation of such speech as 'internal homophobia' or as 'endo-discrimiation,' the current study instead utilizes Judith Butler's concept of performativity in three categories of analysis: allegory, implicit and explicit norms, and desire/aversion. Based on this analysis, this hate speech can be read as a succession of performative acts that constitute an idealized subject while simultaneously reaffirming a desired yet threatened masculinity. These performative acts not only allow them to defend themselves against a perceived persecution for a sexual abjection that threatens heteronormativity, but also allow for a strong component of homoerotic desire to be embedded within such speech. Este artigo analisa os discursos onde sete homens -que se reconhecem mesmo como gays, na cidade de Cali- raciocinam na visibilidade da homossexualidade e suas conseqüências. A elucidação estes discursos toma boa separação da 'homofobia internalizada' ou da prática da 'endodiscriminação', escolhendo a análise performativa proposta pela filósofa americana Judith Butler, desde três categorias de julgamento: alegorias, regras (explícita e implícita) ou desejo e / aversão. Das declarações dos participantes é razoável concluir que o discurso do ódio envolve uma sucessão de atos performativos que trazem como resultado sujeitos idealizados; afiançam uma masculinidade desejada não obstante ameaçada; permite defenderse da alegada perseguição relacionada à abjeção sexual, gerada pelas prescrições; e introduzem um marcado componente de desejo homoerótico mergulhado nesses discursos.

Blessings, classed as performative acts, are the example of realization of language’s causative function. They refer to beliefs of participants of the act of communication. They aim to create new, paralinguistic reality by means of verbal measures. The acts of blessing accomplish magic function of language by direct references to sacrum area. They are an integral part of folk culture and inform of an intimate relation between sender and recipient of the statement. Blessings are present in rituals, habits and celebrations which have family character. They indicate concern for preservance and transferring of tradition. By explaining accompanying gestures, blessings update, deep-rooted in human attitude, belief of existence of supernatural power. This power may have positive impact on human’s life. Acclamation of blessing formula becomes participation of sender and recipient in sacrum area. It is caused by pragmatic character of the act of speech. The aim of blessing is to give the recipient some good, which after exact and fautles pronouncement of formula, becomes reality, regardless intentions of the sender.

Durante la última mitad del siglo XIX y la primera del siglo XX presenciamos un incipiente proceso de autonomización (relativa) del campo determinado por la profesionalización del oficio escritural y el ingreso de nuevos actores en el campo literario (mujeres y clase media). Uno de los principales medios para dar cuenta de este proceso es el desarrollo de los concursos y certámenes literarios, los que permiten configurar las disputas que se desarrollan en el campo, el canon que prepondera en éste y le dan la oportunidad a los autores de "medirse" con sus pares y con el dispositivo crítico de la época (jurado). En el presente artículo se tomará como ejemplo el Certamen Varela de 1887, dada su importancia en las letras chilenas configurándosele como síntesis de los procesos en desarrollo en el campo literario. Junto a esto, se le instaurará como entidad consagratoria del campo literario todavía dependiente de otros campos producto de su calidad performática en la embrionaria literatura chilena. During the latter half of the XIX and early XX century we witnessed the incipient process of the (relative) autonomization of the field determined by the professionalization of the craft of writing and the entry of new players in the literary field (middle class and women). One of the main ways to account for this process is the development of literary contests and competitions, which allow us to set the disputes that take place in the field, the canon that preponderate in this and give the opportunity to the authors of "measured" with their peers and with a part of the critical device of the time (the jury). In this article shall be taken as an example the Certamen Varela 1887 because of its importance in the Chilean letters and it’s configured as synthesis of the processes developing in the literary field. Along with this, it will be set up as a consecration of the literary field that still dependent because of the performativity quality in the embryonic chilean literature.

Near 1,500 governments worldwide, including over 1,000 local governments, have declared a climate emergency. Such declarations constitute a response to the growing visibility of social movements in international politics as well as the growing role of cities in climate governance. Framing climate change as an emergency, however, can bring difficulties in both the identification of the most appropriate measures to adopt and the effectiveness of those measures in the long run. We use textual analysis to examine the motivations and intended outcomes of 300 declarations endorsed by local governments. The analysis demonstrates that political positioning, previous experience of environmental action within local government, and pressure from civil society are the most common motivations for declaring a climate emergency at the local level. The declarations constitute symbolic gestures highlighting the urgency of the climate challenge, but they do not translate into radically different responses to the climate change challenge. The most commonly intended impacts are increasing citizens’ awareness of climate change and establishing mechanisms to influence future planning and infrastructure decisions. However, the declarations are adopted to emphasize the increasing role cities are taking on, situating local governments as crucial agents bridging global and local action agendas.