By B. Garvey
The paintings of J.L. Austin, who subjected language to a detailed and severe research, this e-book bargains along with his exam of a number of the issues we do with phrases, and with the philosophical insights he believed might be won via heavily reading the makes use of of phrases via non-philosophers.
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Additional info for J.L. Austin on Language
Example text
And that, I think, will continue, and indeed that does continue even among a lot of people who did not know him and have not read anything by him. Nonetheless, this has become an enduring legacy. It has become a part of the philosophical tradition. 1 Introduction While Austin’s distinction between the locutionary, the illocutionary and the perlocutionary acts has been cited, used, criticized and adjusted by many, attention has rarely been paid to its relationship with the notion of action. But tacit assumptions about what an action is and whether acts are actions are far from irrelevant to its understanding and interpretation.
2). Instead, I would like to focus attention on what Austin might have meant by opposing the project of a theory of extenuation to that of his theory Austin on Language and Action 29 of performatives and illocution (in the same set of notes, the title How to Do Things with Words is also paraphrased as: ‘The General Theory of Performatives and Illocution’). What do these two themes or projects have in common? In the theory of performatives (extended to cover all illocution), what is studied is how it is that, in speaking, we perform actions (and particularly actions of a special, conventional kind).
He struggles with two difficulties here: he wants to show that there are further effects, and acts, beyond illocutionary ones, but also that these are further effects and acts, that is, that the effects constitutive of perlocution can in some way be detached from the chain of effects originating from the speaker’s utterance. It is in connection with perlocution that Austin illustrates for the first time what will later be called the ‘accordion effect’. He writes: That we can import an arbitrarily long stretch of what might also be called the ‘consequences’ of our act into the nomenclature of the act 18 Marina Sbisà itself is, or should be, a fundamental commonplace of the theory of our language about all ‘action’ in general.