speech act

(redirected from Speech-acts)
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Related to Speech-acts: Illocutionary act, Speech act theory
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From the complex of speech-acts that make up a message, we can get a product that captures everything relevant to evaluating the quality of the argumentation and can be appraised against familiar logical standards.
To do this, the theory of analysis may need to expand its inventory of speech-acts and expand its analysis to include adducing reasons as a specific speech-act, and also to demonstrate how the context of reason-giving may turn what superficially appears to be one kind of speech-act into the indirect performance of another kind.
It is a speech-act condition of this kind of assertive that the speaker must believe this conditional to be true.
Thus when approaching theology from a culturaMinguistic perspective, one will consider the language, the speech, and the speech-acts as they occur within a specific community in order to discern the doctrines of that community.
From awareness and understanding of the speech-acts, rules of speaking, and language games particular to the community, one can glean some of that community's values and convictions.
McClendon's consideration of language and speech-acts is within the context of a narrative.
The need for both the speaker and the audience to speak the same language for a promise to be successful is explored by some theorists of speech-acts in relation to their examination of contracts.
While not always connected, there are occasions in which these two speech-acts can be linked to one another.
Instead of a negation, we could consider that the apology is governed instead by the addition of, or a conjunction of, speech-acts.
does not propose speech-act theory as a solution to the hermeneutical problem; thus he does not engage theories of language and meaning in Gadamer or Ricoeur.
the ultimate purpose is not an argument for the superiority of the speech-act method over other strategies.
This example is more suggestive of the application of speech-act theory than more tightly illustrative.
Hall argues that in Don Giovanni and Faust, Kierkegaard ironizes the spiritlessness of our age: once Western modernity forgets historical and material concretion, it no longer differentiates between silent communication and demonic solipsism or existential speech-acts and "speech as music.
Hall's controversial claim is that speech-acts are due to the Christian worldview and, therefore, that |the speech act is the chief enemy of the modern age" (91); thus the link of speech to what is essentially human proves Christianity as "the only world-picture" (88) with a cure for the crises of modernity.
Does the nodal point for an analysis of speech-acts lie within Christianity or within the sociopolitical assumption underlying Kierkegaard's authorship that Christianity vanished from Christendom?
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