If the
tenor of this web article's title seems familiar, perhaps you are
acquainted with J. L. Austin's influential text How to Do Things
with Words, in which he examines language, specifically utterances.
In the book, through rigorous philosophical inquiry, he painstakingly
attempts to draw a distinction between what he terms constative
and performative utterances. Please allow me to rehearse briefly
those distinctions here: One initial distinction might be that while
the former reports something, the latter does something.
For example, in the case of marriage, the utterance I do--one
of Austins most famous examples of a performative--performs
an action and carries with it a certain force, whose effects are substantial.
One of the effects is that the two parties involved in the marriage
enter into a legally binding agreement in which both parties become
not only responsible to each other, but also to the State. A constative
version of I do might be a response to a question such
as Do you feel better? If I were to utter, I do
(feel better,) I would not have entered an agreement, obligation,
or contract. The utterance would not have carried with it a force
similar to the one in the context of marriage. To respond I
do in this case would be simply to report on the status of my
health. Still, I would do well to explain these details further in
a subsequent section.
In any case, this article
actually serves as a practical supplement to a piece that will be
published in the 20.1 issue (March 2003) of Computers and Composition
titled "The Pedagogy of Whatever." In that article, I explain
an experience I once had in a movie theater with the film Philadelphia;
a concept called the "Whatever,"
as proposed by Giorgio Agamben; the relationship between my experience
and the Whatever; and my pedagogical use of both. I refer the reader
to that article for most of the critical and theoretical engagement
underlying the article in which the reader currently finds her- or
himself engaged.
In this article, I would
like to focus primarily on the application of the Whatever or, more
pointedly, offer 3 hypertext assignments that encourage students to
think about issues of race, sexuality, gender, nationality, class,
and borders in a performative way. I would argue that the success
of any application of the Whatever, as I conceive it, functions significantly
in a performative manner. Ideally, this
article might prove helpful for those who may be new to online writing
and are looking to incorporate a sense of design or telos in
the classroom. First, I describe the type
of class where I use these assignments. Second, I briefly
explain my use of the term interconnectivity
and how I implement it. Third, I describe how I orient the students
to the transition underway from
literacy to post-literacy. Fourth, I explain Austin's performative
and establish a relation between the performative and Judith Butler's
performativity
as an argument for my use of hypertext. Last, I describe a set of
sequenced assignments, then argue why I believe these assignments
enact the performative.