Language, identity, performance

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The identity test imposed by the Gileadites on the Ephraimite fugitives at the passages of Jordan suggests that the recognition of ways and means of speaking as indices of social categories has a venerable history. After the passage of several millenia, much the same associational understanding of the relationship between language and identity employed to such violent ends by the Gileadites guides the contemporary - and one would hope more benign line of sociolinguistic inquiry that centers on the investigation of ethnicity or region or gender or age or occupation as “sociolinguistic variables” (see, e.g., Coulmas 1997). The addition of a third term, performance, to the nexus of language and identity, however, occasions a reorientation of analytical perspective. If we take performance in the sense of linguistic practice - situated, interactional, communicatively motivated - our investigative focus shifts from correlational sociolinguistics to the pragmatically oriented exploration of “when and how identities are interactively invoked by sociocultural actors” through the discursive deployment of linguistic resources (Kroskrity 1993: 222). In this perspective, identity is an emergent construction, the situated outcome of a rhetorical and interpretive process in which interactants make situationally motivated selections from socially constituted repertoires of identificational and affiliational resources and craft these semiotic resources into identity claims for presentation to others. This is clearly a productive line of inquiry, and one to which all of the contributors to this issue would subscribe. While acknowledging and exploiting the analytical power of this practice-centered perspective, however, the authors of the papers collected here have taken an additional step into less well charted investigative territory, guided by a more marked conception of verbal performance. Here, performance is understood as a special mode of situated communicative practice, resting on the assumption of accountability to an audience for a display of communicative skill and efficacy. In this sense of performance, the act of expression is put on display, objectified, marked out to a degree from its discursive surroundings and opened up to interpretive scrutiny and evaluation by an audience. Performance foregrounds form-functionmeaning interrelationships through verbal display (Bauman 1977; Hymes 1975). The six casestudies that follow suggest some of the ways that an orientation to this mode of performance

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