Kevin madden, you are still us with. A chance to respond . Look, you know, if you are going it to make a Campaign Manager switch, do it in the summer because the real big full tilt of this campaign, which is going to be the fall and into the winter when get to the early primary contests in places like iowa and new hampshire, thats when your campaign has to be hitting its stride. Make a campaign you know, get on sync with the Campaign Manager now. This is the last of the resets. The Desantis Campaign is not going to get any more opportunities to sort of change the leadership at the top. Instead, its going to have to be about making the case right now to voters and proving to donors and supporters they are in it to win it. Kevin madden and nina turner as well, thank you both. Cnn this morning continues right now. 1is. A busy hour ahead on clcnn this morning. Victor blackwell here. Good morning. Breaking news out of hawaii. Evacuations underway. A hurricane is whipping up destructive wild
Ethics encompasses the personal decisions made by an individual regarding his life. These are things he does, how he acts toward any given situation. An.
the indictment makes crystal clear that the former president was not being charged in any way whatsoever with his speech. that is, his calls for the march on the capitol and all of the multitude of other speech acts that he committed on january 6th and even before then. the way to think of it the way i think of it, poppy, is that the other offense for which the former president could have been charged and many thought might be charged was with insurrection against the united states of america. that would have entailed, at least potentially, a charge
Is the storm already happening when Lear says these famous words: “Blow, wind, and crack your cheeks! Rage, blow”? Even though these lines call for a storm to happen, the vast majority of productions understandably cast doubt on Lear’s power to do so by having the storm already raging before he begins speaking: he merely calls for what already exists. What, then, is the status and function of speech acts which very palpably do nothing, and which do not perform what grammatically and syntactically they claim? In this article, I attempt to determine the specific nature of the infelicity of Lear’s performatives in the storm, and relate it more broadly to the play. In so doing, I argue that the application of a concept like the performative to a literary text is far from being a self-explanatory procedure, and can indeed, ought to lead us into a degree of perplexity over the precise relationship between the concept and the phenomena it seeks to elucidate.