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Abstract

This article examines Frantz Fanon's "Algeria Unveiled" as a reconceptualization of J. L. Austin's theory of the performative. Austin, whose examples of the performative all assume an equal, if not harmonious, relationship, overlooks instances of incompatibility and inequality. Fanon's post-colonial framework, in contrast, illustrates the markedly different types of intentions, uptake, and conventions which inform the speech act in cases of extreme inequality. In these cases, the powerless and seemingly voiceless use tacitly agreed upon conventions inappropriately to attain what they would not be able to have otherwise. Fanon's notion of the performative is used to explore the performative resistance within New Orleans' tourism narrative.

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