000			02018cam a2200169 4500500
005			20250121021243.0
041			_afre
042			_adc
100	1	0	_aKaufmann, Laurence _eauthor
700	1	0	_a Oberhauser, Pierre-Nicolas _eauthor
245	0	0	_aLosing one’s voice. Highs and lows of polyphony
260			_c2020.
500			_a70
520			_aSo-called “polyphonic” approaches draw attention to the fact that speakers continuously summon beings and voices exogenous to the “here and now” of talk, making themselves the more or less authorized spokespersons of absent entities. In doing so, they pervasively “dislocate” the local nature of interactions. Describing how speakers-turned-ventriloquists give voice to various beings, both human and non-human, requires detailed analysis. Breaking with the anthropocentric and egocentric dimension of performativity, such analysis improves understandings of how agency is (re)distributed among speakers. However, speakers are diversely allowed or able to speak in the name of absent beings—and all “voices” do not have the same polemological weight. Some of them are easily heard; others are consigned to silence. In other words, polyphony responds to certain conditions of felicity, i.e., it has to meet a set of conditions in order to appear appropriate and legitimate. In order to define the conditions of polyphony or “happy” ventriloquism, we distinguish three strata or degrees of happiness: interactional happiness, cultural happiness, and phenomenological happiness. This analysis draws on excerpts from a documentary by the Algerian director Malek Bensmaïl, Aliénations. Focusing on interactions between a patient and a psychiatrist, we describe how the invocation of supernatural entities is culturally, interactively, and phenomenologically regulated.
786	0		_nA contrario | o 28 | 1 | 2020-02-06 | p. 65-90 | 1660-7880
856	4	1	_uhttps://shs.cairn.info/journal-a-contrario-2019-1-page-65?lang=en&redirect-ssocas=7080
999			_c448216 _d448216