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[1] In his paper, Content Ex Machina Bach argues against over-interpreting what he labels the "contextualist platitude" which he defines as: “Generally what a speaker means in uttering a sentence, even if the sentence is devoid of ambiguity, vagueness, or indexicality, goes beyond what the sentence means.” [2] Bach asserts that context does ...
According to Kent Bach, "almost any speech act is really the performance of several acts at once, distinguished by different aspects of the speaker's intention: there is the act of saying something, what one does in saying it, such as requesting or promising, and how one is trying to affect one's audience". [2]
[1]: 14 He sees a sharp distinction between the individual text and the 'total speech act situation' surrounding it. According to Austin, in order to successfully perform an illocutionary act, certain conditions have to be met (e.g. a person who pronounces a marriage must be authorized to do so).
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Burton was born Richard Walter Jenkins Jr. on 10 November 1925 in a house at 2 Dan-y-bont in Pontrhydyfen, Glamorgan, Wales. [11] [12] He was the twelfth of thirteen children born into the Welsh-speaking family of Richard Walter Jenkins Sr. (5 March 1876 – 25 March 1957), [13] and Edith Maude Jenkins (née Thomas; 28 January 1883 – 31 October 1927).
The second scene of act 2 (during which the Doctor and Captain taunt Wozzeck about Marie's infidelity), for instance, consists of a prelude and triple fugue. The fourth scene of act 1, focusing on Wozzeck and the Doctor, is a passacaglia. The scenes of the third act move beyond these structures and adopt novel strategies.
The Abduction of Figaro is a comic opera in three acts, described as "A Simply Grand Opera by P. D. Q. Bach", by Peter Schickele.It is a parody of opera in general, and the title is a play on two operas by Wolfgang Amadeus Mozart: The Abduction from the Seraglio, K. 384, and The Marriage of Figaro, K. 492.
In later parlance, cabaletta came to refer to the fast final part of any operatic vocal ensemble, usually a duet, rather than just a solo aria. For example, the duet between Gilda and Rigoletto in Act 1, Scene 2 of Rigoletto ends with a relatively slow cabaletta, whereas the cabaletta for their duet in the finale of Act 2 is quite rousing.