The first extended Lacanian reading of J. L. Austin's ordinary language philosophy, this book examines how it has been received in the continental tradition by Jacques Derrida and Judith Butler, Jacques Ranciere and Oswald Ducrot. This is a tradition that neglects Austin's general speech act theory on behalf of his special theory of the performative, whilst bringing a new attention to the literary and the aesthetic.The book charts each of these theoretical interactions with a Lacanian reading of the thinker through a case study. Austin, Derrida and Butler are respectively read with a Hollywood blockbuster, a Shakespearean bestseller and a globally influential May '68 poster - texts preoccupied with the problem of subjectivity in early, high and postmodernity. Hence Austin's constatives (nonperformative statements) are explored with Dead Poets Society; Derridean naming with Romeo and Juliet; and Butlerian aesthetic re-enactment with We Are all German Jews. Finally, Ranciere and Ducrot enable a return to Austin beyond his continental reception. Austin is valorised with a theory as attractive, and as irreducible, to the continental tradition as his own thought, namely Jacques Lacan's theory of the signifier.Drawing together some of the giants of language theory, psychoanalysis and poststructuralist thought, Habjan offers a new materialist reading of the 'ordinary' status of literary language and a vital contribution to current debates within literary studies and contemporary philosophy.'The god of small stories ... A set of polished gems from a master craftsman' Sunday Times'An American master' Daily TelegraphA woman and man, parted a quarter of a century, reunite in a bar in New Orleans as the St Patrick's Day parade goes by. A group of friends, all once promising, reunite for dinner when one of their number loses her husband, but the gathering splinters when bitter revelations about their shared past emerge. Two teenage boys sit in a drive-in, the air thick with the scent of gin and popcorn and longing. A visionary collection of luminous stories, imprinting landscape, and great moments in small lives - and of the people we carry with us long after they are gone - Sorry For Your Trouble reconfirms Richard Ford as the master of contemporary American fiction.'He writes about human beings and their disappointments with unfailing insight and, while he never mocks his characters, is keenly aware of the absurdity involved in being alive ... Exemplary in its nuanced understanding of the relationships between men and women' Observer

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