Consider the semiotic claims of performance, especially the issue
of knowledge--how do we know the difference between what is being
performed and what is genuine to a naural kind? Is there such a
thing as a natural kind? What is "natural" if the category
is already compromised? Is it a necessary (i.e., continuously produced)
position in discursive practice?
Finally, consider the
performance of a critic and a professor of literature. How are those
roles conceived (in both senses of the term)? Does their theoretical
contingency compromise their social effect?