Since the British philosopher John Austin, narratives and performatives have been considered as opposite concepts covered by the generic concept of speech act. At the same time, these concepts were separated according to whether a narrative, inducement, a description, or an imperative was present in the text. Similar to the narrative, the performative is created under pressure from various external factors associated with the system of public communications, to which the author is exposed, and a multitude of reasons that reflect in his or her mind external processes. All these factors and influences transmute in the course of text creation; the viewer/reader consumes ready-made information, which invariably bears an imprint of the author's habitus. When creating a text, the author conveys his or her desires and expresses his or her attitude to the chosen problem. This study aims to answers two questions. Can a narrative have at its core an explicit manipulative basis or a hidden motive? Can the picture of the world, which develops, inter alia, under the influence of narratives, serve as a pattern for decision-making by the viewer/reader? It is necessary to this end to identify the relationship between the performative and the narrative (there are several types of these relationships). To answer the above question, the genesis of narratives is considered, possible narrative–performative combinations analysed, and the effects of performatives on the formation of the intentional component of the narrative established. The findings suggest that each narrative contains at least one performative and that the narrative is based on the performative and contains a manipulative component.
Cognitive biases, environmental, patient and personal factors associated with critical care decision making: A scoping review