Abstract

In this essay I defend the view that dogwhistling is a a speech act performed with a narrative-evoking perlocutionary effect in the so-called target audience. What is evoked is a certain kind of narrative, previously endorsed by the relevant audience, which endows its members with the use of some linguistic expressions (and some non-linguistic representations) with non-conventional, derived meanings. In the dogwhistling scenarios, those derived meanings are recovered and put to work by means of different mechanisms, which has an impact on the emotional and practical attitudes of the target audience. The covert message is thus inferred as the product of the recovered meanings at work and their emotional and practical impacts on the audience in the new contexts of use, which determines a new pragmatic meaning dimension for the expressions in play. Although the phenomenon has been frequently analyzed in connection with examples of political discourse, it is common to cinematographic and literary intertextual references, and, more generally, to all those occasions in which communication relies on the narrative dependance of linguistic use.