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Cultural pragmatics is a fruitful analytic tradition in sociology. However, theoretical use of this six-element model has largely focused on actors. Despite fusion's definition as a product made between actor, audience, and text, the audience has been treated as a passive abstraction. Further, there is no methodical way to parse out the performative actions of the actor from those of the audience in a way that reveals the substantive similarities and differences that comprise fusion or de-fusion. This article seeks a solution via a rigorous theorization of the audience in cultural pragmatics, and argues that they are the sole arbiters of performative outcome. In their arbitration, audiences become performers themselves; they perform fusion or de-fusion in dialogic relation back to the actor, and to other audience members around them. With illustrations from US Senator Bernie Sanders' political rise over the last decade, this process is visualized with a new analytic tool – arcs of fusion – so as to better trace varying trajectories of performative outcome.

Resumo: Em D. Quixote na América, Anne-Christine Taylor aborda o paradoxo da identidade americanista de Lévi-Strauss. O alcance geral e abstrato da obra de Lévi-Strauss e a pouca expressividade teórica e empírica do americanismo na época em que este realizou suas primeiras e curtas experiências de campo poderiam sugerir que a região onde o autor se formou enquanto antropólogo não teve influência sobre o desenvolvimento teórico de sua obra. A autora mostra, pelo contrário, que se americanista ele se tornou quase por acaso, a influência da experiência e do pensamento ameríndio sobre o estruturalismo de Lévi-Strauss foi tamanha que se pode falar em uma Eindianizaçãoi do imaginário científico de Lévi-Strauss, mesmo quando sua meta é o universal.

Résumé Cet article s'efforce de préciser la place de l'ethnologie dans la muséographie et la programmation culturelle du Musée du Quai Branly. Il évoque brièvement les choix et les intentions des créateurs du musée, et analyse les mérites et les limites du style de mise en exposition des objets de ses collections. L'auteur aborde ensuite les programmes de recherche et d'enseignement mis en place au musée et leur lien avec la discipline.