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Stanley Cavell has been a brilliant, idiosyncratic, and controversial presence in American philosophy, literary criticism, and cultural studies for years. Even as he continues to produce new writing of a high standard -- an example of which is included in this collection -- his work has elicited responses from a new generation of writers in Europe and America. This collection showcases this new work, while illustrating the variety of Cavell's interests: in the "ordinary language" philosophy of Wittgenstein and Austin, in film criticism and theory, in literature, psychoanalysis, and the American transcendentalism of Ralph Waldo Emerson and Henry David Thoreau. The collection also reprints Richard Rorty's early review of Cavell's magnum opus, The Claim of Reason (1979), and it concludes with Cavell's substantial set of responses to the essays, a highlight of which is his engagement with Rorty.
Stanley Cavell has been a brilliant, idiosyncratic, and controversial presence in American philosophy, literary criticism, and cultural studies for years. Even as he continues to produce new writing of a high standard -- an example of which is included in this collection -- his work has elicited responses from a new generation of writers in Europe and America. This collection showcases this new work, while illustrating the variety of Cavell's interests: in the "ordinary language" philosophy of Wittgenstein and Austin, in film criticism and theory, in literature, psychoanalysis, and the American transcendentalism of Ralph Waldo Emerson and Henry David Thoreau. The collection also reprints Richard Rorty's early review of Cavell's magnum opus, The Claim of Reason (1979), and it concludes with Cavell's substantial set of responses to the essays, a highlight of which is his engagement with Rorty.
Seeking for philosophy the same spirit and assurance conveyed by artists like Fred Astaire, Cavell presents essays exploring the meaning of grace and gesture in film and on stage, in language and in life. Critical to the renaissance in American thought Cavell hopes to provoke is the recognition of the centrality of the “ordinary” to American life.
What could it mean to speak of philosophy as the education of grownups? This book takes Cavell's enigmatic phrase as a provocation to explore the themes of education that run throughout his work-from his response to Wittgenstein, Austin, and ordinary-language philosophy, to his readings of Thoreau and of the moral perfectionism he identifies with Emerson, to his discussions of literature and film. Hilary Putnam has described Cavell as not only one of the most creative thinkers of today but as one of the few contemporary philosophers to explore philosophy as education. Cavell's sustained examination of the nature of philosophy cannot be separated from his preoccupation with what it is to teach and to learn. This is the first book to address theimportance of education in Cavell's work and its essays are framed by two new pieces by Cavell himself.Together these texts combine to show what it means to read Cavell, and simultaneously what it means to read philosophically, in itself a part of our education as grownups.
What does philosophy have to do with the human voice? Has contemporary philosophy banished the "voice" from the field of legitimate investigation? Timothy Gould examines these questions through the philosopher most responsible for formulating them, Stanley Cavell. Hearing Things is the first work to treat systematically the relation between Cavell's pervasive authorial voice and his equally powerful, though less discernible, impulse to produce a set of usable philosophical methods. Gould argues that a tension between voice and method unites Cavell's broad and often perplexing range of interests. From Wittgenstein to Thoreau, from Shakespeare to the movies, and from opera to Freud, Gould reveals the connection between the voice within Cavell's writing and the voices Cavell appeals to through the methods of ordinary language philosophy. Within Cavell's extraordinary productivity lies a new sense of philosophical method based on elements of the act of reading. Hearing Things is both an important study of Cavell's work and a major contribution to the construction of American philosophy.
Stanley Cavell looks closely at America's most popular art and our perceptions of it. His explorations of Hollywood's stars, directors, and most famous films—as well as his fresh look at Godard, Bergman, and other great European directors—will be of lasting interest to movie-viewers and intelligent people everywhere.
An accessible investigation of the importance of Cavell's most famous work for modern and contemporary philosophy and literature.
In this most recent collection of his writing, Cavell provides extraordinary careful and sustained readings of Emerson's "Fate", Derrida's response to J. L. Austin in "Signature Event Context", and Wittgenstein's Philosophical Investigations d.
In their thoughtful study of one of Stanley Cavell's greatest yet most neglected books, William Rothman and Marian Keane address this eminent philosopher's many readers, from a variety of disciplines, who have neither understood why he has given film so much attention, nor grasped the place of The World Viewed within the totality of his writings about film. Rothman and Keane also reintroduce The World Viewed to the field of film studies. When the new field entered universities in the late 1960s, it predicated its legitimacy on the conviction that the medium's artistic achievements called for serious criticism and on the corollary conviction that no existing field was capable of the criticism filmed called for. The study of film needed to found itself, intellectually, upon a philosophical investigation of the conditions of the medium and art of film. Such was the challenge The World Viewed took upon itself. However, film studies opted to embrace theory as a higher authority than our experiences of movies, divorcing itself from the philosophical perspective of self-reflection apart from which, The World Viewed teaches, we cannot know what movies mean, or what they are. Rotham and Keane now argue that the poststructuralist theories that dominated film studies for a quarter of a century no longer compel conviction, Cavell's brilliant and beautiful book can provide a sense of liberation to a field that has forsaken its original calling. read in a way that acknowledges its philosophical achievement, The World Viewed can show the field a way to move forward by rediscovering its passion for the art of film. Reading Cavell's The World Viewed will prove invaluable to scholars and students of film and philosophy, and to those in other fields, such as literary studies and American studies, who have found Cavell's work provocative an fruitful.
Russell B. Goodman tells the story of the development of philosophy in America from the mid-18th century to the late 19th century. The key figures in this story, Jonathan Edwards, Benjamin Franklin, Thomas Jefferson, the writers of The Federalist, and the romantics (or 'transcendentalists') Emerson and Thoreau, were not professors but men of the world, whose deep formative influence on American thought brought philosophy together with religion, politics, and literature. Goodman considers their work in relation to the philosophers and other thinkers they found important: the deism of John Toland and Matthew Tindal, the moral sense theories of Francis Hutcheson, Adam Smith, and David Hume, the political and religious philosophy of John Locke, the romanticism of William Wordsworth and Samuel Taylor Coleridge, and the transcendental idealism of Immanuel Kant. Goodman discusses Edwards's condemnation and Franklin's acceptance of deism, argues that Jefferson was an Epicurean in his metaphysical views