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  1. Walking Through Everyday Life: Tensions and Disruptions within the Ordinary.Nélio Conceição - 2023 - Open Philosophy 6 (1):7-55.
    Bringing together a genealogy of authors, concepts, and aesthetic case studies, this article aims to contribute to the discussion on ordinary aesthetics by focusing on the tensions that are intrinsic to walking as a fundamental embodied action in everyday urban life. These tensions concern the movement of walking itself and its relation to one’s surroundings, but it also concerns a certain complementarity between home (familiarity) and wandering. Experiencing space and thresholds that disrupt one’s relationship with home and the everyday can (...)
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  2. TV Time, Recurrence, and the Situation of the Spectator: An Approach via Stanley Cavell, Raúl Ruiz, and Ruiz’s Late Chilean Series Litoral.Byron Davies - 2023 - In Sandra Laugier David LaRocca (ed.), Television with Stanley Cavell in Mind. Exeter, UK: University of Exeter Press. pp. 191-221.
    This essay distinguishes some significant commonalities and differences between the film-philosophies of Chilean filmmaker Raúl Ruiz (especially in his book Poetics of Cinema) and U.S. philosopher Stanley Cavell. I argue that despite shared senses of the poetics of the film image and certain shared philosophical references, Ruiz and Cavell differed over their conceptions of the model spectator and their relations to autonomous films and worlds from which spectators are excluded (on Cavell's picture) versus fragments out of which the spectator might (...)
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  3. Hearing Between the Lines: Impressions of Meaning and Jazz's Democratic Esotericism.William Day - 2023 - Conversations: The Journal of Cavellian Studies 11 (1):75-88.
    In *Here and There*, Stanley Cavell suggests that music, like speech, implicates the listener, so that our descriptions of music "are to be thought of not as discoveries but as impressions and assignments of meaning." Such impressions express what "makes an impression upon us," "what truly matters to us." Moreover, this aspect of music "is itself more revolutionary than ... any political event of which it could be said to form a part." I offer one indication of that significance by (...)
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  4. The Threat of Solipsism: Wittgenstein and Cavell on Meaning, Skepticism, and Finitude Jonadas Techio, De Gruyter 2021. [REVIEW]Guido Tana - 2023 - History of Philosophy & Logical Analysis 26 (1):160-169.
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  5. Found footage at the receding of the world.Byron Davies - 2022 - Screen 23 (1):123-129.
    This essay argues that, despite the potential for an encounter between Stanley Cavell’s thought and found-footage experimental filmmaking, this has not yet taken place because the early Cavell’s picture of films as autonomous “wholes,” together with his "global-holistic" conception of modernism, prevented him from appreciating the expressive possibilities of filmic fragments. I then argue that these impediments to an encounter with found footage recede in Cavell’s later thought, as he moves away from a concern with modernism and as J. L. (...)
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  6. Cavell on Color.Byron Davies - 2021 - Conversations: The Journal of Cavellian Studies 9:90-113.
    This essay aims to understand the relations between Stanley Cavell’s theoretical generalities regarding the medium of film and his readings of individual films, with a particular focus on his writing on color in his book The World Viewed. I argue that a specific idea of color as connected to abstraction (as well as a correlative idea of black-and-white as connected to figuration) grounds the relations between Cavell’s general statements about color and his readings of individual color films, and that this (...)
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  7. The Specter of the Electronic Screen: Bruno Varela's Reception of Stanley Cavell.Byron Davies - 2021 - In David LaRocca (ed.), Movies with Stanley Cavell in Mind. London, UK: pp. 72-90.
    An analysis of some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela via the latter’s reading of the late U.S. philosopher Stanley Cavell, especially Cavell’s 1982 essay “The Fact of Television.” This essay focuses on the aesthetic possibilities of the very constitution of the electronic image, based in Cavell’s understanding of television’s dependence on notions of “switching,” as opposed to “succession,” as well as how those notions play a role in Varela’s understanding of what it is (...)
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  8. A Chariot Between Two Armies: A Perfectionist Reading of the Bhagavadgītā.Paul Deb - 2021 - Philosophy East and West 71 (4):851-871.
    Interpretations of the ethical significance of the Bhagavadgītā typically understand the debate between Arjuna and Kṛṣṇa in terms of a struggle between consequentialist and deontological doctrines. In this paper, I provide instead a reading of the Gītā which draws on a conception of moral thinking that can be understood to cut across those positions – that developed by Stanley Cavell, which he calls ‘Emersonian Moral Perfectionism’. In so doing, I emphasise how Kṛṣṇa’s consolation of Arjuna can centrally and fruitfully be (...)
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  9. “I Saw a Different Life. I Can't Stop Seeing It”: Perfectionist Visions in Revolutionary Road.Paul Deb - 2021 - Film-Philosophy 25 (3):251-271.
    In this article, I claim that Sam Mendes' Revolutionary Road is a recent version of the film genre that Stanley Cavell calls the “melodrama of the unknown woman”. Accordingly, my discussion focuses on two key elements of that identification: the film's overriding dramatic and thematic emphasis on conversation; and the central characters’ relation to the wider social and political concerns of America.
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  10. Words Fail Me. (Stanley Cavell's Life out of Music).William Day - 2020 - In David LaRocca (ed.), Inheriting Stanley Cavell: Memories, Dreams, Reflections. New York: Bloomsbury. pp. 187-97.
    Stanley Cavell isn't the first to arrive at philosophy through a life with music. Nor is he the first whose philosophical practice bears the marks of that life. Much of Cavell's life with music is confirmed for the world in his philosophical autobiography Little Did I Know. A central moment in that book is Cavell's describing the realization that he was to leave his musical career behind – for what exactly, he did not yet know. He connects the memory-shock of (...)
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  11. Gender and Perspective in Scarlet Street.Fernando Carlucci - 2019 - Revista Philia Filosofia, Literatura e Arte 1 (2):297–318.
    This paper presents an interpretation of the 1945 forbidden film Scarlet Street in a way so as to touch the problem of gender in film noir. Firstly, I give an account of film noir, agreeing with Robert Pippin’s argument concerning film genres. Then, I claim that time and repetition, irony and hierarchy, art and perspective constitute the core subjects explored in Scarlet Street. Furthermore, I try to connect all the subjects into a single one. My point is to show how (...)
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  12. Remembering Stanley Cavell.Byron Davies - 2019 - Conversations: The Journal of Cavellian Studies 7:65-68.
    Memorial notice for Stanley Cavell originally published on the Harvard Philosophy Department website.
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  13. Reading Oneself in the Text: Cavell and Gadamer’s Romantic Conception of Reading.David Liakos - 2019 - Journal of Aesthetics and Phenomenology 6 (1):79-87.
    Can we gain knowledge by reading literature? This essay defends an account of reading, developed by Stanley Cavell and Hans-Georg Gadamer, that phenomenologically describes the experience of acquiring self-knowledge by reading literary texts. Two possible criticisms of this account will be considered: first, that reading can provide other kinds of knowledge than self-knowledge; and, second, that the theory involves illegitimately imposing subjective meaning onto a text. It will be argued, in response, that the self-knowledge gained in reading allows one to (...)
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  14. Review of Toril Moi, Revolution of the Ordinary. [REVIEW]Byron Davies - 2018 - Modern Language Notes 133:1416-1419.
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  15. Marxist Trait of Revisionism: Leszek Kołakowski’s Consistent Transition to Inconsistent Philosophy.Adam Olczyk - 2017 - Hybris. Internetowy Magazyn Filozoficzny 37:12-33.
    In the article the author describes theoretical reasons that stood behind Kołakowski's transition from being an orthodox Marxist to become an actual leader of the polish revisionist movement. His intention is to concentrate on those aspects of Kołakowski's thought that have not changed, apart from any biographical and psychological reasons. (1) First of those features is Kołakowski's inability of completability, the anti-code disposition. (2) The second trait is the moral attitude, an intention to influence on people's morality by convincing them (...)
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  16. Book Review of Revolution of the Ordinary by Toril Moi. [REVIEW]Robert Vinten - 2017 - Nordic Wittgenstein Review 6 (2):99-103.
    Book review of Moi, Toril, _Revolution of the Ordinary: Literary studies after Wittgenstein, Austin, and Cavell,_ Chicago : Chicago University Press, 2017. 290 pages.
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  17. A Wittgenstein for Postliberal Theologians.Jason A. Springs - 2016 - Modern Theology 32 (4):622-658.
    Remarkably, the theological discourse surrounding Hans Frei and postliberal theology has continued for nearly thirty years since Frei's death. This is due not only to the complex and provocative character of Frei's work, nor only to his influence upon an array of thinkers who went on to shape the theological field in their own right. It is just as indebted to the critical responses that his thinking continues to inspire. One recurrent point of criticism takes aim at Frei's use of (...)
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  18. Philosophy’s Artful Conversation, by D. N. Rodowick. [REVIEW]Timothy Yenter - 2016 - Teaching Philosophy 39 (4):565-567.
    Philosophy’s Artful Conversation draws on Gilles Deleuze, Stanley Cavell, and the later writing by Ludwig Wittgenstein to defend a “philosophy of the humanities.” Both because film studies is historically a site of contention and theoretical upheaval and because Rodowick accepts Cavell’s idea that (at least in the American context) film is philosophy made ordinary, bringing philosophical questions of skepticism and perfectionism into filmgoers’ lives inescapably, it makes sense to build this vision for the humanities out of writing on film. Although (...)
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  19. Our Toil Respite Only: Woolf, Diamond and the Difficulty of Reality.Karen Zumhagen-Yekplé - 2015 - MLN 130 (5):1-28.
    In this essay, I read Woolf’s To the Lighthouse together with philosopher Cora Diamond’s writing on literature and moral life, writing marked by her inheritance from Wittgenstein. I first attend to Woolf’s commitment (one she shares with Wittgenstein) to grappling with what I take to be signature issues of modernism: question, quest, and a longing for vision or revised understanding as a way of confronting the difficulty of reality. I then probe Woolf’s engagement with these issues by reading her novel (...)
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  20. ‘The Ordinary’ in Stanley Cavell and Jacques Derrida.Judith Wolfe - 2013 - Minerva - An Internet Journal of Philosophy 17 (1).
    This paper analyses the opposing accounts of ‘the ordinary’ given by Jacques Derrida and Stanley Cavell, beginning with their competing interpretations of J. L. Austin¹s thought on ordinary language. These accounts are presented as mutually critiquing: Derrida¹s deconstructive method poses an effective challenge to Cavell¹s claim that the ordinary is irreducible by further philosophical analysis, while, conversely, Cavell¹s valorisation of the human draws attention to a residual humanity in Derrida¹s text which Derrida cannot account for. The two philosophers’ approaches are, (...)
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  21. Essai sur Beauvoir, Cavell, etc. [An Essay Concerning Beauvoir, Cavell, Etc.].Nancy Bauer - 2012 - In Eliane Lecarme-Tabone & Jean-Louis Jeannelle (eds.), Cahiers de L'Herne: Beauvoir. L'Herne.
    The link is to an expanded, English version of this essay.
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  22. A Soteriology of Reading: Cavell's Excerpts from Memory.William Day - 2011 - In James Loxley & Andrew Taylor (eds.), Stanley Cavell: Philosophy, Literature and Criticism. Manchester, UK: pp. 76-91.
    "William Day is . . . concerned to explore the dynamics of what Cavell calls 'a theology of reading' through a careful examination of a fragment of the philosopher's autobiography first published as 'Excerpts from Memory' (2006) and subsequently revised for Little Did I Know (2010). If, as Cavell suggests, 'the underlying subject' of both criticism and philosophy is 'the subject of examples', in which our interest lies in their emblematic aptness or richness as exemplars, exemplarity becomes central to the (...)
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  23. From Kant to Schelling to Process Metaphysics: On the Way to Ecological Civilization.Arran Gare - 2011 - Cosmos and History : The Journal of Natural and Social Philosophy 7 (2):26-69.
    The post-Kantians were inspired by Kant’s Critique of Judgment to forge a new synthesis of natural philosophy, art and history that would overcome the dualisms and gulfs within Kant’s philosophy. Focusing on biology and showing how Schelling reworked and transformed Kant’s insights, it is argued that Schelling was largely successful in laying the foundations for this synthesis, although he was not always consistent in building on these foundations. To appreciate this achievement, it is argued that Schelling should not be interpreted (...)
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  24. The Ends of Improvisation.William Day - 2010 - Journal of Aesthetics and Art Criticism 68 (3):291-296.
    This essay attempts to address the question, "What makes an improvised jazz solo a maturation of the possibilities of this artform?" It begins by considering the significance of one distinguishable feature of an improvised jazz solo - how it ends - in light of Joseph Kerman's seemingly parallel consideration of the historical development of how classical concertos end. After showing the limits of this comparison, the essay proposes a counter-parallel, between the jazz improviser's attitude toward the solo's end and Ludwig (...)
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  25. Pragmatism, Trascendentalism, and Perfectionism.Roberto Frega, Donatelli Piergiorgio & Laugier Sandra - 2010 - European Journal of Pragmatism and American Philosophy 2 (2).
    Introduction to the symposia on Pragmatism and Perfectionism appered on the European Journal of Pragmatism and American Philosophy, vol. 2 issue 2, 2010.
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  26. Cavell’s “Moral Perfectionism” or Emerson’s “Moral Sentiment”?Joseph Urbas - 2010 - European Journal of Pragmatism and American Philosophy 2 (2):41-53.
    What is properly Emersonian about moral perfectionism? Perhaps the best answer is: not much. Stanley Cavell's signature concept, which claims close kinship to Emerson's ethical philosophy, seems upon careful examination to be rather far removed from it. Once we get past the broad, unproblematic appeals to Emerson's “unattained but attainable self,” and consider the specific content and implications of perfectionism, the differences between the two thinkers become too substantive – and too fraught with serious misunderstandings – to be ignored. It (...)
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  27. Stanley Cavell su Emerson e la redenzione del linguaggio dalla filosofia.Agnese Fortuna - 2008 - Annali Del Dipartimento di Filosofia 14:153-177.
    The issue of skepticism emerges in Experience by Ralph Waldo Emerson. In Finding as Founding Stanley Cavell reads Emerson's essay as a contribution to the idealistic debate in order to recuperate Kant's 'thing in itself'. Placing that question in the ordinary space of everyday life makes Emerson a precursor of the attacks by Austin and Wittgenstein particularly regarding philosophy and skepticism. The possibility of redeeming our linguistic praxis and gaining some intimacy between language and world rises through a conversion of (...)
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  28. Moonstruck, or How to Ruin Everything.William Day - 2003 - In Kenneth Dauber & Walter Jost (eds.), Ordinary Language Criticism: Literary Thinking After Cavell After Wittgenstein. pp. 315-328.
    A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.
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  29. Knowing as Instancing: Jazz Improvisation and Moral Perfectionism.William Day - 2000 - Journal of Aesthetics and Art Criticism 58 (2):99-111.
    This essay presents an approach to understanding improvised music, finding in the work of certain outstanding jazz musicians an emblem of Ralph Waldo Emerson's notion of self-trust and of Stanley Cavell's notion of moral perfectionism. The essay critiques standard efforts to interpret improvised solos as though they were composed, contrasting that approach to one that treats the procedures of improvisation as derived from our everyday actions. It notes several levels of correspondence between our interest in jazz improvisations and the particular (...)
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  30. Moonstruck, or how to ruin everything.William Day - 1995 - Philosophy and Literature 19 (2):292-307.
    A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.
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