Stanley Cavell

Memorial notice for Stanley Cavell originally published on the Harvard Philosophy Department website.

Part of a symposium on Stanley Cavell's memoir Little Did I Know held at the Johns Hopkins Humanities Center in 2011, this brief essay connects some themes from that book to concerns about knowledge of "what we say" as treated in the opening essays of his first book, Must We Mean What We Say?; and it attempts to illuminate the latter concerns by comparing them to recent philosophical work on self-knowledge, especially Richard Moran's book Authority and Estrangement.

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 (...) presented as a monograph with a single argumentative strand, the book may be more profitably read as three partly distinct works: an examination of the boundaries of theory and philosophy that doubles as a defense of a “philosophy of the humanities,” an interpretation of Deleuze’s work on film that intriguingly prioritizes What Is Philosophy?, and an interpretation of Cavell that argues that his epistemological and ontological questions are subsumed under ethics in a way that pairs well with Deleuze’s emphasis on immanence. (shrink)

"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 (...) aim of our reading. . . . Day considers how autobiography as a genre is preoccupied with the question of the author's exemplarity (Augustine or Rousseau), and in Cavell's retelling in 'Excerpts from Memory' he discusses how an event that Cavell would have us read allegorically - his move at the age of seven to a new apartment, his coming upon a familiar bowl containing nonpareils, his remark upon this to his father and his father's violent reaction - recasts a scene of paternal hatred as the child's offer of communion. Day suggests that this retelling proves to be redemptive: first, of the incident itself, and second, of the reader's own experience. Seeing how to read this autobiographical life as exemplary helps us to transfigure our own moments of deprivation into so many possibilities for freedom." --James Loxley and Andrew Taylor, introductory chapter to Stanley Cavell: Philosophy, Literature and Criticism, 15-16. (shrink)

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 (...) Wittgenstein's attitude toward our (or philosophy's) arriving at the end of justifications. The parallel depends on one's granting that both the improviser and Wittgenstein are, in their distinct ways, doing battle against the recurring human fantasy of the fixity of experience. (shrink)

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.

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 (...) demands of Emerson's writing, and ends by considering how exemplary moments of instruction in jazz are expressive of Emersonian self-trust. (shrink)

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.

Book review of Moi, Toril, _Revolution of the Ordinary: Literary studies after Wittgenstein, Austin, and Cavell,_ Chicago : Chicago University Press, 2017. 290 pages.

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 (...) that social and internal (necessarily bound with social) changes are desirable; that an existential calm demolishes morality. (3) Third feature concerns the fact that Kołakowski did not attempt to create his own philosophy, he was rather a historian of ideas, a skeptic, and a critic. (shrink)

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 (...) as an idealist but as a process metaphysician; as he claimed, overcoming the oppositions between idealism and realism, spiritualism and materialism. It is also argued that as a process metaphysician, Schelling not merely defended an organic view of nature but developed a theory of emergence and a new conception of life relevant to current theoretical and philosophical biology. This interpretation provides a defense of process metaphysics as the logical successor to Kant’s critical philosophy and thereby as the most defensible tradition of philosophy up to the present. It provides the foundations for post-reductionist science, reconciling the sciences, the arts and the humanities, and provides the basis for a more satisfactory ethics and political philosophy. Most importantly, it overcomes the nihilism of European civilization, providing the foundations for a global ecological civilization. (shrink)

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 (...) Ludwig Wittgenstein's later work for theological ends. In his recent book Liberalism versus Postliberalism: The Great Divide in Twentieth Century Theology, John Allan Knight challenges what he sees as Frei's dependence on problematic Wittgensteinian assumptions. This article raises a few concerns about Knight's charges against Frei. Specifically, I argue that Knight's account tends to conflate the work of Wittgenstein and Frei. It does this by undervaluing two determinative features of Frei's work: (1) its basic Christological orientation; and (2) its Christologically motivated use of ad hoc apologetics. I argue that the Wittgensteinian view that Knight attributes to Frei is not Frei's view at all, and is, moreover, a problematic account of Wittgenstein on its own terms. Finally, Knight's claim that Frei's work “depends upon” and “is suffused” with the understanding of Wittgenstein that Knight attributes to him is based upon an account of Frei's treatment of the sensus literalis that is not entirely accurate. Without question, Knight does remarkable service to Frei's legacy by keeping important debates over his work alive. In what follows, I propose several points where I think Knight's account might be further enriched. The result, I hope, will be a more nuanced understanding of the ways that Frei actually appropriated and deployed Wittgenstein's thought. I will contextualize my account of Frei with reference both to Wittgenstein's writings and the literature surrounding his writings. Setting forth these accounts in tandem should help make further available Wittgenstein's work for subsequent work by postliberal theologians. (shrink)

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 (...) in light of Diamond’s essay “The Difficulty of Philosophy and the Difficulty of Reality.” Diamond’s insights about literature’s capacity for ethical instruction, and her discussion in that essay of the experience of an ordinary sublime so painful or astonishing that it resists our understanding and categories of thought, illuminate a new philosophical context in which to understand more clearly and profoundly the stakes and aims of Woolf’s novel. Reading Woolf alongside Diamond also prompts us to recognize important ways in which matters that lie at the heart of To the Lighthouseintersect with the Wittgensteinian preoccupations that inform Diamond’s own thinking—concerns about the ethics of difficulty; skepticism about what other people think and feel; the search for communicative and existential clarity; the capacity of literature and fairy tale to convey a sense of beauty or of the “terrible” in the world; the status of expressions of our ethical experience as necessarily nonsensical; a longing for the sense of wholeness, transformative understanding, wonder, safety, and peace to stave off illusion or despair. One important subsidiary effect of looking at Woolf and Diamond together is that doing so also allows us to make significant oblique connections between Woolf’s thinking and Wittgenstein’s, connections that continue to bring into focus the philosophical sympathies that attest to the mutual relevance of their peculiar brands of modernism. (shrink)

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, (...) in fact, predicated on each other like the famous Gestalt-image of a vase and two faces: they cannot come into focus at the same time, but one cannot appear without the other to furnish its background. (shrink)

The link is to an expanded, English version of this essay.

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 (...) is above all Cavell's complete disregard for the Emersonian “moral sentiment” that jeopardizes his claim to be a continuator of Emerson's legacy in ethical philosophy. I would not deny that Cavell's own work stands as an extraordinary contribution to contemporary ethics. Nor would I dispute his title as the living philosopher who has done more than any other to restore Emerson to his rightful place in the history of American philosophy, as a thinker worthy of the highest consideration. Still less would I discount the boldness and originality of Cavell's readings of Emerson. What I am contesting, rather, is the propriety of attaching the label “Emersonian” to the notion of perfectionism, especially in view of its strong anti-metaphysical bias. The Emerson canon provides ample grounds for rejecting Cavell's claim as largely unsubstantiated and in a number of crucial ways inconsistent with the moral sentiment's firm grounding of ethics in ontology. (shrink)

Introduction to the symposia on Pragmatism and Perfectionism appered on the European Journal of Pragmatism and American Philosophy, vol. 2 issue 2, 2010.