Despite considerable differences, Stanley Cavell and Jean-Luc Nancy share the demand for a renewal of thinking produced through and with the concept of the world. Their articulation of the legacy bequeathed by Heidegger and Wittgenstein begins with an understanding of the world in excess of knowledge and insists on this impossible mastery as the most productive incentive for thinking. Inasmuch as philosophy has understood itself as producer of worldviews, systems and principle, philosophy has constantly suppressed the thinking of the world, (...) for any worldview absorbs and dissolves the world in its vision. For both Cavell and Nancy an insistence on this suppression leads to an emphasis on film. Two gestures can be said to intertwine in their thinking of film: to recapture our relation to the world as one that is not based on knowing as certainty, but on the reception of the singular; to recapture thinking as that which is attracted and called for by the insurgence of the singular, by the seam in experience. Nancy and Cavell reverse the idea of cinema as completing the regime of representation stressing how cinema produces a step away from thinking as representation in view of what the article names thinking as patience. The article concludes by asking: what does it mean for philosophy to understand itself as patience? (shrink)

In much educational theory there is concern about claims that the concept of truth has no place anymore in educational thinking. These claims are generally identified as ‘postmodernist’ or ‘poststructuralist’. The fear is that when abandoning the quest for truth we enter the domain of mere belief, and in this way leave education without firm grounds. In this article I examine some examples of what is often crudely lumped together as ‘postmodernist’ educational research. What is at stake here, I argue, (...) is not so much a rejection of the quest for truth as rather a shift of focus to a different set of questions and interests: for example, existential questions. Against the contemporary, dominant focus on evidence-based practice, which conceals the person behind the method (textbook, rules, techniques), here the embodied person with her individual investment in education is brought into the light again. (shrink)

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)

Drawing from Stanley Cavell's distinct understanding of skepticism, this paper first considers current and incessant obsession with notions of or related to ‘educational standards,’ ‘school effectiveness and improvement,’ ‘evidence-based education,’ ‘performance indicators’ and ‘performativity’ in various educational policies and discourses as consequences resulting from our very human desire to overcome or solve skepticism. Insidiously, this has led to the creation of a strict and distinct conception of what a good teacher should be. Ironically, this human desire to overcome skepticism, which (...) led to this particular good teacher model, has ‘dehumanized’ the teacher. In this light, this paper further proposes Cavell's distinction between perfectionism and perfectability as a possible alternative response to this austere ‘good teacher model’ which has dominated discourses on the teaching profession. His discussion on skepticism and moral perfectionism hopefully leads to a more holistic and democratic concep.. (shrink)

Stefan Ramaekers and Joris Vlieghe’s ‘Infants, childhood and language in Agamben and Cavell: education as transformation’ is an insightful discussion of an important facet of educational experience. In the article, they consider a Fred Astaire dance sequence from the 1953 Vincente Minnelli film, The Band Wagon, in combination with a remarkable article about this same sequence by Stanley Cavell. On the strength of this, they develop an interesting line of thought regarding the experience of language, exploring connections between the ideas (...) of Cavell and Agamben. Rich and thought-provoking though their discussion is, I find that it deflects attention from the most important aspects of the film sequence and the literature that has developed in response – specifically regarding questions of race and praise. The present discussion attempts to address these matters. (shrink)

This article begins by clarifying the notion of what Stanley Cavell has called ‘Emersonian moral perfectionism.’ It goes on to explore this through close analysis of aspects of Emerson’s essay ‘Experience,’ in which ideas of trying or attempting or experimenting bring out the intimate relation between perfectionism and styles of writing. ‘Where do we find ourselves?’ Emerson asks, and the answer is to be found in part in what we write and what we say, injecting a new sense of possibility (...) and responsibility into our relation to our words. But the language we speak and the lives that go with it are at the same time burdened with a past, and in the case of English, and in the American context especially, it is marked with a kind of repression relating to questions of slavery and race. These matters are implicated in questions of constitution, in both general and specifically political senses. Hence, inheritance and appropriation become causes of critical sensitivity, as do the forms of praise and acknowledgment that should meet them. The article explores ways of thinking through Emerson’s relation to these aspects of experience and seeks to find responses pertinent to today. (shrink)

In this paper, I create philosophical space for the importance of how we say things as an adjunct to attending to what is said, drawing on Stanley Cavell's discussions of moral perfectionism and passionate utterance. In the light of this, I assess claims made for the contribution drama makes to moral education. In Cities of Words, Cavell gestures towards Plato's dialogue Euthyphro, where Socrates asks what kind of disagreement causes hatred and anger. The answer is disagreement on moral questions. The (...) consequent ethical conditioning of such speech might demand that our seriousness is marked by calm, respectful and open conversation. I argue this might fail to fully reflect how an individual takes his/her life seriously and how passionate speech such as we find in dramatic dialogue could convey this. I develop the register of moral perfectionism that Cavell identifies in Ibsen's A Doll's House in relation to moral seriousness. I argue that the drama classroom can help, not simply by bringing out the inhere.. (shrink)

In the practice of education and educational reforms today ‘meritocracy’ is a prevalent mode of thinking and discourse. Behind political and economic debates over the just distribution of education benefits, other kinds of philosophical issues, concerning the question of democracy, await to be addressed. As a means of evoking a language more subtle than what is offered by political and economic solutions, I shall discuss Ralph Waldo Emerson's idea of perfectionism, particularly his ideas of the ‘gleam of light’ and ‘genius’, (...) as an alternative mode of thinking of human power. Through this Emersonian lens, a provocative shift will be made from meritocracy and ‘mediocracy’ to aristocracy. Emersonian aristocracy destabilizes balanced measures and prevailing discourse about fairness and justice, and makes us reconsider how to achieve a just society in democracy. As an educational implication, I shall propose the idea of citizenship without inclusion—a vision of education for a democratic society in which we learn to live as and with the Great Man. (shrink)

This paper will critically reconsider the potential of Dewey’s pragmatist idea of security without foundation. There is some potential in his anti-foundationalism as a form of wisdom for living beyond the risk society. I shall argue that Deweyan critical thinking needs to be further reconstructed, and even to be destabilized, if it is to exercise its best possible power of transcendence. One way to do this is to open its boundaries towards the ‘East’, towards European poststructuralism as well as towards (...) East Asia, thereby destabilizing and transcending the limit of pragmatism. And I propose to do this through the mediation of Stanley Cavell’s rereading of Emerson’s and Thoreau’s American transcendentalism. (shrink)

In this article I posit translation as philosophical operation that disrupts commonsense meaning and understanding. By defamiliarising language, translation can arrest thinking about a text in a way that assumes the language is understood. In recent work I have grappled with the phrase 'ways of knowing', which, for linguistic and conceptual reasons, confuses discussions about epistemological diversity. I here expand this inquiry by considering languages in which more than one equivalent exists for the English verb 'to know'. French, for example, (...) has both savoir and connaître , and German has wissen and kennen . This interlinguistic translation thus allows for a reconsideration of the inquiry into the phrase 'ways of knowing': do problems arise with 'ways of knowing-in-the sense-of connaître ', or with 'ways of knowing-in-the-sense-of savoir ', or both? Displacement is, more generally speaking, a method used by philosophers. Shifting the concept or phenomenon under consideration into a different context or discursive register allows one to defamiliarise it and see it in terms of something else. Through translation, whether interlinguistic or interdiscursive, philosophers ask what questions and understandings become possible when we see A in terms of B. (shrink)

In this article I posit translation as philosophical operation that disrupts commonsense meaning and understanding. By defamiliarising language, translation can arrest thinking about a text in a way that assumes the language is understood. In recent work I have grappled with the phrase ‘ways of knowing’, which, for linguistic and conceptual reasons, confuses discussions about epistemological diversity. I here expand this inquiry by considering languages in which more than one equivalent exists for the English verb ‘to know’. French, for example, (...) has both savoir and connaître, and German has wissen and kennen. This interlinguistic translation thus allows for a reconsideration of the inquiry into the phrase ‘ways of knowing’: do problems arise with ‘ways of knowing-in-the sense-of connaître’, or with ‘ways of knowing-in-the-sense-of savoir’, or both? Displacement is, more generally speaking, a method used by philosophers. Shifting the concept or phenomenon under consideration into a different context or discursive register allows one to defamiliarise it and see it in terms of something else. Through translation, whether interlinguistic or interdiscursive, philosophers ask what questions and understandings become possible when we see A in terms of B. (shrink)

This is a revised version of a keynote presentation delivered by Professor Rothman at the Conference on Stanley Cavell’s Philosophy the Day After Tomorrow , University of Paris I: Panthéon-Sorbonne, September 2012.

In this paper we explore a new way to deal with social inequality and injustice in an educational way. We do so by offering a particular reading of a scene taken from Minnelli's film The Band Wagon which is often regarded as overly western-centred and racist. We argue, however, that the way in which words and movements in this scene function are expressive of an event that can be read as a new beginning and that it is for this reason (...) in and of itself educational. By drawing on Agamben's and Cavell's insights on childhood and what it means to acquire a language, we argue that in this scene a form of childhood is displayed which denotes a general condition for education to take place in children and grown-ups alike. Hence, education can be understood as a interruption of existing power structures and as a transformation of one's existence. (shrink)

In recent years restorative practice in schools has been heralded as a new paradigm for thinking about student behaviour. Its premise is to provide solutions to indiscipline, to restore relationships where there has been conflict or harm, and to give pupils a language with which to understand wrongdoing. This article offers a critique of practitioners’ use of scripts with which to facilitate the restorative conference, one of the key strategies of restorative practice. To do so I turn to J.L. Austin (...) and Stanley Cavell whose writing on performative and passionate utterance point to the educational importance of making room for freedom in speech and emotion, over performance. Indeed, it is through making room for negative emotion, or silence, as observed in Cavell’s reading of King Lear, that we can see an opening up of the possibilities present in restorative practice. (shrink)

Žižek! Directed by Astra Taylor. Zeitgeist Films, 2005, 71mins Derrida Directed by Kirby Dick and Amy Ziering Kofman. Zeitgeist Films, 2002, 84mins.

In this article, I attempt to bring some colour to a discussion of fraught topics in education. Though the scenes and stories (from education and elsewhere) that feature here deal with racism, the discussion aims to say something to such topics more generally. The philosophers whose work I draw on here are Stanley Cavell and Judith Butler. Both Butler and Cavell develop (or depart from) J.L. Austin's theory of the performative utterance. Butler, following Derrida, argues that in concentrating on the (...) illocutionary force of utterances (their capacity to do things), Austin fails to account for the force of words themselves. The iterability of language means that words are never at one with themselves. They carry their old contexts with them as they enter into new ones. This has important consequences for ethical issues that pertain to what Butler calls the ?performativity? of gender and race. Though we are performed by language, this performance has a dynamic quality that leads to the reshaping of identity. In contrast, for Cavell, the disappointing aspect of Austin's thought relates to the latter's neglect of the perlocutionary effect of language ? what is done ?by words?. By taking on this project, Cavell embraces the unconventional aspects of language characterised by ?passionate? expression and exchange. Butler and Cavell approach the performative utterance from different directions. In the last part of this article, the significance of this difference is discussed in relation to the provision of a moral education with regard to tackling issues surrounding racism. (shrink)

The Slow Professor: Challenging the Culture of Speed in the Academy was published in 2016 to critical acclaim. Rejecting outright the marketisation of the modern university, the book proposed a countercultural approach which denounced the seductive imperatives to overwork and competition and called on academics to make a more deliberate moral choice. In this paper, I critically engage with The Slow Professor's ethical vision. I draw on the work of writers Sally Rooney, John Williams and David Foster Wallace in careful (...) exploration of ‘slowness’ and its cognate terms. I am interested not only in the importance of slowness for university academics but for students in the 21st century university. These students, as pointed out recently by Bruce Macfarlane, are made to carry a plethora of conflicting identities and yet it is perhaps more important that we begin to demand less of our students and not more. Thus, in an era of audit and accountability, this paper explores the possibilities for a less frenetic approach to university teaching and learning. (shrink)

This article seeks to bring small talk about cinema – the type of conversation that can begin with the question “Have you seen any good movies lately?” – into the analytical ambit of cinema and media studies. In order to do so, I argue that such conversation is relevant to the philosophical project of Stanley Cavell. Throughout his attempts to wed film analysis and philosophical reflection, including his seminal studies of Hollywood genres, Cavell has remained committed to the idea that (...) philosophy is not a search for objective absolutes or momentous conclusions. This is a characteristic inconclusiveness that small talk shares. While small talk is often derided as unimportant on account of this very inconclusiveness, the work of Cavell provides a propitious framework for appreciating small talk's underacknowledged philosophical stakes and for reconsidering assumptions about the relative value of communicative practices. In order to better illustrate this relation between small talk and philosophy, this art... (shrink)

This article explores how different philosophical models and pictures of learning can become dogmatic and disguise other conceptions of learning. With reference to a passage from St. Paul, I give a sense of the dogmatic teleology that underpins philosophical assumptions about learning. The Pauline assumption is exemplified through a variety of models of learning as conceptualised by Israel Scheffler. In order to show how the Paulinian dogmatism can give rise to radically different pictures of learning, the article turns to St. (...) Augustine’s and Robert Brandom’s examples of language learning, and to general strands in scholarship on moral education. Dewey’s view of childhood immaturity and the problem of adult maturity are used as first attempt at a counter picture to the idea that learning must have an end. The article takes Dewey’s idea further by suggesting how the Zen-Buddhist idea of killing the Buddha and Wittgenstein’s method of destroying pictures work on the dogmatic focus on uses of ‘learning’ that assume ends. In conclusion, the article suggests three possible uses of ‘learning’—learning from wonder, intransitive learning and passionate learning—that do not assume that learning has or must have a teleological end. (shrink)

In this paper I investigate how philosophy can speak for children and how children can have a voice in philosophy and speak for philosophy. I argue that we should understand children as responsible rational individuals who are involved in their own philosophical inquiries and who can be involved in our own philosophical investigations—not because of their rational abilities, but because we acknowledge them as conversational partners, acknowledge their reasons as reasons, and speak for them as well as let them speak (...) for us and our rational community. In order to argue this I turn, first, to Gareth Matthews' philosophy of childhood and suggest a reconstruction of some of his concepts in line with the philosophy of Stanley Cavell. Second, in order to examine more closely our conceptions of rationality and our pictures of children, I consider the children's books, The Lorax and Where is My Sister? and Henrik Ibsen's play, The Wild Duck. (shrink)

Originating from philosophy and science, many different ideas have made their way into educational policies. Educational policies often take such ideas completely out of context, and enforce them as general norms to every aspect of education; even opposing ideals make their way into school’s curricula, teaching techniques, assignments, and procedures. Meanwhile, inside the actual classrooms, teachers and students are left in limbo, trying to comply with, techniques, evaluation forms and a growing technical educational vocabulary. Here I would like to propose (...) an antidote to this absurdity by reminding us what teachers and students already know. Such an antidote can be found in J. L. Austin’s speech act theory. In this paper, I propose we revisit speech act theory and treat it as an educational theory. That might help us dismantle false dichotomies troubling education for decades. The point is not that the discussion over educational policies and priorities should stop, but that it should be kept in appropriate perspective. A modified speech act theory can help us facilitate such a perspective. (shrink)

Over the past decades, there has been an ongoing debate about whether education should aim at the cultivation of emotional wellbeing of self-esteeming personalities or whether it should prioritise literacy and the cognitive development of students. However, it might be the case that the two are not easily distinguished in educational contexts. In this paper I use J.L. Austin's original work on speech acts to emphasise the interconnection between the cognitive and emotional aspects of our utterances, and illustrate how emotional (...) force affects communication in the classroom. (shrink)

This article considers conversations in and about education. To focus the discussion, it uses the scenario of a conversation between a trainee teacher and her mentor reflecting together on a lesson that the trainee has just taught. I begin by outlining the notion of reflective practice as popularised by Donald Schön, and show how, in the scenario, the reflective practice conversation leads to talk characterised by recourse to particular dominant discourses within education, and how this in turn can lead to (...) a certain voicelessness. I then consider what the possibilities for the reflective practice conversation might be, looking first at the Greek notion of parrhēsia and how this has been discussed in the work of Michel Foucault in contrast to other forms of talk such as rhetoric or chattering. I argue that, whilst the parrhēsiastic conversation may allow for the exploration of the relationships (between the mentor and the trainee, each participant and their words and a relationship of care for the self), such possibilities are fraught with difficulty. I then move to consider how such relationships might be developed through recognising the expressive aspects of language emphasised in Stanley Cavell's notion of passionate utterance. I first trace the development of Cavell's thought through John Austin's contrast in language between the constative and the performative. I then illustrate the idea of passionate utterance from the films Cavell describes as the ‘Hollywood comedies of remarriage’, and argue that the passionate utterance opens up opportunities for the kind of conversation in education that is itself educative. (shrink)

Koopman’s book revolves around the notion of transition, which he proposes is one of the central ideas of the pragmatist tradition but one which had not previously been fully articulated yet nevertheless shapes the pragmatist attitude in philosophy. Transition, according to Koopman, denotes “those temporal structures and historical shapes in virtue of which we get from here to there”. One of the consequences of transitionalism is the understanding of critique and inquiry as historical pro...

This paper highlights the philosophical and educational significance of expression in Ludwig Wittgenstein's Philosophical Investigations. When the role of expression is highlighted, we will be better able to appreciate Stanley Cavell's insistence that: (i) Wittgenstein offers ways of responding to, though not a refutation of, the problem of skepticism concerning other minds, and (ii) Wittgenstein's writing style is an important aspect of his philosophy. The educational implications of this appreciation will be explored with reference to the lives of adolescences.

Wittgenstein (1993), Derek Jarman’s biopic of the Austrian-born Cambridge philosopher is a fascinating – if perplexing – film. In equal measure aesthetic and didactic, its status is ambiguous, and not only because didacticism in the philosophy of art is often assumed to diminish aesthetic value. Nothing, however, of the film’s aesthetic is depreciated by the intention to instruct. Even if the objective was to teach, the film is also highly aestheticised. Composed of a series of richly theatrical set-pieces, Jarman’s film (...) aspires to a painterly aesthetic. This paper examines the aesthetic and epistemic dimensions of Wittgenstein . The consensus among professional philosophers is that the film, while idiosyncratic and stylised, nevertheless says something important about Wittgenstein’s philosophy. It is as if he has used the project to innovate ways of translating Wittgenstein’s philosophy to aesthetic form. The resultant representational strategies are best understood with reference to the picture theory developed in Wittgenstein’s early philosophy. In the Tractatus Logico - Philosophicus (1922) Wittgenstein characterised the proposition as an articulation of elements that, by virtue of shared logical form, corresponds to the disposition of objects in a possible fact. Under Jarman’s direction, cinematic tableaux are transformed into propositions in the Wittgensteinian sense. In this film, therefore, Jarman has refined his cinematic process into what, following the picture theory, I have called tractarian montage. It is because the philosophy is embedded in the film as a structural component of its form (and not just presented didactically) that Wittgenstein seems oddly right to Wittgensteinian viewers. The aesthetic and epistemic consequences that result from Jarman’s approach are precisely what make the film philosophically interesting – indeed they provide a valuable opportunity to reflect not only on the development of Wittgenstein’s philosophy but also, uniquely, on the relationship between his philosophy and his life. (shrink)

My Cavellian argument is that the form or space of skeptical questioning -- regardless of whether we are asking about the veridicality of the appearance of another's pain, about the veridicality of the meaning of a word or phrase, about the veridicality of a perception, etc. -- leaves behind the ordinary, finite, and social activities and practices which make meaningful language use possible. But Cavell does not mean "left behind" in the sense that returning to these finite and social practices (...) of language use will defeat skepticism; Cavell thinks that the direct attempt to defeat skepticism has still not adequately understood what the appearance of a skeptical problem has deflected. Rather, in Cavell's philosophy, if we return to the everyday use of language after working through the threat of skepticism and after coming to terms with what led us into skeptical thinking, what we find is a renewed relation to the felt life of the ordinary mind, one which acknowledges those unhandsome elements of our condition which skepticism would seek to deny. In later work, Cavell will describe the proper response to skepticism as a transformation of the actual everyday into the eventual everyday. With respect to the question of how language corresponds to or represents the world, I suggest, throughout this dissertation, that this question is a confused response to the fact of our inheritance of language and culture, the fact that we are born into a social, already-made system of meanings over which in many ways we have astonishingly little freedom. And that conclusion, I argue -- the conclusion that a particular form of skepticism deflects -- is yet another starting point for Cavell's philosophy, an insight brought out only through an engagement with skepticism. (shrink)