This dissertation explores and analyzes interpretive skepticism in literary theory. It argues that traditional interpretive theories and debates often harbor unacknowledged forms of skeptical thinking and arguments. As these forms of skepticism are seldom recognized as skepticism, the problem tends to remain hidden and unresolved. The dissertation further argues that interpretive skepticism is (i) the result of a philosophical confusion, and (ii) practically harmful when used in order to regulate interpretive practice. Accordingly, a central purpose of the dissertation is to (...) offer an analysis and taxonomy of what interpretive skepticism is. Only once we are in a position to understand and recognize it in its many guises will we be able to criticize and challenge it. The first part of the dissertation thus aims at identifying a specific structure of skeptical reasoning within the theory of literary interpretation. In articulating this taxonomy and analysis, the study builds on the American philosopher Stanley Cavell’s reinterpretation of epistemological skepticism in terms of tragedy, avoidance and repudiation of grammatical criteria. The second part of the study explores, in greater detail, interpretive skepticism within New Criticism. It centers on analyses of two classics within interpretive theory: “The Intentional Fallacy” by Monroe C. Beardsley (and W.K. Wimsatt) and “The Heresy of Paraphrase” by Cleanth Brooks. The study argues that Beardsley becomes both a so-called “skeptical twin” about literary interpretation and a straightforward literary other-minds skeptic with regard to authorial intentions. Brooks, for his part, becomes a straightforward skeptic about poetic interpretation and a “skeptical twin” about poetic meaning. Both theorists are investigated in comparison with Cavell’s explorations of the themes of intention, overinterpretation, fraudulence, modernism, and aesthetic judgment in art, literature and criticism. Despite these skeptical findings, the study also argues that there are important similarities between Cavell’s non-skeptical approach to literature and criticism, and New Critical “close reading.” The dissertation concludes with a chapter that leaves the confines of the New Critical idiom to explore interpretive skepticism within the tradition of so-called “hermeneutics of suspicion.” Through readings of Susan Sontag, Eve Kosofsky Sedgwick, and Cora Diamond, it argues that suspicious or paranoid hermeneutics is not skeptical in itself but can become so through the skeptical temptations of dogmatism, authoritarianism, and fraudulence. (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)

Documentary film is that genre of filmmaking that lays bare the fact of all film, which is that it presents "a world past" (Cavell, The World Viewed). This fact of film seems to point to a paradox of time in our experience of movies: we are present at something that has happened, something that is over. But what if we were to take this fact to show that film has the power to place us outside our ordinary, unreflective relation to (...) time? In this essay I examine three pre-cinematic descriptions of relations to time – in Emerson, Thoreau, and Weil – that anticipate the paradox of time inherent in film. I then put that examination to use in a reading of Werner Herzog's Cave of Forgotten Dreams, a film ostensibly about prehistoric cave paintings but whose achievement is its declaration, not to document some past time, but to liberate the present moment. (shrink)