In his lecture “Philosophy and the Unheard,” Cavell invites us to observe a pervasive analogy between Schoenberg’s idea of the twelve-tone row and Wittgenstein’s idea of grammar, which is supposed to encapsulate an expansive, sweeping philosophical program—Cavell’s own. For Cavell, the analogy evinces not only the kind of reading of Wittgenstein’s Philosophical Investigation, which is attuned to Wittgenstein’s seemingly paradoxical amalgamation of embrace and resistance in regarding to the conditions of modernity, but also a kind of philosophy (...) of music, which is illuminated by musical procedure. In this essay I probe into Cavell’s analogy, which, I contend, rests on Cavell’s interpretation (contra Von Wright) of Spengler’s influence on Wittgenstein. I argue that Cavell delineated the analogy in a way which does not consider a deeply felt gradation in Wittgenstein’s philosophical attitude toward modern music. This ultimately renders Schoenberg’s composition with twelve-tone incommensurate with Wittgenstein’s Spenglerian scheme of musical decline. I also argue that “Schoenbergian unheard” is not analogous to its purported Wittgensteinian counterpart. While the former inheres in comprehensibility—namely, correct, conscious application of the kind of contrived rules that would ensure coherence—the latter inheres in transparency, namely, a familiar physiognomy, which is internally related to the preconditions as well as the lived, embodied realities of musical intelligibility. From Wittgenstein’s perspective, the Schoenbergian idea of the row with its unforeseen yet pervasive consequences turns out to be tantamount to an idea of grammar for music for the meaning-blind. I conclude that in this “tale of two unheards,” Cavell invariably remains on the side of Wittgenstein. Philosophy, as it mattered most to him, has no business with music for the meaning-blind. (shrink)

This paper argues that McDowell wrongly assumes that “terror”, Cavell’s reaction to the radical contingency of our shared modes of knowing or our “attunement”, expresses a skepticism that is antinomically bound to an equally unacceptable dogmatism because Cavell rather regards terror as a mood that reveals the “truth of skepticism”, namely, that there is no conclusive evidence for necessary attunement on pain of a category error, and that a precedent for McDowell’s misunderstanding is Hegel’s argument for necessary attunement (...) in a system of knowing, whose refutation Schelling holds it is the “merit of skepticism” to provide. (shrink)

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 our position in the world. However, this strategy of self-redemption seems to lack a warranty: the issue of skepticism still shows all its tragic relevance. (shrink)

This chapter is a substantially expanded version of (and so substantially supersedes) “Words Fail Me. (Stanley Cavell’s Life Out of Music)” that appeared in Inheriting Stanley Cavell: Memories, Dreams, Reflections (Bloomsbury, 2020). It offers to read Cavell’s claim that “philosophy, of a certain ambition, tends perpetually to intersect the autobiographical.” Its guiding thought is that a life that finds a home in philosophy from out of its devotion to music (as is true of, among others, Rousseau, Nietzsche, (...) and Wittgenstein, all philosophers Cavell wrote about and cared about) will take on a certain character. In Cavell’s case, his distinctive orientation in philosophy—call this his lifelong coming to terms with his abandoning a life in music—is guided in part by (1) an interest in those moments in experience where words seem to run out, or veer toward nonsense, leaving in their wake touchstones of ecstasy; and (2) an interest in the education of the senses, without which interest we risk their starvation. These twin claims are illustrated through an interweaving of remarks and reminiscences of Cavell on music that culminate in a reading of his last published pieces devoted to music, primarily “Impressions of Revolution.”. (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)

In this article I focus on Cavell’s theme of finding one’s voice, as it is articulated with reference to the philosophies of language of Wittgenstein and Austin. I start by spelling out Cavell’s Wittgensteinian-Austinian view of culture as the background for his approach to aesthetics and ethics. I then set out to explore the work done by the theme in aesthetics and ethics around the notion claim. I argue that Cavell’s effort to counter the pull of non-cognitivism (...) in aesthetics and ethics, building on the notion claim, is not only illuminating of his unique way of inheriting the history of analytic philosophy but also gives us a glimpse of where and how Continental and analytic philosophy may again cross paths in the future. (shrink)

My interest is the kind of philosophical vertigo that is a theme of Cavell’s work on scepticism. This describes the anxiety that is elicited via philosophical engagement with certain kinds of sceptical questions. There is a standing puzzle about this notion of vertigo, however, forcefully pressed, for example, by McDowell. Why should a resolution of the sceptical problem, one that putatively completely undercuts the motivation for scepticism in that domain, nonetheless generate vertigo in this sense? I aim to resolve (...) the puzzle, in a way that I believe underwrites this Cavellian notion, via consideration of Wittgenstein’s remarks on the structure of rational evaluation in his final notebooks, published as On Certainty. (shrink)

It may be time to question analytic philosophy’s structural ignorance of the methods of ordinary language philosophy. Cavell’s Must We Mean What We Say? upsets the analytic tradition to this end, pursuing a “linguistic phenomenology” that focuses on ordinary language use as a resource for describing the world. Cavell thereby entrusts the tradition with a more ambitious and concrete philosophical task.

"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)

In his early essay, “Must We Mean What We Say”, Cavell argues that the claims of ordinary language philosophers regarding “what we say when” are not empirical generalizations about a given group of speakers but are rather to be understood as measuring the limits of what counts as a coherent act of thinking and speaking. Cavell’s charge against the skeptic about the external world is that he seeks to think and speak beyond these limits. In this paper I (...) compare Cavell’s response to the skeptic to Davidson’s. Both base their responses on a broadly Kantian approach that appeals to the conditions under which thinking or speaking about objects is possible. On this approach the skeptic isn’t giving a false answer to an intelligible question, but rather, the question to which the skeptic is giving an answer is shown to be in some way unintelligible. But while Davidson’s critique of the skeptic is based on the conditions of ascribing meaning to one’s words, and contents to one’s beliefs, Cavell’s critique is based on the failure of the skeptic to mean the words he uses in the way that he needs. This difference expresses an underlying disagreement about the meaning of “meaning”: for Davidson the world comes into view through the meaning of our words and concepts, through the contents of our beliefs; for Cavell, the world comes into view through the agreement in “criteria” that are a condition of applying words and concepts to the world. This difference illuminates what Cavell calls “the truth of skepticism”: the idea that “my relation to the world and to others in general is not one of knowing”. (shrink)

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 this leaving with "the work of mourning." How does such a life out of music inform Cavell's philosophical sensibility? The thought I follow in this essay is that Cavell's distinctive orientation in philosophy – call this his lifelong coming to terms with his abandoning a life in music – is guided in part by an interest in those moments in experience where words seem to run out, or veer toward nonsense, leaving in their wake touchstones of ecstasy. I explore this idea by summarizing my exchange with Stanley Cavell years ago when I asked him whether certain passages from his essay "Music Discomposed" are depictions of the unsayable. Cavell's response is elaborated, or qualified, by considering a pair of moments in Little Did I Know where words appear to run out. I conclude by discussing culminating thoughts on the burden borne by words and their failure that appear in Cavell's late essay on music, "Impressions of Revolution.". (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)

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 conception of color helps to bring out the level of medium specificity required for understanding Cavell’s notion of “projecting” a world. I likewise argue that this idea of color and abstraction lies behind Cavell’s claims about projecting a “unified” world in his writing on color’s connection with fantasy and futurity, in his approach to Jean-Luc Godard’s films, and even in his writing on color that follows The World Viewed. (shrink)

This essay focuses on the explosive claim Cavell inserts in the middle of The Claim of Reason that a narrative history of a cer- tain style of philosophy should be called “Philosophy and the Rejection of the Human.” In order to understand the accusation, I shape interpretations of what Cavell means by nearly each of the terms of this dramatic sentence. I begin by comparing senses of “philosophy” by way of a comparison with Rorty’s critical review of The (...) Claim of Reason; I proceed by underlining how, in Cavell’s work, the notion “human” and its rejection also is entangled with that which Cavell describes as “skepticism.” It is necessary, therefore, to understand whether there is a specific characteristic difference between skepticism and the style of philosophy that is implicated in the “rejection of the human.” It seems as if there should be a difference, given Cavell’s noto- rious approval of the truth or the moral of skepticism and the apparent criticism of the philosophical style that rejects the human. I show that the difference can be discovered by focusing on Cavell’s understanding of criteria. In particular, I emphasize the (open) space of a subject’s relation to criteria, a subjective claim to universality without objectivity, in pursuing and extending Cavell’s own appeal to Kant’s Critique of Judgment. It is this subjective component that is rejected in the style of philosophy that Cavell singles out. (shrink)

While Cavell is well known for his reinterpretation of the later Wittgenstein, he has never really engaged himself with post-Investigations writings like On Certainty. This collection may, however, seem to undermine the profoundly anti-dogmatic reading of Wittgenstein that Cavell has developed. In addition to apparently arguing against what Cavell calls ‘the truth of skepticism’ – a phrase contested by other Wittgensteinians – On Certainty may seem to justify the rejection of whoever dares to question one’s basic presuppositions. (...) According to On Certainty, or so it seems, the only right response to someone with different certainties is a reproach like ‘Fool!’ or ‘Heretic!’. This article aims to show that On Certainty need not be taken to prove Cavell wrong. It explains that Wittgenstein, in line with the first two parts of The Claim of Reason, does not reject scepticism out of hand but rather questions the sceptic’s self-understanding. Using arguments from Part Three of The Claim, the article moreover argues that a confrontation with divergence calls for self-examination rather than self-righteousness. Precisely because Wittgenstein acknowledges ‘the groundlessness of our believing’ or, in Cavellian terms, ‘the truth of skepticism’, he is not the authoritarian thinker that some have taken him to be. (shrink)

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

Iris Murdoch's famous case of M and D illustrates the moral importance of learning to see others in a more favourable light through renewed attention. Yet if we do not read this case in the wider context of Murdoch's work, we are liable to overlook the attitudes and transformations involved in coming to change one's mind as M does. Stanley Cavell offers one such reading and denies that the case represents a change in M's sense of herself or the (...) possibilities for her world of the kind exemplified by Nora in Ibsen's A Doll's House. In this essay, I challenge Cavell's reading, suggesting that the case, while it may not be an exemplar of the perfectionist outlook as described by Cavell, can and should be interpreted in perfectionist terms. To see this, I reflect on Murdoch's views on the endless perfectibility of language, the importance of humility, and the role of love and attention in moral learning. I conclude that Murdoch's work uniquely sheds light on how we might cultivate a perfectionist outlook in ourselves and others, and describes the distinctive role that some novels can play in moral education. (shrink)

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

This essay argues that the exploration of scepticism and its implications in the work of Stanley Cavell and David Hume bears more similarities than is commonly acknowledged, especially along the lines of what I wish to call “sceptical naturalism.” These lines of similarity are described through the way each philosopher relates the “natural” and “nature” to the universal, the necessary, and the conventional.

El presente trabajo nació como una reflexión posterior a la traducción del libro de Stanley Cavell Contesting Tears: The Hollywood Melodrama of the Unknown Woman. La reflexión era necesaria habida cuenta de las dudas suscitadas por la traducción del título del libro. Para ser más exacto, la reflexión giraba en torno a las lágrimas que forman parte de la primera parte del título, las lágrimas vertidas por las mujeres desconocidas que protagonizan los melodramas analizados en el libro. En mi (...) opinión, llegar a entender la razón y la naturaleza de esas lágrimas es clave para comprender lo que Cavell nos viene contando desde hace cinco décadas. Por ello, lo que sigue intenta reunir mis propios comentarios sobre la obra de Cavell en general, con la justificación de la traducción final del título: Más allá de las lágrimas. (shrink)

What is a fake artwork? This is seldom asked in aesthetics even though judging an artwork as excellent or original implicitly posits criteria for fraudulent or dubious artworks as well. This article presents Nelson Goodman’s proposal of how we are to understand fakes. It will criticize his predominantly cognitive approach for failure of incorporating a sense of aesthetic value, thereby leaving the possibility of artworks which are fakes but nevertheless originals unexplained. Instead Stanley Cavell’s writings on aesthetic judgment are (...) explored establishing a better frame for understanding these artworks. (shrink)

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 create their own films and worlds in which a spectator might become included (on Ruiz's picture). I then argue that a striking reconciliation between these perspectives takes place via each's conception of television, since it was precisely the features of the medium and its heteronomous parts that Cavell found bemusing from the perspective of his view of film (and its supposedly autonomous works) that allowed for Ruiz's natural career-long relationship with television and heteronomy, especially in Latin American telenovelas. I thus approach Ruiz's relation to telenovelas via Cavell's understanding of the possibilities of soap operas to explore arguments between different temporalities: "dialectical," narrative time and "undialectical" recurrences of needs and drives. I further explore this possibility with a reading of Ruiz's neglected, late-career Chilean TV series Litoral (2008), focused on the construction of stories by sailors aboard a ghost ship. I argue that the series' treatment of these different temporalities reaches its culmination in the poignant image of a sailor-storyteller stuck within a story of his own creation: a stark rendering of his taking a sideways-on view of the role of his own fantasies in its construction. (shrink)

This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his (...) claim about cinema and modernism, where film at least provides us a symbol of relief from concerns about medium specificity. In the second part of the essay I argue that something close to Cavell's and Fried's thoughts (about using the figure of theater to remind us of cinema's specificity, but also of cinema in its character as a symbol of relief from medium-specific concerns) takes on a certain urgency in questions about what cinema is in the digital age, manifested in representations of theater in the digitally photographed "Shakespeariadas" series by the contemporary Argentine filmmaker Matías Piñeiro. (shrink)

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 to critique communications media while retaining their communal potential. Audiovisual work by Varela discussed in this essay include Línea 3 (2010-11) and Materia oscura (Dark Matter, 2016). (shrink)

A series of essays on film and philosophy whose authors - philosophers or film studies experts - write on a wide variety of films: classic Hollywood comedies, war films, Eastern European art films, science fiction, showing how film and watching it can not only illuminate philosophy but, in an important sense, be doing philosophy. The book is crowned with an interview with Wittgensteinian philosopher Stanley Cavell, discussing his interests in philosophy and in film and how they can come together.

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 gain other sorts of knowledge too, and that the reading process described by Gadamer and Cavell avoids excessive subjectivism. (shrink)

: Thoreau's journal contains a number of passages which explore the nature of perception, developing a response to skeptical doubt. The world outside the human mind is real, and there is nothing illusory about its perceived beauty and meaning. In this essay, I draw upon the work of Stanley Cavell (among others) in order to frame Thoreau's reflections within the context of the skeptical questions he seeks to address. Value is not a subjective projection, but it also cannot be (...) perceived without the appropriate kind of emotional orientation or attunement toward the world: that is, an attitude of trust or acceptance. Without this affective receptivity, or "perceptual faith," our knowledge of reality is limited. The beliefs we hold onto in the face of objective uncertainty establish the framework within which we make particular evaluations, and in this sense they are a necessary condition of practical reason. Every understanding has its mood. (shrink)

This article highlights sympathies between Wang Yangming's notion of zhenzhi (real knowing) and Stanley Cavell's concept of acknowledgment. I begin by noting a problem in interpreting Wang on the unity of knowing and acting, which leads to considering how our suffering pain figures in our “real knowing” of another's pain. I then turn to Cavell's description of a related problem in modern skepticism, where Cavell argues that knowing another's pain requires acknowledging it. Cavell's concept of acknowledgment (...) answers to Wang's insistence that knowing and acting are one, and corrects Antonio Cua's very different appropriation of “acknowledgment” to explain Wang's doctrine. (shrink)

Stanley Cavell’s account of aesthetic judgment has two components. The first is a feeling: the judge has to see, hear, ‘dig’ something in the object being judged, there has to be an ‘emotion’ that the judge feels and expresses. The second is the ‘discipline of accounting for [the judgment]’, a readiness to argue for one’s aesthetic judgment in the face of disagreement. The discipline of accounting for one’s aesthetic judgments involves what Nick Riggle has called a norm of convergence: (...) the judge aims to get one’s audience to taste see or hear what the judge tastes or sees or hears in the object being judged. Because of the unmistakable difficulty in reaching agreement in aesthetic judgment, Riggle has denied that aesthetic judgment requires a convergence norm and has proposed instead that it requires ‘a kind of harmony of individuality’ (which Riggle calls ‘vibing’). We argue that Cavell offers a version of the convergence norm that is distinct from those that Riggle criticizes, namely Kant’s demand for agreement and Andy Egan’s presupposition of similarity in dispositions in ‘non-defective’ aesthetic conversations. Cavell’s version of the convergence norm is ‘the hope of agreement’. One can hope that one’s audience will agree with one’s aesthetic judgments even when one isn’t in a position to demand agreement or to presuppose similarity in the dispositions that would make agreement more likely. Cavell’s distinct convergence norm avoids Riggle’s criticisms and contributes to a richer account of what’s going on when we disagree about aesthetic matters. (shrink)

Questions Cavell's thesis that scepticism is a "natural" condition for mankind, by exploring certain historical developments (such as the scientific revolution) which does give scepticism a "natural" place in modern thinking. Emphasis is laid upon the question how scepticism can be an overwhelming ordinary experience, which is traced back to the establishment of devices such as the microscope.

Resumen: Los trabajos abordan, desde diferentes perspectivas a la categoría de sujeto como una categoría crucial del pensamiento contemporáneo. El ámbito de preocupaciones es amplio: la perspectiva del filósofo norteamericano S Cavell quien hace una originalísima recepción de la herencia de Austin y Wittgenstein; la perspectiva fenomenológica de Sartre en diálogo y conflicto con la del psicoanálisis lacaniano y las reconceptualizaciones de la ideología realizadas por Louis Althusser; la constitución del sujeto en tensión entre la sujeción al poder y (...) las posibilidadesde resistencia según la perspectiva de Judith Butler; una relectura de la implicación de estructura y sujeto en la perspectiva estructural abierta por Saussure y continuada por Lévi-Strauss, Benveniste y Lacan, tema que recibe un tratamiento circunscripto al pensamiento del argentino Ernesto Laclau, en el que se distinguen distintas etapas; las implicaciones que los eventos fundamentales de la historia del siglo XX acarrean para una conceptualización de la subjetividad en la perspectiva de Theodor Adorno y las limitaciones que la conceptualización de la obra de arte como juego en la obra de Gadamer impone a la concepción moderna de la subjetividad. -/- Índice: Presentación del compilador La crítica de Heidegger a la noción de sujeto: un análisis a partir de la incidencia de su reflexión sobre la técnica y el lenguaje, Luciana Carrera Aizpitarte El juego como auto-representación y modo de ser de la obra de arte en la estética hermenéutica de Gadamer, Paola Belén El yo sobre la línea de ficción: análisis de las concepciones de Sartre y Lacan, Luisina Bolla El poder y el sujeto. Sujeción, norma y resistencia en Judith Butler, Matías Abeijón Theodor W. Adorno: la crítica al sujeto después de Auschwitz, Gustavo Robles Estructura, discurso y subjetividad, Pedro Karczmarczyk Transformaciones, rupturas y continuidades entre la perspectiva de Ernesto Laclau y la tradición (post)estructuralista, Hernán Fair La recuperación del sujeto: escepticismo, autoconocimiento y escritura en S. Cavell, Guadalupe Reinoso . (shrink)

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 considering a recent challenge to an old claim about the relation between jazz and democracy. Stanley Crouch claims that jazz practice is an emblem of democracy, while Benjamin Givan observes the undemocratic, hierarchical way that jazz musicians work together. But both positions rest on a limited notion of "democracy." I contrast it to the tradition in political thought that requires each citizen to find their own voice if they're to acquire the ability to govern themselves. Consequently, a better emblem of jazz's democratic advance lies in the challenge it presents to the attentive listener. Jazz listening is increasingly characterized by a learned culture of hearing what isn't played, hearing allusions, hearing unspoken interplay. The nature of this "hearing between the lines" parallels the tradition of esoteric writing in the history of political thought. It suggests that jazz's democratic importance is found in the listener's willingness to give voice to what she hears, not knowing whether her experience is shared by others or whether it singles her out, possibly for skepticism or ridicule. (shrink)

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 Cavell's 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.

If we are to escape reification—a sort of cogni- tive neutrality of basic, gnosic apprehension of the world plus a fundamental disrespect of the other as free agent—we should recognize our mode of existence as always already one of existential engagement with and within experience, aiming at articulating and expressing this engagement. One way of fully inhabiting this, let’s call it the proper human stance, is through recognizing a pendular space between the basic attitudes of acknowledging lived, shared interests and (...) values and avoiding being bound to and dependent on the values of others. Both philosophy as radical critical re- flection, and art, or artistic processes of production and re- ception, can be seen as invitations to inhabit this pendular space of human experience, by way of continually opening up our habits of sensibility to new engagements in thought and life, and successfully articulating and expressing these engagements in public forms. I take Cavell’s reading of Wittgenstein’s mature philosophy as an attuning to an apt attitude towards this invitation. Is this attitude one possible, non-procedural meaning of “liberalism”? (shrink)

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.

This article studies the political dimension of friendship in Robert Guédiguian’s cinema, delving into the crucial role that conversation plays in this relationship, and taking Stanley Cavell’s thought as a main reference. Aristotle’s concept of civic friendship, along with its contemporary readings, and Cavell’s notion of conversation provide a theoretical frame for the analysis of three recent feature films directed by Guédiguian that present a strong thematic and narrative unity (and have barely received attention in previous scholarship): Les (...) Neiges du Kilimandjaro/The Snows of Kilimanjaro (2011), La Villa/The House by the Sea (2017) and Gloria Mundi (2019). Based on, but going beyond, Cavell’s moral theorisation of the filmic portrayal of human relationships, the analysis of these films has identified four milestones in the transformative process—both personal and political—that stems from conversation with friends: conformity, confrontation, acknowledgement and renewed community. In all three films, this process of change is not only presented as a progressive discovery of one’s own voice, but also as a progressive unmasking: both are necessary prerequisites for welcoming foreigners in need of acknowledgement and, consequently, for the renewal of community. (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 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 ac-count of film noir, agreeing with Robert Pippin’s argument concerning film genres. Then, I claim that time and repetition, irony and hierarchy, art and per-spective 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 (...) art, perspective, time, repetition, irony and hierarchy are articulated in the main character’s gender identity. Finally, I suggest there is a deep connection be-tween the movie’s character constitution and Cavell’s understanding of gender and agency.Keywords: Film. Gender. Psychoanalysis. Cavell. Freud. (shrink)

In a series of early essays, beginning with "Must We Mean What We Say?", Stanley Cavell offers a sustained response to the argument that ordinary language philosophy is nothing more than amateur linguistics, carried out from the armchair -- so that philosophers' claims about "what we say", and what we mean when we say it, are necessarily in need of proper empirical support. The present paper provides a close reading of Cavell and a defense of his argument that, (...) since a philosopher's descriptions of our use of words are supposed to be an expression of *self*-knowledge, they do not require, and indeed cannot possibly find, any empirical justification. This does not guarantee that these descriptions are immune to error, nor does it mean they describe a different range of facts from the ones that are the subject-matter of linguistics and lexicography. Nor, finally, does it follow from this argument that observation of the facts of ordinary usage, as revealed e.g. in linguistic corpora, is of no use to the philosopher of ordinary language. I close with a brief discussion of what the shared nature of linguistic communication shows about how to understand the "we" in "what we say". (shrink)

Bazin, Cavell and other prominent theorists have asserted that movies are essentially photographic, with more recent scholars such as Carroll and Gaut protesting. Today CGI stands as a further counter, in addition to past objections such as editing, animation and blue screen. Also central in debates is whether photog- raphy is transparent, that is, whether it allows us to see things in other times and places. I maintain photography is transparent, notwithstanding objections citing dig- ital manipulation. However, taking a (...) cue from Cavell—albeit one poorly outlined in his work—I argue this is not so much because of what photography physically is, but because of what “photography” has come to mean. I similarly argue digital tech- nologies have not significantly altered what cinematic media “are” because they have not fundamentally modified what they mean; and that cinema retains a photographic legacy, even when it abandons photographic technologies to digitally manufacture virtual worlds. (shrink)

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

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 viewed as concerned with resuscitating the latter’s individuality, thereby allowing Arjuna to overcome an unthinking conformity to the current degenerate state of his society. This leads me to explore the relation between this perfectionist understanding of spiritual reorientation and the Gītā’s religious account of human redemption; and to conclude by suggesting how the text of the Gītā itself might have similar therapeutic designs upon its readers. (shrink)

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)

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. Austin’s How to Do Things with Words comes to play a greater role in his film writing. In this late period, Cavell no longer conceives of topics of film criticism as filmic “wholes” but rather, more loosely, along the lines of what Austin called “total speech situations.” I claim that the culmination of this turn lies in Cavell’s writing on the expressive powers of collections. In closing, I demonstrate the possibilities of the late Cavell’s thinking about collections and “passionate utterances” for found-footage filmmaking by discussing Mexican experimental filmmaker Bruno Varela’s Monolito (2019), with particular attention to how Varela uses archival footage to fulfill the exigencies of finding new modes of expression at just the moment when a world is receding from view. (shrink)

Bazin, Cavell and other prominent theorists have asserted that movies are essentially photographic, with more recent scholars such as Carroll and Gaut protesting. Today CGI stands as a further counter, in addition to past objections such as editing, animation and blue screen. Also central in debates is whether photography is transparent, that is, whether it allows us to see things in other times and places. I maintain photography is transparent, notwithstanding objections citing digital manipulation. However, taking a cue from (...) Cavell—albeit one poorly outlined in his work—I argue this is not so much because of what photography physically is, but because of what “photography” has come to mean. I similarly argue digital technologies have not significantly altered what cinematic media “are” because they have not fundamentally modified what they mean; and that cinema retains a photographic legacy, even when it abandons photographic technologies to digitally manufacture virtual worlds. (shrink)

Whereas recent commentators have suggested that consumer demand, typecasting and marketing lead performers to maintain continuities across films, I argue that cinema has historically made it difficult to subtract performers from roles, leading to relatively constant comportment, and that casting, marketing and audience preference are not only causes but also effects of this. I do so using thought experiments and empirical experiments, for example, by pondering why people say they see Jesus in paintings of him and rarely mention models, but (...) stress that they see actors when encountering photographic stills of performers portraying him. Arguably, this relates to what photographs have historically come to mean, and these meanings would make it difficult for audiences to subtract and not see the actor. Based on such thinking, along with what filmmakers have said and done, and adding to classic accounts of Cavell, Santayana and others, I build the case that cinematic media invite performers to play themselves. (shrink)

Schelling's philosophy can be seen as perpetrating the philosophical fallacy known as the Myth of the Given, in that it takes rational activity to be affected by an experience which is not conceptually mediated. This is supported by Schelling's repeated claim that there is an experience which is indescribable, and which forces us to silence. In the first part of the paper it will be shown how different readings of Schelling result in this fallacy. In the second and third parts (...) an alternative reading will be developed which avoids the fallacy while still making room for unsayable experience. Finally, the proposed interpretation will enable us to interpret Schelling's claim that expressing the unsayable, conveying it to another, is possible after all. »The wish for intelligibility is a terrible one. It means that we are willing to reveal ourselves through the self 's betrayal of itself.« (Stanley Cavell, The World Viewed. (shrink)

It is generally recognized that Adorno and Levinas should both be read as urging a rethinking of ethics in light of Auschwitz. This demand should be understood in terms of the acknowledgement of transcendence. A phenomenological account of the event of Auschwitz developed by Todes motivates my use of Cavell’s distinction between acknowledgement and knowledge. Both Levinas and Adorno argue that an ethically adequate acknowledgement of transcendence requires that the traditional concept of transcendence as represented in theodicy must be (...) rejected. This rejection takes the form of a rejection of theodicy (Levinas) and a negative theodicy (Adorno). I argue that Adorno’s response is superior because it is a response to the specificity and particularity of the event of Auschwitz as the destruction of, rather than merely the denial of, the humanity of both perpetrators and victims. (shrink)