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William Day [19]William Blaine Day [1]
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William Day
Le Moyne College
  1.  23
    "Art and Baseball, Like and Unlike." Review of Serious Larks: The Philosophy of Ted Cohen, Edited by Daniel Herwitz. [REVIEW]William Day - 2019 - American Book Review 40:12-13.
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  2.  65
    The Aesthetic Dimension of Wittgenstein's Later Writings.William Day - 2017 - In Garry L. Hagberg (ed.), Wittgenstein on Aesthetic Understanding. pp. 3-29.
    In this essay I argue the extent to which meaning and judgment in aesthetics figures in Wittgenstein’s later conception of language, particularly in his conception of how philosophy might go about explaining the ordinary functioning of language. Following a review of some biographical and textual matters concerning Wittgenstein’s life with music, I outline the connection among (1) Wittgenstein’s discussions of philosophical clarity or perspicuity, (2) our attempts to give clarity to our aesthetic experiences by wording them, and (3) the clarifying (...)
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  3.  67
    To Not Understand, but Not Misunderstand: Wittgenstein on Shakespeare.William Day - 2013 - In Sascha Bru, Wolfgang Huemer & Daniel Steuer (eds.), Wittgenstein Reading. Berlin: pp. 39-53.
    Wittgenstein's lack of sympathy for Shakespeare's works has been well noted by George Steiner and Harold Bloom among others. Wittgenstein writes in 1950, for instance: "It seems to me as though his pieces are, as it were, enormous sketches, not paintings; as though they were dashed off by someone who could permit himself anything, so to speak. And I understand how someone may admire this & call it supreme art, but I don't like it." Of course, the animosity of one (...)
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  4. Seeing Wittgenstein Anew.William Day & Victor J. Krebs (eds.) - 2010 - Cambridge, UK: Cambridge University Press.
    Seeing Wittgenstein Anew is the first collection to examine Ludwig Wittgenstein’s remarks on the concept of aspect-seeing. These essays show that aspect-seeing was not simply one more topic of investigation in Wittgenstein’s later writings, but, rather, that it was a pervasive and guiding concept in his efforts to turn philosophy’s attention to the actual conditions of our common life in language. Arranged in sections that highlight the pertinence of the aspect-seeing remarks to aesthetic and moral perception, self-knowledge, mind and consciousness, (...)
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  5.  60
    Moonstruck, or How to Ruin Everything.William Day - 2003 - In Kenneth Dauber & Walter Jost (eds.), Ordinary Language Criticism: Literary Thinking after Cavell after Wittgenstein. Evanston, IL, USA: Northwestern University Press. pp. 315-328.
    A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.
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  6.  28
    Seeing Aspects in Wittgenstein.William Day & Victor J. Krebs - 2010 - In William Day & Víctor J. Krebs (eds.), Seeing Wittgenstein Anew. Cambridge University Press.
    This is the introduction to Seeing Wittgenstein Anew, eds. William Day & Victor J. Krebs (Cambridge UP, 2010), a collection of essays on Ludwig Wittgenstein's remarks on aspect-seeing. Section 1: Why Seeing Aspects Now?; Section 2: The Importance of Seeing Aspects; Section 3: The Essays. (The front matter to Seeing Wittgenstein Anew appears above under "Books.").
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  7.  37
    The Ecstasy of Time Travel in Werner Herzog's Cave of Forgotten Dreams.William Day - 2017 - In David LaRocca (ed.), The Philosophy of Documentary Film: Image, Sound, Fiction, Truth. Lanham, MD 20706, USA: Lexington Books. pp. 209-224.
    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 (...)
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  8.  48
    Moonstruck, or How to Ruin Everything.William Day - 1995 - Philosophy and Literature 19 (2):292-307.
    A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.
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  9.  75
    Knowing as Instancing: Jazz Improvisation and Moral Perfectionism.William Day - 2000 - Journal of Aesthetics and Art Criticism 58 (2):99-111.
    This essay presents an approach to understanding improvised music, finding in the work of certain outstanding jazz musicians an emblem of Ralph Waldo Emerson's notion of self-trust and of Stanley Cavell's notion of moral perfectionism. The essay critiques standard efforts to interpret improvised solos as though they were composed, contrasting that approach to one that treats the procedures of improvisation as derived from our everyday actions. It notes several levels of correspondence between our interest in jazz improvisations and the particular (...)
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  10.  42
    Wanting to Say Something: Aspect-Blindness and Language.William Day - 2010 - In William Day & Víctor J. Krebs (eds.), Seeing Wittgenstein Anew. Cambridge University Press.
    "Lest one think that the focus on aspect-seeing in Wittgenstein is only a means to more contemporary philosophical ends, one ought to read Day’s remarkable 'Wanting to Say Something: Aspect-Blindness and Language'. Day considers the issue of aspect-blindness, arguing that universal aspect-blindness is impossible for beings with language. Specifically, he shows that a child’s first attempt at language, at trying “bloh” for “ball,” is neither an indication that the child sees the ball for the first time, nor an indication that (...)
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  11.  25
    Jazz Improvisation, the Body, and the Ordinary.William Day - 2002 - Tidskrift För Kulturstudier 5:80-94.
    What is one doing when one improvises music, as one does in jazz? There are two sorts of account prominent in jazz literature. The traditional answer is that one is organizing sound materials in the only way they can be organized if they are to be musical. This implies that jazz solos are to be interpreted with the procedures of written music in mind. A second, more controversial answer is offered in David Sudnow's pioneering account of the phenomenology of improvisation, (...)
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  12.  28
    Zhenzhi and Acknowledgment in Wang Yangming and Stanley Cavell.William Day - 2012 - Journal of Chinese Philosophy 39 (S1):51-68.
    The present article is a slightly revised version of my article in Journal of Chinese Philosophy 39, no. 2 (2012): 174–91. I appreciate the opportunity to republish with very minor corrections. 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. (...)
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  13.  48
    Zhenzhi and Acknowledgment in Wang Yangming and Stanley Cavell.William Day - 2012 - Journal of Chinese Philosophy 39 (2):174-191.
    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 (...)
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  14.  18
    A Soteriology of Reading: Cavell's Excerpts From Memory.William Day - 2011 - In James Loxley & Andrew Taylor (eds.), Stanley Cavell: Philosophy, Literature and Criticism. Manchester, UK: pp. 76-91.
    "William Day is . . . concerned to explore the dynamics of what Cavell calls 'a theology of reading' through a careful examination of a fragment of the philosopher's autobiography first published as 'Excerpts from Memory' (2006) and subsequently revised for Little Did I Know (2010). If, as Cavell suggests, 'the underlying subject' of both criticism and philosophy is 'the subject of examples', in which our interest lies in their emblematic aptness or richness as exemplars, exemplarity becomes central to the (...)
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  15.  58
    The Ends of Improvisation.William Day - 2010 - Journal of Aesthetics and Art Criticism 68 (3):291-296.
    This essay attempts to address the question, "What makes an improvised jazz solo a maturation of the possibilities of this artform?" It begins by considering the significance of one distinguishable feature of an improvised jazz solo - how it ends - in light of Joseph Kerman's seemingly parallel consideration of the historical development of how classical concertos end. After showing the limits of this comparison, the essay proposes a counter-parallel, between the jazz improviser's attitude toward the solo's end and Ludwig (...)
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  16.  14
    Review of Richard Shusterman, Performing Live: Aesthetic Alternatives for Ends of Art. [REVIEW]William Day - 2004 - Journal of Aesthetics and Art Criticism 62:300-302.
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  17. I Don't Know, Just Wait: Remembering Remarriage in Eternal Sunshine of the Spotless Mind.William Day - 2011 - In David LaRocca (ed.), The Philosophy of Charlie Kaufman. University Press of Kentucky.
    "In 'I Don't Know, Just Wait: Remembering Remarriage in Eternal Sunshine of the Spotless Mind', William Day shows how Kaufman's Eternal Sunshine of the Spotless Mind should be considered part of the film genre known as remarriage comedy; but he also shows how Kaufman contributes something new to the genre. Day addresses, in particular, how the conversation that is the condition for reunion involves discovering 'what it means to have memories together as a way of learning how to be together'. (...)
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  18.  24
    Review of Roger Scruton, A Short History of Modern Philosophy: From Descartes to Wittgenstein. [REVIEW]William Day - 1997 - Philosophy in Review 17 (5):371-372.
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  19.  26
    Review of Gustaaf Van Cromphout, Emerson's Ethics. [REVIEW]William Day - 2001 - Ethics 111 (4):830-832.
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  20.  32
    Philosophy and 'The Literary Question': Wittgenstein, Emerson, and Strauss on the Community of Knowing.William Blaine Day - 1999 - Dissertation, Columbia University
    Despite their differences, Ludwig Wittgenstein, Ralph Waldo Emerson, and Leo Strauss share two key philosophical commitments. They recognize that philosophy cannot establish or discover a conceptual structure to which one might appeal to justify what one says. And they agree that the task of philosophical writing is to convey a way of thinking set apart from that which seeks to establish or discover conceptual structures. Yet each knows that his writing, in the absence of a universal ground of appeal, will (...)
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