An autobiography in the form of a philosophical diary, Little Did I Know's underlying motive is to describe the events of a life that produced the kind of writing associated with Stanley Cavell's name. Cavell recounts his journey from early childhood in Atlanta, Georgia, through musical studies at UC Berkeley and Julliard, his subsequent veering off into philosophy at UCLA, his Ph.D. studies at Harvard, and his half century of teaching. Influential people from various fields figure prominently or in passing over the course of this memoir. J.L. Austin, Ernest Bloch, Roger Sessions, Thomas Kuhn, Robert Lowell, Rogers Albritton, Seymour Shifrin, John Rawls, Bernard Williams, W. V. O. Quine, and Jacques Derrida are no longer with us; but Cavell also pays homage to the living: Michael Fried, John Harbison, Rose Mary Harbison, Kurt Fischer, Milton Babbitt, Thompson Clarke, John Hollander, Hilary Putnam, Sandra Laugier, Belle Randall, and Terrence Malick. The drift of his narrative also registers the decisiveness of the relatively unknown and the purely accidental. Cavell's life has produced a trail of some eighteen published books that range from treatments of individual writers like Wittgenstein, Austin, Emerson, Thoreau, Heidegger, Shakespeare, and Beckett to studies in aesthetics, epistemology, moral and political philosophy, cinema, opera, and religion.
This handsome new edition of Stanley Cavell's landmark text, first published 20 years ago, provides a new preface that discusses the reception and influence of his work, which occupies a unique niche between philosophy and literary studies.
Stanley Cavell is a titan of the academic world; his work in aesthetics and philosophy has shaped both fields in the United States over the past forty years. In this brief yet enlightening collection of lectures, Cavell investigates the work of two of his most tried-and-true subjects: Emerson and Wittgenstein. Beginning with an introductory essay that places his own work in a philosophical and historical context, Cavell guides his reader through his thought process when composing and editing his lectures while making larger claims about the influence of institutions on philosophers, and the idea of progress within the discipline of philosophy. In “Declining Decline,” Cavell explains how language modifies human existence, looking specifically at the culture of Wittgenstein’s writings. He draws on Emerson, Thoreau, and many others to make his case that Wittgenstein can indeed be viewed as a “philosopher of culture.” In his final lecture, “Finding as Founding,” Cavell writes in response to Emerson’s “Experience,” and explores the tension between the philosopher and language—that he or she must embrace language as his or her “form of life,” while at the same time surpassing its restrictions. He compares finding new ideas to discovering a previously unknown land in an essay that unabashedly celebrates the power and joy of philosophical thought.
This collection showcases Stanley Cavell's work, while illustrating the variety of Cavell's interests: in the ordinary language philosophy of Wittgenstein and Austin, in film criticism and theory, in literature, psychoanalysis, and the American transcendentalism of Ralph Waldo Emerson and Henry David Thoreau.
This groundbreaking collection of contributions by leading philosophers offers a new way of thinking about animal rights, our obligation to animals, and the nature of philosophy itself.
Seeking for philosophy the same spirit and assurance conveyed by artists like Fred Astaire, Cavell presents essays exploring the meaning of grace and gesture in film and on stage, in language and in life. Critical to the renaissance in American thought Cavell hopes to provoke is the recognition of the centrality of the “ordinary” to American life.
In this most recent collection of his writing, Cavell provides extraordinary careful and sustained readings of Emerson's "Fate", Derrida's response to J. L. Austin in "Signature Event Context", and Wittgenstein's Philosophical Investigations d.
Since Socrates and his circle first tried to frame the Just City in words, discussion of a perfect communal life--a life of justice, reflection, and mutual respect--has had to come to terms with the distance between that idea and reality. Measuring this distance step by practical step is the philosophical project that Stanley Cavell has pursued on his exploratory path. Situated at the intersection of two of his longstanding interests--Emersonian philosophy and the Hollywood comedy of remarriage--Cavell's new work marks a significant advance in this project. The book--which presents a course of lectures Cavell presented several times toward the end of his teaching career at Harvard--links masterpieces of moral philosophy and classic Hollywood comedies to fashion a new way of looking at our lives and learning to live with ourselves. This book offers philosophy in the key of life. Beginning with a rereading of Emerson's "Self-Reliance," Cavell traces the idea of perfectionism through works by Plato, Aristotle, Locke, Kant, Mill, Nietzsche, and Rawls, and by such artists as Henry James, George Bernard Shaw, and Shakespeare. Cities of Words shows that this ever-evolving idea, brought to dramatic life in movies such as It Happened One Night, The Awful Truth, The Philadelphia Story, and The Lady Eve, has the power to reorient the perception of Western philosophy.
“Themes out of School . . . cannot help but urge us to think, in fresh and undistracted ways, about the world that actually confronts us.” —Jay Parini, Hudson Review In the first essay of this book, Stanley Cavell characterizes philosophy as a “willingness to think not about something other than what ordinary human beings think about, but rather to learn to think undistractedly about things that ordinary human beings cannot help thinking about, or anyway cannot help having occur to them, sometimes in fantasy, sometimes as a flash across a landscape.” Fantasies of film and television and literature, flashes across the landscape of literary theory, philosophical discourse, and French historiography give Cavell his starting points in these twelve essays. Here is philosophy in and out of “school,” understood as a discipline in itself or thought through the works of Shakespeare, Molière, Kierkegaard, Thoreau, Brecht, Makavejev, Bergman, Hitchcock, Astaire, and Keaton.
This book is an invitation to the life of philosophy in the United States, as Emerson once lived it and as Stanley Cavell now lives it--in all its topographical ambiguity. Cavell talks about his vocation in connection with what he calls voice--the tone of philosophy--and his right to take that tone, and to describe an anecdotal journey toward the discovery of his own voice.
Looks at seven classic romantic comedies of the thirties and forties, and compares what each film expresses about marriage, interdependence, equality, and sexual roles.
Stanley Cavell, one of America's most distinguished philosophers, has written an invaluable companion volume to Walden, a seminal book in our cultural heritage. This expanded edition includes two essays on Emerson.
Stanley Cavell, one of America's most distinguished philosophers, has written an invaluable companion volume to Walden, a seminal book in our cultural heritage. This expanded edition includes two essays on Emerson.
This book is Stanley Cavells definitive expression on Emerson. Over the past thirty years, Cavell has demonstrated that he is the most emphatic and provocative philosophical critic of Emerson that America has yet known. The sustained effort of that labor is drawn together here for the first time into a single volume, which also contains two previously unpublished essays and an introduction by Cavell that reflects on this book and the history of its emergence. Students and scholars working in philosophy, literature, American studies, history, film studies, and political theory can now more easily access Cavells luminous and enduring work on Emerson. Such engagement should be further complemented by extensive indices and annotations. If we are still in doubt whether America has expressed itself philosophically, there is perhaps no better space for inquiry than reading Cavell reading Emerson.
In their thoughtful study of one of Stanley Cavell's greatest yet most neglected books, William Rothman and Marian Keane address this eminent philosopher's many readers, from a variety of disciplines, who have neither understood why he has given film so much attention, nor grasped the place of The World Viewed within the totality of his writings about film. Rothman and Keane also reintroduce The World Viewed to the field of film studies. When the new field entered universities in the late 1960s, it predicated its legitimacy on the conviction that the medium's artistic achievements called for serious criticism and on the corollary conviction that no existing field was capable of the criticism filmed called for. The study of film needed to found itself, intellectually, upon a philosophical investigation of the conditions of the medium and art of film. Such was the challenge The World Viewed took upon itself. However, film studies opted to embrace theory as a higher authority than our experiences of movies, divorcing itself from the philosophical perspective of self-reflection apart from which, The World Viewed teaches, we cannot know what movies mean, or what they are. Rotham and Keane now argue that the poststructuralist theories that dominated film studies for a quarter of a century no longer compel conviction, Cavell's brilliant and beautiful book can provide a sense of liberation to a field that has forsaken its original calling. Read in a way that acknowledges its philosophical achievement, The World Viewed can show the field a way to move forward by rediscovering its passion for the art of film. Reading Cavell's The World Viewed will prove invaluable to scholars and students of film and philosophy, and to those in other fields, such as literary studies and American studies, who have found Cavell's work provocative an fruitful. -- Wayne State University Press.
The first posthumous collection from the writings of Stanley Cavell, shedding new light on the distinctive vision and intellectual trajectory of an influential American philosopher. For Stanley Cavell, philosophy was a matter of responding to the voices of others. Throughout his career, he articulated the belief that words spring to life in concrete circumstances of speech: the significance and power of language depend on the occasions that elicit it. When Cavell died in 2018, he left behind some of his own most powerful language--a plan for a book collecting numerous unpublished essays and lectures, as well as papers printed in niche journals. Here and There presents this manuscript, with thematically relevant additions, for the first time. These writings, composed between the 1980s and the 2000s, reflect Cavell's expansive interests and distinctive philosophical method. The collection traverses all the major themes of his immense body of work: modernity, psychoanalysis, the human voice, moral perfectionism, tragedy, skepticism. Cavell's rich and cohesive philosophical vision unites his wide-ranging engagement with poets, critics, psychoanalysts, social scientists, and fellow philosophers. In Here and There, readers will find dialogues with Shakespeare, Thoreau, Wittgenstein, Freud, Heidegger, Walter Benjamin, Wallace Stevens, Veena Das, and Peter Kivy, among others. One of the collection's most striking features is an ensemble of five pieces on music, constituting Cavell's first discussion of the subject since the mid-1960s. Edited by philosophers who have been invested in Cavell's work for decades, Here and There not only gathers the strands of a writing life but also maps its author's intellectual journeys. In these works, Cavell models what it looks like to examine seriously one's own passions and to forge new communities through unexpected conversations.
This volume is essential collection of readers from the work of Stanley Cavell, one of the most influential American philosophers of the twentieth century. It provides those who are unfamiliar with Cavell's work with an overview of its strategic purpose, its central theme, and its argumentative development.
This collection showcases Stanley Cavell's work, while illustrating the variety of Cavell's interests: in the ordinary language philosophy of Wittgenstein and Austin, in film criticism and theory, in literature, psychoanalysis, and the American transcendentalism of Ralph Waldo Emerson and Henry David Thoreau.
Since the publication of his celebrated first essay on Shakespeare, The Avoidance of Love: A reading of King Lear, Stanley Cavell has continued to explore radically new and provocative interpretations of a number of the plays. This volume collects those writings for the first time and includes pieces not previously published. The essays are bound together by a concern for scepticism. In Coriolanus' disdain, Leontes' and Othello's jealousy, Hamlet's inertia, and Lear's exorbitance, Stanley Cavell sees Shakespeare as offering, for the first time in European letters, a profound diagnosis of the sceptical refusal to acknowledge truths about oneself and one's relations to others, and as exploring the motives and tragic consequences of that refusal. His readings of the plays are subtle and challenging, and the insights they contain often startle by both their originality and their familiarity. As a whole they present a unique point of view on the plays.
Reissued with a new preface and a new essay on Macbeth, King Lear, Othello, Coriolanius, Hamlet and The Winter's Tale, this famous collection of essays on Shakespeare's tragedies considers the plays as responses to the crisis of knowledge and the emergence of modern skepticism.
This book is Stanley Cavells definitive expression on Emerson. Over the past thirty years, Cavell has demonstrated that he is the most emphatic and provocative philosophical critic of Emerson that America has yet known. The sustained effort of that labor is drawn together here for the first time into a single volume, which also contains two previously unpublished essays and an introduction by Cavell that reflects on this book and the history of its emergence. Students and scholars working in philosophy, literature, American studies, history, film studies, and political theory can now more easily access Cavells luminous and enduring work on Emerson. Such engagement should be further complemented by extensive indices and annotations. If we are still in doubt whether America has expressed itself philosophically, there is perhaps no better space for inquiry than reading Cavell reading Emerson.
An autobiography in the form of a philosophical diary, Little Did I Know's underlying motive is to describe the events of a life that produced the kind of writing associated with Stanley Cavell's name. Cavell recounts his journey from early childhood in Atlanta, Georgia, through musical studies at UC Berkeley and Julliard, his subsequent veering off into philosophy at UCLA, his Ph.D. studies at Harvard, and his half century of teaching. Influential people from various fields figure prominently or in passing over the course of this memoir. J.L. Austin, Ernest Bloch, Roger Sessions, Thomas Kuhn, Robert Lowell, Rogers Albritton, Seymour Shifrin, John Rawls, Bernard Williams, W. V. O. Quine, and Jacques Derrida are no longer with us; but Cavell also pays homage to the living: Michael Fried, John Harbison, Rose Mary Harbison, Kurt Fischer, Milton Babbitt, Thompson Clarke, John Hollander, Hilary Putnam, Sandra Laugier, Belle Randall, and Terrence Malick. The drift of his narrative also registers the decisiveness of the relatively unknown and the purely accidental. Cavell's life has produced a trail of some eighteen published books that range from treatments of individual writers like Wittgenstein, Austin, Emerson, Thoreau, Heidegger, Shakespeare, and Beckett to studies in aesthetics, epistemology, moral and political philosophy, cinema, opera, and religion.
The first posthumous collection from the writings of Stanley Cavell, shedding new light on the distinctive vision and intellectual trajectory of an influential American philosopher. For Stanley Cavell, philosophy was a matter of responding to the voices of others. Throughout his career, he articulated the belief that words spring to life in concrete circumstances of speech: the significance and power of language depend on the occasions that elicit it. When Cavell died in 2018, he left behind some of his own most powerful language--a plan for a book collecting numerous unpublished essays and lectures, as well as papers printed in niche journals. Here and There presents this manuscript, with thematically relevant additions, for the first time. These writings, composed between the 1980s and the 2000s, reflect Cavell's expansive interests and distinctive philosophical method. The collection traverses all the major themes of his immense body of work: modernity, psychoanalysis, the human voice, moral perfectionism, tragedy, skepticism. Cavell's rich and cohesive philosophical vision unites his wide-ranging engagement with poets, critics, psychoanalysts, social scientists, and fellow philosophers. In Here and There, readers will find dialogues with Shakespeare, Thoreau, Wittgenstein, Freud, Heidegger, Walter Benjamin, Wallace Stevens, Veena Das, and Peter Kivy, among others. One of the collection's most striking features is an ensemble of five pieces on music, constituting Cavell's first discussion of the subject since the mid-1960s. Edited by philosophers who have been invested in Cavell's work for decades, Here and There not only gathers the strands of a writing life but also maps its author's intellectual journeys. In these works, Cavell models what it looks like to examine seriously one's own passions and to forge new communities through unexpected conversations.
Touching on the work of philosophers including Richardson, Kant, Hume, Wittgenstein, Nietzsche, and Dewey, this study examines the history of what philosophers have had to say about "Shakespeare" as a subject of philosophy, from the seventeenth-century to the present. Stanley Stewart's volume will be of interest to Shakespeareans, literary critics, and philosophers.
The concept of the ordinary, along with such cognates as everyday life, ordinary language, and ordinary experience, has come into special prominence in late modern philosophy. Thinkers have employed two opposing yet related responses to the notion of the ordinary: scientific and phenomenological approaches on the one hand, and on the other, more informal or even anti-scientific procedures. Eminent philosopher Stanley Rosen here presents the first comprehensive study of the main approaches to theoretical mastery of ordinary experience. He evaluates the responses of a wide range of modern and contemporary thinkers and grapples with the peculiar problem of the ordinary—how to define it in its own terms without transforming it into a technical (and so, extraordinary) artifact. Rosen’s approach is both historical and philosophical. He offers Montesquieu and Husserl as examples of the scientific approach to ordinary experience; contrasts Kant and Heidegger with Aristotle to illustrate the transcendental approach and its main alternatives; discusses attempts by Wittgenstein and Strauss to return to the pre-theoretical domain; and analyzes the differences among such thinkers as Moore, Austin, Grice, and Russell with respect to the analytical response to ordinary language. Rosen concludes with a theoretical exploration of the central problem of how to capture the elusive ordinary intact.
In this book Stanley Hauerwas explores the significance of eschatological reflection for helping the church negotiate the contemporary world. In Part One, ‘Theological Matters’, Hauerwas directly addresses his understanding of the eschatological character of the Christian faith. In Part Two, ‘Church and Politics’, he deals with the political reality of the church in light of the end, addressing such issues as the divided character of the church, the imperative of Christian unity, and the necessary practice of sacrifice.
This book is Stanley Cavell's definitive expression on Emerson. Over the past thirty years, Cavell has demonstrated that he is the most emphatic and provocative philosophical critic of Emerson that America has yet known. The sustained effort of that labor is drawn together here for the first time into a single volume, which also contains two previously unpublished essays and an introduction by Cavell that reflects on this book and the history of its emergence. Students and scholars working in philosophy, literature, American studies, history, film studies, and political theory can now more easily access Cavell's luminous and enduring work on Emerson. Such engagement should be further complemented by extensive indices and annotations. If we are still in doubt whether America has expressed itself philosophically, there is perhaps no better space for inquiry than reading Cavell reading Emerson.
Practices of Surprise in American Literature After Emerson locates a paradoxical question - how does one prepare to be surprised? - at the heart of several major modernist texts. Arguing that this paradox of perception gives rise to an American literary methodology, this book dramatically reframes how practices of reading and writing evolved among modernist authors after Emerson. Whereas Walter Benjamin defines modernity as a 'series of shocks' inflicted from without, Emerson offers a countervailing optic that regards life as a 'series of surprises' unfolding from within. While Benjaminian shock elicits intimidation and defensiveness, Emersonian surprise fosters states of responsiveness and spontaneity whereby unexpected encounters become generative rather than enervating. As a study of how such states of responsiveness were cultivated by a post-Emerson tradition of writers and thinkers, this project displaces longstanding models of modernist perception defined by shock's passive duress, and proposes alternate models of reception that proceed from the active practice of surprise.
A provocative case for the inherently political nature of language In The Politics of Language, David Beaver and Jason Stanley present a radical new approach to the theory of meaning, offering an account of communication in which political and social identity, affect, and shared practices play as important a role as information. This new view of language, they argue, has dramatic consequences for free speech, democracy, and a range of other areas in which speech plays a central role. Drawing on a wealth of disciplines, The Politics of Language argues that the function of speech—whether in dialogue, larger group interactions, or mass communication—is to attune people to something, be it a shared reality, emotion, or identity. Reconceptualizing the central ideas of pragmatics and semantics, Beaver and Stanley apply their account to a range of phenomena that defy standard frameworks in linguistics and philosophy of language—from dog whistles and covert persuasion to echo chambers and genocidal speech. The authors use their framework to show that speech is inevitably political because all communication is imbued with the resonances of particular ideologies and their normative perspectives on reality. At a time when democracy is under attack, authoritarianism is on the rise, and diversity and equality are being demanded, The Politics of Language offers a powerful new vision of the language of politics, ideology, and protest.
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