Is the essay literature or philosophy? A form of art or a form of knowledge? The contemporary essay is torn between its belletrist ancestry and its claim to philosophical legitimacy. The Spanish philosopher Eduardo Nicol captured the genre's uncertain status when he dubbed it “almost literature and almost philosophy” (Nicol 1961:207). The problem is hardly a new one. It goes back to what Plato called the “ancient quarrel” between poetry and philosophy, and more recently to the German Romantic theorist, Friedrich (...) Schlegel, who called for a mode of criticism which would be at once philosophical and poetic. But today, when the status of critical discourse is up for grabs, reflecting the crisis of knowledge in the universities, the question of the essay takes on a new urgency. Now the predominant form of writing in the human sciences, it cannot avoid the challenge to define itself according to the prevailing standards of scientific knowledge and method. (shrink)

"In describing Hauerwas' work as Christian ethics, one can allow that phrase its full scope of meaning. It is the work of an ethician who is thoroughly conversant with that branch of philosophy and comes to grips with its major issues. He is also firmly committed to the view that, in modifying the substantive 'ethics' with the adjective 'Christian, ' one is designating a distinct reality. . . . Hauerwas invites us to share an understanding of ethics in general and (...) of Christian ethics in particular that is a great deal subtler and more complicated than most currently popular versions of those subjects. For contemporary Christian ethics to accept his invitation will mean letting itself in for some very rigorous and versatile thinking." --America. (shrink)

Jason Stanley's "Knowledge and Practical Interests" is a brilliant book, combining insights about knowledge with a careful examination of how recent views in epistemology fit with the best of recent linguistic semantics. Although I am largely convinced by Stanley's objections to epistemic contextualism, I will try in what follows to formulate a version that might have some prospect of escaping his powerful critique.

Many philosophers believe that there is a fundamental distinction between knowing that something is the case and knowing how to do something. According to Gilbert Ryle, to whom the insight is credited, knowledge-how is an ability, which is in turn a complex of dispositions. Knowledge-that, on the other hand, is not an ability, or anything similar. Rather, knowledge-that is a relation between a thinker and a true proposition.

Quantification is a topic which brings together linguistics, logic, and philosophy. Quantifiers are the essential tools with which, in language or logic, we refer to quantity of things or amount of stuff. In English they include such expressions as no, some, all, both, many. Peters and Westerstahl present the definitive interdisciplinary exploration of how they work - their syntax, semantics, and inferential role.

Quantification is a topic which brings together linguistics, logic, and philosophy. Quantifiers are the essential tools with which, in language or logic, we refer to quantity of things or amount of stuff. In English they include such expressions as no, some, all, both, many. Peters and Westerstahl present the definitive interdisciplinary exploration of how they work - their syntax, semantics, and inferential role.

What is film? Why are movies important? Why do we care about them in the way we do? How do we think of the connections between the projected image and what it is actually an image of? Most movie-goers assume that they are entitled to make jugments and come to conclusions about the movies they see--to evaluate how "good" they are, or what they "mean." But what do they base, or what should they base, their judgments on? In this thought-provoking (...) new book, Stanley Cavell, a professor of philosophy and aesthetics at Harvard who has long taken a lively interest in movies, looks closely at these and other questions concerning America's most popular art and the perceptions we make of, by, and through it. His answers are surprising and important--not only to our understanding of film and of ourselves, but to our expectations of life and art. Mr. Cavell's explorations of some of Hollywood's stars, directors, and most famous films--as well as his fresh look at Godard, Bergman, and other great European directors--will be of lasting interest to movie-viewers and intelligent people of all ages. (shrink)

Development and Evolution surveys and illuminates the key themes of rapidly changing fields and areas of controversy that the redefining the theory and philosophy of biology. It continues Stanley Salthe's investigation of evolutionary theory, begun in his influential book Evolving Hierarchical Systems, while negating the implicit philosophical mechanisms of much of that work. Here Salthe attempts to reinitiate a theory of biology from the perspective of development rather than from that of evolution, recognizing the applicability of general systems thinking (...) to biological and social phenomena and pointing towards a non-Darwinian and even a postmodern biology. (shrink)

This book is a major contribution to the study of the philosophy of action, moral philosophy, and political philosophy. Its central idea is a radically unorthodox theory of rational action. Most contemporary Anglo-American philosophers believe that action is motivated by desire. Professor Benn rejects the doctrine and replaces it with a reformulation of Kant's ethical and political theory, in which rational action can be determined simply by principles, regardless of consequences. The book analyzes the way in which value conflicts can (...) be rationally resolved, the objectivity of value, the concept of moral personality, the principles of non-interference and respect of persons, the ideals of autonomy and community and various aspects of individual rights - focusing on the rights to freedom, welfare, and privacy. (shrink)

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.

In an era when much of what passes for debate is merely moral posturing--traditional family values versus the cultural elite, free speech versus censorship--or reflexive name-calling--the terms "liberal" and "politically correct," are used with as much dismissive scorn by the right as "reactionary" and "fascist" are by the left--Stanley Fish would seem an unlikely lightning rod for controversy. A renowned scholar of Milton, head of the English Department of Duke University, Fish has emerged as a brilliantly original critic of (...) the culture at large, praised and pilloried as a vigorous debunker of the pieties of both the left and right. His mission is not to win the cultural wars that preoccupy the nation's attention, but rather to redefine the terms of battle. In There's No Such Thing as Free Speech, Fish takes aim at the ideological gridlock paralyzing academic and political exchange in the nineties. In his witty, accessible dissections of the swirling controversies over multiculturalism, affirmative action, canon revision, hate speech, and legal reform, he neatly eviscerates both the conservatives' claim to possession of timeless, transcendent values, and the intellectual left's icons of equality, tolerance, and non-discrimination. He argues that while conservative ideologues and liberal stalwarts might disagree vehemently on what is essential to a culture, or to a curriculum, both mistakenly believe that what is essential can be identified apart from the accidental circumstances to which the essential is ritually opposed. In the book's first section, which includes the five essays written for Fish's celebrated debates with Dinesh D'Souza, Fish turns his attention to the neoconservative backlash. In his introduction, Fish writes, "Terms that come to us wearing the label 'apolitical'--'common values', 'fairness', 'merit', 'color blind', 'free speech', 'reason'--are in fact the ideologically charged constructions of a decidedly political agenda. I make the point not in order to level an accusation, but to remove the sting of accusation from the world 'politics' and redefine it as a synonym for what everyone inevitably does." Fish maintains that the debate over political correctness is an artificial one, because it is simply not possible for any party or individual to occupy a position above or beyond politics. Regarding the controversy over the revision of the college curriculum, Fish argues that the point is not to try to insist that inclusion of ethnic and gender studies is not a political decision, but "to point out that any alternative curriculum--say a diet of exclusively Western or European texts--would be no less politically invested." In Part Two, Fish follows the implications of his arguments to a surprising rejection of the optimistic claims of the intellectual left that awareness of the historical roots of our beliefs and biases can allow us, as individuals or as a society, to escape or transcend them. Specifically, he turns to the movement for reform of legal studies, and insists that a dream of a legal culture in which no one's values are slighted or declared peripheral can no more be realized than the dream of a concept of fairness that answers to everyone's notions of equality and jsutice, or a yardstick of merit that is true to everyone's notions of worth and substance. Similarly, he argues that attempts to politicize the study of literature are ultimately misguided, because recharacterizations of literary works have absolutely no impact on the mainstream of political life. He concludes his critique of the academy with "The Unbearable Ugliness of Volvos," an extraordinary look at some of the more puzzing, if not out-and-out masochistic, characteristics of a life in academia. Penetrating, fearless, and brilliantly argued, There's No Such Thing as Free Speech captures the essential Fish. It is must reading for anyone who cares about the outcome of America's cultural wars. (shrink)

Previous studies have shown that the human visual system can detect a face and elicit a saccadic eye movement toward it very efficiently compared to other categories of visual stimuli. In the first experiment, we tested the influence of facial expressions on fast face detection using a saccadic choice task. Face‐vehicle pairs were simultaneously presented and participants were asked to saccade toward the target (the face or the vehicle). We observed that saccades toward faces were initiated faster, and more often (...) in the correct direction, than saccades toward vehicles, regardless of the facial expressions (happy, fearful, or neutral). We also observed that saccade endpoints on face images were lower when the face was happy and higher when it was neutral. In the second experiment, we explicitly tested the detection of facial expressions. We used a saccadic choice task with emotional‐neutral pairs of faces and participants were asked to saccade toward the emotional (happy or fearful) or the neutral face. Participants were faster when they were asked to saccade toward the emotional face. They also made fewer errors, especially when the emotional face was happy. Using computational modeling, we showed that this happy face advantage can, at least partly, be explained by perceptual factors. Also, saccade endpoints were lower when the target was happy than when it was fearful. Overall, we suggest that there is no automatic prioritization of emotional faces, at least for saccades with short latencies, but that salient local face features can automatically attract attention. (shrink)

Explores the meaning of death, how people of different times, regions, and religions have coped with it, and the progress and effects of the war waged against it by researchers, physicians, and surgeons.

In these three lectures, Cavell situates Emerson at an intersection of three crossroads: a place where both philosophy and literature pass; where the two traditions of English and German philosophy shun one another; where the cultures of America and Europe unsettle one another. "Cavell’s ’readings’ of Wittgenstein and Heidegger and Emerson and other thinkers surely deepen our understanding of them, but they do much more: they offer a vision of what life can be and what culture can mean.... These profound (...) lectures are a wonderful place to make [Cavell’s] acquaintance."—Hilary Putnam. (shrink)

These lectures by one of the most influential and original philosophers of the twentieth century constitute a sustained argument for the philosophical basis of romanticism, particularly in its American rendering. Through his examination of such authors as Emerson, Thoreau, Poe, Wordsworth, and Coleridge, Stanley Cavell shows that romanticism and American transcendentalism represent a serious philosophical response to the challenge of skepticism that underlies the writings of Wittgenstein and Austin on ordinary language.

"This is a timely collection of important papers.

It is argued that Block's thought experiment on superblindsight and “the Inverse Anton's syndrome” are not cases of A-consciousness without P-consciousness. “Weak dispositional states” should be excluded from the set of A-conscious states, and a subject's being reflectively conscious of a P-conscious state is suggested as a better candidate for A-consciousness. It is further pointed out that dreams, according to Block's own criterion but contrary to what he claims, are A-unconscious and it is argued that Block should not accept the (...) idea that high-information representational content is an empirically sufficient condition of phenomenality in human beings. (shrink)

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.

A philosophical study of popular movies uses the viewer as a point of reference.

Despite increased focus on emotional language, research lacks for the most emotional language: Swearing. We used event-related potentials to investigate whether swear words have content dist...

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. (shrink)

This book offers philosophy in the key of life.

This paper deals with the epistemological foundations of Jean Piaget’s theory of learning and genetic epistemology. The purpose is to estimate the form of Piaget’s constructivism. I take advantage of Ernst von Glasersfeld’s ‘radical constructivist’ interpretation of Piaget. Contrary to von Glasersfeld, it is argued that Piaget at the same time is a realist with respect to the existence of the external world, and a ‘genetic-transcendental constructivist’ in relation to the development of knowledge. I interpret this paradox as Piaget’s acknowledgement (...) of the co-existence of a 3. person and a 1. person epistemological perspective in the scientific investigation of cognition. (shrink)

One of the more telling symptoms of the postmodern condition is the tendency of criticism to renounce any claim to explanatory or evaluative competence vis-à-vis its objects, and in some cases even to deny that it differs from those objects. This is especially evident in American deconstructionists of the Yale school, who have, with Derrida, rediscovered Nietzsche's insight that all language, whatever the genre, is inescapably metaphorical. From the admitted difficulty of drawing absolute ontological distinctions between the language of literature (...) and that of criticism, these critics infer that the attempt to maintain even a generic division between the two languages is at best a convenient fiction, at worst a repressive one. (shrink)

Reissued with an additional preface to sit alongside the volume on Stanley Cavell in Contemporary Philosophy in Focus this famous collection of essays covers a remarkably wide range of philosophical issues and extends beyond philosophy into discussions of music and drama.

Having acknowledged the recurrent theme of education in Stanley Cavell's work, the discussion addresses the topic of scepticism, especially as this emerges in the interpretation of Wittgenstein. Questions concerning rule‐following, language and society are then turned towards political philosophy, specifically with regard to John Rawls. The discussion examines the idea of the social contract, the nature of moral reasoning and the possibility of our lives' being above reproach, as well as Rawls's criticisms of Nietzschean perfectionism. This lays the way (...) for the broaching of questions of race and America. The theme of the ordinary, which emerges variously in Cavell's reflections on Emerson, Wittgenstein and Austin, is taken up and extended into a consideration of Thoreau's ‘experiment in living’. The conversation closes with brief remarks about happiness. (shrink)