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)

Reconhecido centro de formação profissional em carreiras jurídicas, o IDC oferece Especialização, preparação para Exame de Ordem e Cursos de Extensão em mais de 20 áreas do Direito, aprofundando os conhecimentos de advogados e bacharéis. Possui também graduação em Filosofia, além de promover Cursos Preparatórios para Concursos em diversas áreas, obtendo excelentes resultados de aprovação graças à preocupação constante na qualificação e excelência de seu corpo docente e infra-estrutura.

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.

Experience with electronic communication in ethics committees at two hospitals is reviewed and discussed. A listserver of ethics committee members transmitted a synopsis of the ethics consultation shortly after the consultation was initiated. Committee comments were sometimes incorporated into the recommendations. This input proved to be most useful in unusual cases where additional, diverse inputs were informative. Efforts to ensure confidentiality are vital to this approach. They include not naming the patient in the e-mail, requiring a password for access to (...) the listserver, and possibly encryption. How this electronic communication process alters group interactions in ethics committees is a fruitful area for future investigation. (shrink)

In the last two decades, philosophy of neuroscience has predominantly focused on explanation. Indeed, it has been argued that mechanistic models are the standards of explanatory success in neuroscience over, among other things, topological models. However, explanatory power is only one virtue of a scientific model. Another is its predictive power. Unfortunately, the notion of prediction has received comparatively little attention in the philosophy of neuroscience, in part because predictions seem disconnected from interventions. In contrast, we argue that topological predictions (...) can and do guide interventions in science, both inside and outside of neuroscience. Topological models allow researchers to predict many phenomena, including diseases, treatment outcomes, aging, and cognition, among others. Moreover, we argue that these predictions also offer strategies for useful interventions. Topology-based predictions play this role regardless of whether they do or can receive a mechanistic interpretation. We conclude by making a case for philosophers to focus on prediction in neuroscience in addition to explanation alone. (shrink)

Introduction Cavell's Voices and Derrida's Grammatology The stature of Stanley Cavell is increasingly considered unique among living American philosophers ...

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. (shrink)

Stanley Rosen's book is the first full-length study of the Sophist in English and one of the most complete in any language. He follows the stages of the dialogue in sequence and offers an exhaustive analysis of the philosophical questions that come to light as Theaetetus and the Eleatic Stranger pursue the sophist through philosophical debate. Rosen finds the central problem of the dialogue in the relation between original and image; he shows how this distinction underlies all subsequent technical (...) themes and analyzes in detail such problems as non-being or negation and false statement. Arguing that the dialogue must be treated as a dramatic unity, he pays careful attention throughout to the setting, the events, the language used, and the relations between the natures of the speakers and the topics under discussion. (shrink)

People maintain a positive identity in at least two ways: They evaluate themselves more favorably than other people, and they judge themselves to be better now than they were in the past. Both strategies rely on autobiographical memories. The authors investigate the role of autobiographical memories of lying and emotional harm in maintaining a positive identity. For memories of lying to or emotionally harming others, participants judge their own actions as less morally wrong and less negative than those in which (...) other people lied to or emotionally harmed them. Furthermore, people judge those actions that happened further in the past to be more morally wrong than those that happened more recently. Finally, for periods of the past when they believed that they were very different people than they are now, participants judge their actions to be more morally wrong and more negative than those actions from periods of their pasts when they believed that they were very similar to who they are now. The authors discuss these findings in relation to theories about the function of autobiographical memory and moral cognition in constructing and perceiving the self over time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Stanley Cavell WHAT BECOMES OF THINGS ON FILM? And does this title express a genuine question? That is, does one accept the suggestion that there is a particular relation (or a particular system of relations, awaiting systematic study) that holds between things and their filmed projections, which is to say between the originals now absent from us (by screening) and the new originals now present to us (in (...) photogenesis)—a relation to be thought of as something's becoming something (say as a caterpillar becomes a butterfly, or as a prisoner becomes a count, or as an emotion becomes conscious, or as after a long night it becomes light)? The title is, at any rate, the working formulation I have given myself for the guiding question of this discussion. Of the many issues and many levels of issue raised by the papers I have been invited to comment upon, I have picked two moments at which work of my own about film has been referred to, wishing to contribute to a conversation in the territory of film study. The first moment is one in which I am quoted (or Heidegger and I jointly quoted) as saying that "The cinematic image accentuates the conspicuousness, obtrusiveness and obstinacy of things." I am sorry to have given such an impression. The background of what I said —in the course of giving some examples of how thinking about films and thinking about philosophy have drawn upon one another in my work— was this: early in Being and Time, Heidegger characterizes the specific way in which the phenomenon occurs, in his terms, of the "worldhood of the world announcing itself"; it is a phenomenon in which a particular mode of sight or awareness is brought into play. What brings this mode of sight into play is a disruption of what Heidegger calls the "work-world," a disruption of the matters of course running among our tools, and the occupations they extend, and the environment which supports these occupations. It is upon the disruption of such matters of course (of a tool, say by its breaking; or of someone's occupation, say because of an injury; or of some absence of material) that the mode of sight then brought forth discovers objects in what Heidegger 249 250Philosophy and Literature notes as their conspicuousness, their obtrusiveness, and their obstinacy. Now the foreground of what I said was this: it struck me that this perception or apprehension of the things of our world is part of the grain of silent film comedy; and, more particularly, that Buster Keaton is the silent comic figure whose extraordinary works and whose extraordinary gaze, perhaps the fundamental feature of his character, illuminate and are illuminated by the consequent concept of the worldhood of the world announcing itself. While I take even this bare broaching of this idea to formulate one possibility of cinematic images of the things of our world, it is no more to be expected that all cinematic images carry this force, than it is to be expected that all are in the service of Keaton's species of comedy; any more than the idea of such images exhausts what there is to say about Keaton, orabout Heidegger, or about any further relations between them. What the idea ought to do is to help us to see and say at once what it is Keaton permits us to laugh about and what concretely the nature is of the mode of sight from which Heidegger begins his analysis of Being-in-the-world. This laughter is not defined, for example, by a Bergsonian suggestion that the human being has become machine-like, or vice versa. Keaton is as flexible, as resourceful, as Ulysses, and his giant machines do exactly what they might be expected to do under their circumstances. We have here to do with something about the human capacity for sight, or for sensuous awareness generally, something wë might express as our condemnation to project, to inhabit, a world that goes essentially beyond the delivery of our senses. This seems to be the single point of agreement throughout the history of epistemology, at least throughout the modern history of the... (shrink)

The most comprehensive compilation of the works of Abelard and Heloise ever presented in a single volume in English, _The Letters and Other Writings_ features an accurate and stylistically faithful new translation of both _The Calamities of Peter Abelard_ and the remarkable letters it sparked between the ill-fated twelfth-century philosopher and his brilliant former student and lover—an exchange whose intellectual passion, formal virtuosity, and psychological drama distinguish it as one of the most extraordinary correspondences in European history. Thanks to this (...) edition, Latin-less readers will be better placed than ever to see why this undisputed milestone in the intellectual life of medieval France is also a masterpiece of Western literature. In addition to the _The Calamities_ and the letters--the first complete English translation of all seven in more than eighty years--this volume includes an Introduction, a map, and a chronology, Abelard's _Confession of Faith_, letters between Heloise and Peter the Venerable, the Introduction to _The Questions of Heloise_, and selected songs and poems by Abelard, among them a previously untranslated shaped poem, Open Wide Your Eyes. Extracts of lost letters sometimes ascribed to Abelard and Heloise are given in appendixes. (shrink)

Counterfactual thinking involves imagining hypothetical alternatives to reality. Philosopher David Lewis argued that people estimate the subjective plausibility that a counterfactual event might have occurred by comparing an imagined possible world in which the counterfactual statement is true against the current, actual world in which the counterfactual statement is false. Accordingly, counterfactuals considered to be true in possible worlds comparatively more similar to ours are judged as more plausible than counterfactuals deemed true in possible worlds comparatively less similar. Although Lewis (...) did not originally develop his notion of comparative similarity to be investigated as a psychological construct, this study builds upon his idea to empirically investigate comparative similarity as a possible psychological strategy for evaluating the perceived plausibility of counterfactual events. More specifically, we evaluate judgments of comparative similarity between episodic memories and episodic counterfactual events as a factor influencing people's judgments of plausibility in counterfactual simulations, and we also compare it against other factors thought to influence judgments of counterfactual plausibility, such as ease of simulation and prior simulation. Our results suggest that the greater the perceived similarity between the original memory and the episodic counterfactual event, the greater the perceived plausibility that the counterfactual event might have occurred. While similarity between actual and counterfactual events, ease of imagining, and prior simulation of the counterfactual event were all significantly related to counterfactual plausibility, comparative similarity best captured the variance in ratings of counterfactual plausibility. Implications for existing theories on the determinants of counterfactual plausibility are discussed. (shrink)

The neural reuse framework developed primarily by Michael Anderson proposes that brain regions are involved in multiple and diverse cognitive tasks and that brain regions flexibly and dynamically interact in different combinations to carry out cognitive functioning. We argue that the evidence cited by Anderson and others falls short of supporting the fundamental principles of neural reuse. We map out this problem and provide solutions by drawing on recent advances in network neuroscience, and we argue that methods employed in network (...) neuroscience provide the means to fully engage in a research program operating under the principles of neural reuse. (shrink)

People seem more divided than ever before over social and political issues, entrenched in their existing beliefs and unwilling to change them. Empirical research on mechanisms driving this resistance to belief change has focused on a limited set of well-known, charged, contentious issues and has not accounted for deliberation over reasons and arguments in belief formation prior to experimental sessions. With a large, heterogeneous sample (N = 3,001), we attempt to overcome these existing problems, and we investigate the causes and (...) consequences of resistance to belief change for five diverse and less contentious socio-political issues. After participants chose initially to support or oppose a given socio-political position, they were provided with reasons favoring their chosen position (affirming reasons), reasons favoring the other, unchosen position (conflicting reasons), or all reasons for both positions (reasons for both sides). Our results indicate that participants are more likely to stick with their initial decisions than to change them no matter which reasons are considered, and that this resistance to belief change is likely due to a motivated, biased evaluation of the reasons to support their initial beliefs (prior-belief bias). More specifically, they rated affirming reasons more favorably than conflicting reasons—even after accounting for reported prior knowledge about the issue, the novelty of the reasons presented, and the reported strategy used to make the initial decision. In many cases, participants who did not change their positions tended to become more confident in the superiority of their positions after considering many reasons for both sides. (shrink)

We distinguish three aspects of medical diagnosis: generating new diagnostic hypotheses, selecting hypotheses for further pursuit, and evaluating their probability in light of the available evidence. Drawing on Peirce’s account of abduction, we argue that hypothesis generation is amenable to normative analysis: physicians need to make good decisions about when and how to generate new diagnostic hypothesis as well as when to stop. The intertwining relationship between the generation and selection of diagnostic hypotheses is illustrated through the analysis of a (...) detailed clinical case study. This interaction is not adequately captured by the existing probabilistic, decision-theoretic models of the threshold approach to clinical decision-making. Instead, we propose to conceptualize medical diagnosis in terms of strategic reasoning. (shrink)

S. P. Thompson developed a detailed theory of history in order to understand and explain changes in both science and religion over the centuries. This theory tried to take science and religion seriously as categories based on genuine aspects of human experience, and to understand trends that both brought them together and separated them. For him, the most important element of the practice of history was not “truth,” but rather “sincerity.” This required active reflection on the historian's own outlook and (...) own place in history as a conscious actor. (shrink)

"Featuring a carefully selected collection of source documents, this tome includes traditional teaching tools from the Zen Buddhist traditions of China, Korea, and Japan, including texts created by women. The selections provide both a good feel for the varieties of Zen and an experience of its common core.... The texts are experiential teachings and include storytelling, poetry, autobiographies, catechisms, calligraphy, paintings, and koans. Contextual commentary prefaces each text. Wade-Giles transliteration is used, although Pinyin, Korean, Japanese, and Sanskrit terms are linked (...) in appendixes. An insightful introduction by Arai contributes a religious studies perspective. The bibliography references full translations of the selections. A thought-provoking discussion about the problems of translation is included.... Summing Up: Highly recommended. All levels." --_Choice_. (shrink)

My letter of invitation to this seminar expresses the thought that “it will be very useful to have someone from outside the field help us see ourselves.” Given my interests in what you might call the fact of literary study, I was naturally attracted by the invitation to look at literary study as a discipline or profession but also suspicious of the invitation. I thought: Do professionals really want to be helped to see themselves by outsiders? This is an invitation (...) to get a group of people sore at me, and it will only result in the group’s having an occasion not to see itself, since any member of it can easily dismiss anything I say as uninformed. But the invitation goes on to give the title for this session as “The Nature and Function of Literary Study: As Others See Us.” Reading that, I thought: That is different. That identifies me as an other to the “academic and professional concerns” of the field—hence, not just outside but intimately outside, as if my position were an alternative to yours. And how could I not be better informed about being other to you than you are?But of course I know that there is no single unified “you” to which I am other, that some of you, perhaps most, have other others than philosophy and see your practice not against philosophy but against history or criticism or literary theory. So I should perhaps say that I am not exactly single or unified myself, that I am also other to the Anglo-American profession of philosophy, to which at the same time I belong. A way of expressing my otherness to this profession of philosophy is simply to say that I take you as also among my others, that I recognize the study of literature to be an alternative to what I do—a path I might have taken, might still irregularly be taking—to occupy a relation to the way I think, that for most of the members of my profession would be occupied by a profession of logic or science. I will not try here to account theoretically for the intimate differences that may make philosophy and literature alternative studies, which means that I will not here systematically try taking the perspective of an other. But I will be bearing in mind its certain messages and rumors that have lately been coming my way from the field of literary studies. You have, for example, not kept it secret that you have been worrying, as a profession, and sometimes in the form of conducting arguments about the obligation to literary theory as part of literary study, nor secret that these arguments sometimes take on the color or texture of strong statements of, or against, something called deconstruction. I will try to say something about these poorly kept secrets. Stanley Cavell, professor of philosophy at Harvard University, is the author of many works, including Must We Mean What We Say?, The Senses of “Walden,” The Claim of Reason, and, most recently, Themes Out of School. He has been chosen by the American Academy and Institute of Arts and Letters to receive the 1985 Morton Dauwen Zabel Award for Criticism. His most recent contribution to Critical Inquiry, “Politics as Opposed to What?,” appears in the September 1982 issue. (shrink)

This book evaluates traditional musical performance and asks where its unique value lies.

Other of my intellectual debts remain fully outstanding, that to Freud ’s work before all. A beholdenness to Sigmund Freud ’s intervention in Western culture is hardly something for concealment, but I have until now left my commitment to it fairly implicit. This has been not merely out of intellectual terror at Freud ’s achievement but in service of an idea and in compensation for a dissatisfaction I might formulate as follows: psychoanalytic interpretations of the arts in American culture have, (...) until quite recently, on the whole been content to permit the texts under analysis not to challenge the concepts of analysis being applied to them, and this seemed to me to do injustice both to psychoanalysis and to literature. My response was to make a virtue of this defect by trying, in my readings of film as well as of literature and of philosophy, to recapitulate what I understood by Freud ’s saying that he had been preceded in his insights by the creative writes of his tradition; that is, I tried to arrive at a sense for each text I encountered that psychoanalysis had become called for, as if called for in the history of knowledge, as if each psychoanalytic reading were charged with rediscovering the reality of psychoanalysis. This still does not seem to me an irrelevant ambition, but it is also no longer a sufficient response in our altered environment. Some of the most interesting and useful criticism and literary theory currently being produced is decisively psychoanalytic in inspiration, an alteration initiated for us most prominently by the past two or so decades of work in Paris and represented in this country by—to pick examples from which I have profited in recent months—Neil Hertz on the Dora case, Shoshana Felman on Henry James’ “The Turn of the Screw,” and Eve Kosofsky Sedgwick on homophobia in Our Mutual Friend.1 And now my problem has become that I am unsure whether I understand the constitution of the discourses in which this material is presented in relation to what I take philosophy to be, a constitution to which, such as it is, I am also committed. So some siting of this relation is no longer mine to postpone. 1. See Neil Hertz, “Dora’s Secrets, Freud ’s Techniques,” in In Dora’s Case: Freud — Hysteria —Feminism, ed. Charles Bernheimer and Claire Kahane, pp. 221-42; Shoshana Felman, “Turning the Screw of Interpretation,” Yale French Studies 55/56 : 94-207; and Eve Kosofsky Sedgwick, “Homophobia, Misogyny, and Capital: The Example of Our Mutual Friend,” Raritan 2 : 126-51. Stanley Cavell, professor of philosophy at Harvard University, is the author of many works, including Must We Mean What We Say?, The Senses of “Walden,” The Claim of Reason, and, most recently, Themes Out of School. He spent last spring at Hebrew University in Jerusalem as a fellow of the Institute for Advanced Studies. His most recent contributions to Critical Inquiry are “Politics as Opposed to What?” and “The Division of Talent”. (shrink)

Clinical diagnostic medicine is an experimental science based on observation, hypothesis making, and testing. It is an use dynamic process that involves observation and summary, diagnostic conjectures, testing, review, observation and summary, new or revised conjectures, i.e. it is an iterative process. It can then be said that diagnostic hypotheses are also ‘observation-laden’. My aim is to enlarge on the strategies of medical diagnosis as these are meshed in training and clinical experience—that is, to describe the patterns of reasoning used (...) by experienced clinicians under different diagnostic circumstances and how these patterns of inquiry allow further insight into the evaluation and treatment of patients. I do not aim to present a theory and illustrate it with examples; I wish rather am to let a realistic example, similar to actual clinical scenarios, direct the exposition. To this end, I introduce an account of medical diagnosis—briefly comparing and contrasting it to other accounts—in order to focus on discussing the process of diagnosis through a detailed clinical case. (shrink)

Epistemic relativism comes in many forms, which have been much discussed in the last decade or so in analytic epistemology. My goal is to defend a version of epistemic relativism that sources the relativity in the metaphysics of epistemic properties and relations, most saliently knowledge. I contrast it with other relativist theses. I argue that the sort of metaphysical relativism about knowledge I favor does not threaten the objectivity of the epistemological domain.

Science and religion have long been thought incompatible. But nowhere has this apparent contradiction been more fully resolved than in the figure of A. S. Eddington (1882–1944), a pioneer in astrophysics, relativity, and the popularization of science, and a devout Quaker. Practical Mystic uses the figure of Eddington to shows how religious and scientific values can interact and overlap without compromising the integrity of either. Eddington was a world-class scientist who not only maintained his religious belief throughout his scientific career (...) but also defended the interrelation of science and religion while drawing inspiration from both for his practices. For instance, at a time when a strict adherence to deductive principles of physics had proved fruitless for understanding the nature of stars, insights from Quaker mysticism led Eddington to argue that an outlook less concerned with certainty and more concerned with further exploration was necessary to overcome the obstacles of incomplete and uncertain knowledge. By examining this intersection between liberal religion and astrophysics, Practical Mystic questions many common assumptions about the relationship between science and spirituality. Matthew Stanley’s analysis of Eddington’s personal convictions also reveals much about the practice, production, and dissemination of scientific knowledge at the beginning of the twentieth century. (shrink)

Having positive moral traits is central to one’s sense of self, and people generally are motivated to maintain a positive view of the self in the present. But it remains unclear how people foster a positive, morally good view of the self in the present. We suggest that recollecting and reflecting on moral and immoral actions from the personal past jointly help to construct a morally good view of the current self in complementary ways. More specifically, across four studies we (...) investigated the extent to which people believe they have changed over time after recollecting their own moral or immoral behaviors from the personal past. Our results indicate that recollecting past immoral actions is associated with stronger impressions of dissimilarity and change in the sense of self over time than recollecting past moral actions. These effects held for diverse domains of morality (i.e., honesty/dishonesty, helping/harming, fairness/unfairness, and loyalty/disloyalty), and they remained even after accounting for objective, calendar time. Further supporting a motivational explanation, these effects held when people recollected their own past actions but not when they recollected the actions of other people. (shrink)

Introduction/Background: Moral distress and related concepts surrounding morality and ethical decision-making have been given much attention in nursing. Despite the general consensus that moral distress is an affective response to being unable to act morally, the literature attests to the need for increased clarity regarding theoretical and conceptual constructs used to describe precisely what the experience of moral distress involves. The purpose of this study is to understand how student nurses experience morally distressing situations when caring for patients with different (...) values and beliefs than their own in the clinical environment -/- Methods: This study is based on secondary analysis of participant data. The stories of eight student nurses who completed the original study were reviewed following Yin’s multiple-case study design. -/- Results: Findings suggest there is a subtle form of moral distress that has been under appreciated in the literature and differs from Jameton’s classic definition. While traditional institutional triggers to moral distress are pervasive, personal conflict as a result of differing value systems may be a moral challenge faced by nursing students working with culturally diverse patients. -/- Conclusion: Ethics education is needed in nursing school to reduce moral distress in the clinical environment. Nursing students need opportunities to develop moral reasoning skills in addition to their clinical skills. A philosophical approach to ethics education may be needed to prevent and alleviate moral distress. (shrink)

Makavejev's recurrence to the ideas of death and birth, in his critical remark about the opening of Persona and in his quoting of Bergman's statement "Each film is my last" , recalls the recurrence of the ideas of death and birth in Sweet Movie. The sound track opens with a song asking "Is there life after birth?" and the images end with a corpse coming to life; in between, the film is obsessed with images of attempts to be born. The (...) question about life after birth—posing the question whether we may hope for mortality as prior to the question whether we may hope for immortality—has the satisfying sound of one of Feuerbach's or the early Marx's twists that turn Christianity upside down into socialism. . . . It is the great concluding moments of Sweet Music, however, which bear direct comparison with the great opening moments of Persona. But even to describe those concluding sonorities relevantly requires a general idea of the film as a whole. Sweet Movie is, at a minimum, the most original exploration known to me of the endless relations between documentary and fictional film, incorporating both; hence in that way an original exploration of the endless relations between reality and fantasy. Its use of documentary footage declares that every movie has a documentary basis—at least in the camera's ineluctable interrogation of the natural endowment of the actors, the beings who submit their being to the work of film. My private title for Makavejev's construction of Sweet Movie and of Innocence Unprotected and WR: Mysteries of the Organism is "the film of excavation." I mean by this of course my sense of his work's digging to unearth buried layers of the psyche but also my sense that these constructions have the feeling of reconstruction—as of something lost or broken. The search at once traces their integrity of the individual strata of a history and plots the positions of adjacent strata. I accept as well the implied sense—something the experience of Makavejev's last three films conveys to me—that these constructions are inherently the working out of a group's genius, its interactions, not of one individual's plans; though it is true and definitive of Makavejev's work that a group's interactions, or those of shifting groups, work themselves out into comprehensible forms because a given individual is committed to seeing to it that they may. Stanley Cavell, professor of philosophy at Harvard University, is the author of Must We Mean What We Say?, The World Viewed, The Senses of Walden, and The Claim of Reason. Other contributions include ""A Reply to John Hollander"" and "North by Northwest". (shrink)

In my essay on Austin I did not specify what I took the politics of my own discourse to be, but the institutional pressures on it, in particular the pressures of the professionalization of American philosophy, were in outline clear enough. I was more and more galled by the mutual shunning of the continental and the Anglo-American traditions of philosophizing, and I was finding more and more oppressive the mutual indifference of philosophy and literature to one another, especially, I suppose, (...) of American philosophy and American literature, and especially philosophy's indifference to the literary conditions of its own existence. I was still near the beginning of what is turning out to be a lifelong quarrel with the profession of philosophy. One of its recent manifestations has been the question put to me by certain professional colleagues whether I do not take satisfaction from the newer literary theory and criticism, especially as that has been inspired by developments over the past fifteen or so years in French intellectual life. This would seem to answer my plea at one stroke for both continental philosophy and for an understanding with literary matters. The fact is that my ambivalence toward these developments has been so strong, or anyway periodic, that I have found it difficult to study in any very orderly way.The reason for my difficulty is contained in what I mean by my quarrel with the profession of philosophy. That this is a quarrel means that I recognize the profession to be the genuine present of the impulse and the history of philosophy, so far as that present takes its place in our public intellectual life. This is what makes my quarrel with it a part of what I take my intellectual adventure to be. My point in the quarrel is that I can recognize no expression of mine to be philosophical which simply thinks to escape my profession's paradigms of comprehensibility; so that the invocations of the name of philosophy in current literary debate are frequently not comprehensible to me as calls upon philosophy. It may be that I should care less about this than I do, even less than my ambivalence asks. I mean to bear this in mind as I go on to spend the bulk of my time here considering in a practical way some passages from the writing of two literary theorists who have recourse to the work of Austin. In the case of the passages from Stanley Fish, it may be that my efforts will just amount to clearing up some unnecessarily confusing terminology; some passages from Paul de Man I find more troubling.Stanley Cavell, professor of philosophy at Harvard University, is the author of, among other works, Must We Mean What We Say?, The Senses of Walden, The Claim of Reason, and most recently Pursuits of Happiness. His previous contributions to Critical Inquiry are "On Makavejev On Bergman" , "A Reply to John Hollander" , and "North by Northwest". (shrink)

The concepts of rationality that are used by social scientists in the formation of hypotheses, models and explanations are explored in this collection of original papers by a number of distinguished philosophers and social scientists. The aim of the book is to display the variety of the concepts used, to show the different roles they play in theories of very different kinds over a wide range of disciplines, including economics, sociology, psychology, political science and anthropology, and to assess the explanatory (...) and predictive power that a theory can draw from such concepts. (shrink)

Gustav Radbruch war Deutschlands beruhmtester Rechtsphilosoph im 20. Jahrhundert. Seine gehaltvollen, aber auch spannungsreichen Schriften pragen die deutschsprachige Rechtsphilosophie bis heute. Im Zentrum von Radbruchs Lehre steht sein neukantianisch gepragter Rechtsbegriff, der im Laufe der Zeit eine Reihe von Veranderungen erfahren hat. Die Beitrage in diesem Band sind Radbruchs Rechtsbegriff im Allgemeinen und den Wandlungen dieses Rechtsbregriffs im Besonderen gewidmet. Nach der orthodoxen Lesart vertrat Radbruch vor dem Kriege eine rechtspositivistische Lehre, wurde unter dem Eindruck der nationalsozialistischen Grauel jedoch zum (...) Naturrecht bekehrt. Zunehmend wird gesehen, dass diese 'Bekehrungsthese' zu Ungereimtheiten fuhrt. Verschiedene Beitrage dieses Bandes betonen demgegenuber die Kontinuitat nichtpositivistischer Elemente in der Entwicklung von Radbruchs Rechtsbegriff. Mit Beitragen von: Hidehiko Adachi, Martin Borowski, Horst Dreier, Ralf Dreier, An dreas Funke, Ulfrid Neumann, Stanley L. Paulson, Joachim Renzikowski, Hubert Rottleuthner, Marc Andre Wiegand. (shrink)

Both advocates and critics of racial integration have often depicted it as fundamentally hostile to enduring forms of racial identification and racial solidarity. This article questions the presumed antithesis between racial integration and racial solidarity through a sustained engagement with Elizabeth Anderson’s The Imperative of Integration, which depicts strong forms of racial solidarity as obstacles to integration that citizens must transcend in order to achieve racial justice. Contra Anderson, I argue that, especially under present conditions of racial segregation and inequality, (...) we can and should reconceptualize integration as a process unfolding in time that can incorporate deeply felt racial solidarities without undermining itself. (shrink)

In this short piece belonging to a book symposium on my book How Propaganda Works (Oxford University Press, 2015), I reply to the objections, comments and suggestions provided by the contributors: Bianca Cepollaro and Giuliano Torrengo, Olúfémi O. Táíwò, and Maria Cristina Amoretti. I show how some of the objections can be accommodated by the framework adopted in the book, but also how various comments and suggestions have contributed to the development, in future work, of several threads pertaining to the (...) general view put forward in How Propaganda Works. (shrink)

Having just read through John Hollander's brilliant and moving response to my book, my first response in turn is one of gratitude, for the generosity of his taking of my intentions, allowing them room to extend themselves; and of admiration, at the writing of a writer who has original and useful things to say about the relations of poetry and philosophy, of fable and argument, of trope and example, relations at the heart of what my book is about. . . (...) . I am reminded of W. H. Auden's foreword to his A Certain World: A Commonplace Book in which he recognizes that his compilation amounts to a sort of autobiography. He calls it, responding to a passage from G. K. Chesterton, "a map of my planet." The passage Auden quotes from Chesterton contains these sentences: "The original quality in any man of imagination is imagery. It is a thing like the landscape of his dreams; the sort of world he would like to make or in which he would wish to wander; the strange flora and fauna of his own secret planet; the sort of thing he likes to think about." I would like to accept the idea that I have revealed a secret planet in revealing myself, a certain errant wholeness, with the proviso that no one's planet contains anything anyone else's may not contain, or does not contain, or does not have the equivalent of; and that their contents are commonplaces, including an aspiration toward the better possibility, which I might call the life of philosophy. Philosophy, at any rate, must ask no less. Stanley Cavell's other works include Must We Mean What We Say?, The World Viewed, and The Senses of Walden. His contributions to Critical Inquiry are "On Makavejev On Bergman" and "North by Northwest". (shrink)

[Alfred Hitchcock's] film is called North by Northwest. I assume that nobody will swear from that fact alone that we have here an allusion to Hamlet's line that he is but mad north-northwest; even considering that Hamlet's line occurs as the players are about to enter and that North by Northwest is notable, even within the oeuvre of a director pervaded by images and thoughts of the theater and of theatricality, for its obsession with the idea of acting; and considering (...) that both the play and the film contain plays-within-the-play in both of which someone is killed, both being constructed to catch the conscience of the one for whose benefit they are put on. But there are plenty of further facts. The film opens with an ageless male identifying himself first of all as a son. He speaks of his efforts to keep the smell of liquor on his breath from the watchful nose of his mother, and he comes to the attention of his enemies because of an unresolved anxiety about getting a message to his mother, whereupon he is taken to a mansion in which his abductor has usurped another man's house and name and has, it turns out, cast his own sister as his wife. The abductor orders the son killed by forcing liquid into him. It is perhaps part of the picture that the usurper is eager to get to his dinner guests and that there is too much competitive or forced drinking of liquor. Nor, again, will anyone swear that it is significant that the abductor-usurper's henchmen are a pair of men with funny, if any, names and a single man who stands in a special relationship with the usurper and has a kind of sibling rivalry with the young woman that this son, our hero, will become attracted to and repelled by. These are shadowy matters, and it is too soon to speak of "allusions" or of any other very definite relation to a so-called source. But it seems clear to me that if one were convinced of Hamlet in the background of North by Northwest, say to the extent that one is convinced that Saxo Grammaticus' Danish History is in the background of Hamlet, then one would without a qualm take the name Leonard as a successor to the name Laertes.Stanley Cavell, professor of philosophy at Harvard University, is the author of Must We Mean What We Say?, The Senses of Walden, The World Viewed, The Claim of Reason, and Pursuits of Happiness. His previous contributions to Critical Inquiry are "On Makajev On Bergman" and "A Reply to John Hollander". (shrink)