Drawing upon Nel Noddings’ contention that, if children are to be happy in schools, their teachers should also be happy, this paper tries to explore a way in which the obviously intimate but seemingly conflicting connections between students’ and teachers’ happiness can be understood from the viewpoint of Stanley Cavell’s reading of J. S. Mill. Mill’s conceptions of desire and pleasure are examined as a means of liberating the above connection from existing prioritization: that is, teachers’ or students’ happiness comes (...) first. The pursuit of happiness for both teachers and students is discussed, in the hopes of illuminating alternative images of teacher education. (shrink)

In his essay 'The Scandal of Skepticism', Stanley Cavell discusses aspects of the work of Emmanuel Levinas with a view to understanding how 'philosophical and religious ambitions so apparently different' as his own and those of Levinas can have led to 'phenomenological coincidences so precise'. The present paper explores themes of scepticism and alterity as these emerge in the work of these two increasingly influential philosophers. It shows education to be a sustained preoccupation in their work, crucially related to these (...) guiding themes. In the process it seeks to dispel certain assumptions regarding poststructuralism, on the one hand, and the religious implications of Levinas's thought, on the other. This lays the way for an account of the criticality of human being, of the significance of this for community, and of the demands this makes on education. (shrink)

Stanley Cavell's writing on film has been an important inspiration for the recent 'philosophical turn' in film theory. But few studies have explored the significance of Cavell's style of writing, how it communicates his distinctive manner of thinking with film. This article explores Cavell's style as a way of doing philosophy, and suggests that his attempt to capture the aesthetic experience of film in evocative prose makes an important contribution to developing new ways of thinking in film-philosophy.

In order to explain Cavell's account of what makes movies so magical, this article will offer a chronological survey of his major writings on film, beginning with the first edition of The World Viewed (1971), where he poses an intriguing theoretical hypothesis about what distinguishes the movies from the other major art forms. The survey will continue by considering the expanded edition of The World Viewed (1979), Pursuits of Happiness: The Hollywood Comedy of Remarriage (1984), and Contesting Tears: The Hollywood (...) Melodrama of the Unknown Woman (1997), and will conclude with an analysis of Cavell's discussion of Emersonian perfectionism in Cities of Words (2005). Throughout, I show how the specific film interpretations he proposes serve as archetypal examples of crucial features of his philosophy. Cavell's general thesis, I take it, is that films can pose particularly satisfying responses to the skepticism we all harbour about our most deeply held values. In a nutshell, the movies are magical because they tell us myths that allow us to see our lives as worth living, helping to restore our faith in the wellsprings of human value: romantic love, individual autonomy, nonconformity, and the search for self-improvement. (shrink)

This paper offers a different approach to writing about oneself—Stanley Cavell's idea of philosophy as autobiography. In Cavell's understanding, the acknowledgement of the partiality of the self is an essential condition for achieving the universal. In the apparently paradoxical combination of the 'philosophical' and the 'autobiographical', Cavell shows us a way of focusing on the self and yet always transcending the self. The task requires, however, a reconstruction of the notions of philosophy and autobiography, and at the same time the (...) destabilising of our conceptions of self and language. Cavell seeks to achieve this through the idea of finding one's voice, understood as an autobiographical exercise. This necessitates both negotiation of the inheritance from the past and innovation for the future, initiation into the language community and deviation from it. What this amounts to, in ways that the paper seeks to explain, is a process of the self and language in translation. This is a sense of 'translation' that is broader than the conventional understanding of the term. Such a conception can, it is argued, exercise a therapeutic effect on the self, destabilising the myth of self-identity. The implications of this account for the contemporary vogue for narrative in educational research, as well as for classroom practice, are considered. (shrink)

This paper offers a different approach to writing about oneself—Stanley Cavell’s idea of philosophy as autobiography. In Cavell’s understanding, the acknowledgement of the partiality of the self is an essential condition for achieving the universal. In the apparently paradoxical combination of the ‘philosophical’ (which is traditionally connected with a search for the objective and the universal) and the ‘autobiographical’ (which is conventionally associated with the subjective and the personal), Cavell shows us a way of focusing on the self and yet (...) always transcending the self. The task requires, however, a reconstruction of the notions of philosophy and autobiography, and at the same time the destabilising of our conceptions of self and language. Cavell seeks to achieve this through the idea of finding one’s voice, understood as an autobiographical exercise. This necessitates both negotiation of the inheritance from the past and innovation for the future, initiation into the language community and deviation from it. What this amounts to, in ways that the paper seeks to explain, is a process of the self and language in translation. This is a sense of ‘translation’ that is broader than the conventional understanding of the term. Such a conception can, it is argued, exercise a therapeutic effect on the self, destabilising the myth of self-identity. The implications of this account for the contemporary vogue for narrative in educational research, as well as for classroom practice, are considered. (shrink)

This is a revised version of a keynote presentation delivered by Professor Rothman at the Conference on Stanley Cavell’s Philosophy the Day After Tomorrow , University of Paris I: Panthéon-Sorbonne, September 2012.

In ‘Problematising Critique in Pedagogy’ Jörg Ruhloff develops a concept of critique that is motivated by a deep concern for the state of humanity. This is a thought-provoking development of critique, but I find myself disagreeing over, or rather simply unconvinced by, his understanding of the human condition, and, connected to this, of criticism. Referring to Nietzsche, I start by illustrating one way in which a concept of critique such as Ruhloff's may in some sense be implied in educational praxis, (...) focusing mainly on his concern that critique is not domesticated by political, economic, or other forces. In the second section I draw on Stanley Cavell to discuss some contentious aspects of Ruhloff's construal of criticism. Here I focus on Ruhloff's claim to universality, as contained in his appeal to what he calls the condition of human rationality and to a procedure of critical-transcendental-sceptical deliberation over the presuppositions of different standpoints. Ruhloff's understanding of criticism exemplifies an attitude that presents itself as a hostility to the ordinary. Connected to this, I sketch a conception of scepticism that is different—viz. more dynamic—than his understanding of it as a kind of methodological tool in the service of exposing presuppositions. Scepticism needs to be acknowledged in existential terms, as inherent to the human condition: a condition of life with language. With further reference to Cavell, the importance of expression, of revealing oneself as an exemplar, can then be emphasised. I conclude, in the third section, by indicating in what sense I find that a commitment to substantial judgements is lacking in Ruhloff's conception of critique and criticality. (shrink)

In ‘Problematising Critique in Pedagogy’ Jörg Ruhloff develops a concept of critique that is motivated by a deep concern for the state of humanity. This is a thought-provoking development of critique, but I find myself disagreeing over, or rather simply unconvinced by, his understanding of the human condition, and, connected to this, of criticism. Referring to Nietzsche, I start by illustrating one way in which a concept of critique such as Ruhloff’s may in some sense be implied in educational praxis, (...) focusing mainly on his concern that critique is not domesticated by political, economic, or other forces. In the second section I draw on Stanley Cavell to discuss some contentious aspects of Ruhloff’s construal of criticism. Here I focus on Ruhloff’s claim to universality, as contained in his appeal to what he calls the condition of human rationality and to a procedure of critical-transcendental-sceptical deliberation over the presuppositions of different standpoints. Ruhloff’s understanding of criticism exemplifies an attitude that presents itself as a hostility to the ordinary. Connected to this, I sketch a conception of scepticism that is different—viz. more dynamic—than his understanding of it as a kind of methodological tool in the service of exposing presuppositions. Scepticism needs to be acknowledged in existential terms, as inherent to the human condition: a condition of life with language. With further reference to Cavell, the importance of expression, of revealing oneself as an exemplar, can then be emphasised. I conclude, in the third section, by indicating in what sense I find that a commitment to substantial judgements is lacking in Ruhloff’s conception of critique and criticality. (shrink)

In recent years restorative practice in schools has been heralded as a new paradigm for thinking about student behaviour. Its premise is to provide solutions to indiscipline, to restore relationships where there has been conflict or harm, and to give pupils a language with which to understand wrongdoing. This article offers a critique of practitioners’ use of scripts with which to facilitate the restorative conference, one of the key strategies of restorative practice. To do so I turn to J.L. Austin (...) and Stanley Cavell whose writing on performative and passionate utterance point to the educational importance of making room for freedom in speech and emotion, over performance. Indeed, it is through making room for negative emotion, or silence, as observed in Cavell’s reading of King Lear, that we can see an opening up of the possibilities present in restorative practice. (shrink)

This paper offers a reading of The Awful Truth in order to meditate further on Stanley Cavell's articulation of the themes of the ordinary and perfectionist marriage as exemplified in the genre of films he calls the Hollywood Comedy of Remarriage in Cavell and . I explore different ways in which this film and the medium of film generally are capable of making the unseen visible: revealing the ordinary that is hidden behind its very familiarity; making available an awareness that (...) we are unseen by the projected reality of film; and, in this film in particular, showing that this divorcing couple - whose marriage and sexual life are essentially off-screen - are as if married all along even while they pursue other love interests. (shrink)

Philosophy & Social Criticism, Ahead of Print. Work on Stanley Cavell in contemporary political theory tends to foreground Cavell’s reading of Emersonian moral perfectionism, but this aspect of Cavell’s thought is often left out of feminist readings of his work. In this paper, I give an overview of Cavell’s importance to political theory, and I also trace two Cavellian-inspired feminisms: Sandra Laugier’s ordinary language inflected ethics of care and Toril Moi’s understanding of feminist theory as the close and careful reading (...) of examples. I argue that Cavellian-Emersonian moral perfectionism enhances these feminist readings of Cavell because it helps us explain certain practices in feminist activism, such as resisting conformity, acknowledging the limits of our understanding and being receptive to other members of our feminist community. (shrink)

Work on Stanley Cavell in contemporary political theory tends to foreground Cavell’s reading of Emersonian moral perfectionism, but this aspect of Cavell’s thought is often left out of feminist rea...

Journal of Philosophy of Education, Volume 55, Issue 1, Page 263-281, February 2021.

In this article I explore how cosmopolitanism can be a challenge for ordinary language philosophy. I also explore cosmopolitan aspects of Stanley Cavell’s ordinary language philosophy. Beginning by considering the moral aspects of cosmopolitanism and some examples of discussions of cosmopolitanism in philosophy of education, I turn to the scene of instruction in Wittgenstein and to Stanley Cavell’s emphasis on the role of autobiography in philosophy. The turn to the autobiographical dimension of ordinary language philosophy, especially its use of “I” (...) and “We”, becomes a way to work on the tension between the particular and the universal claims of cosmopolitanism. I show that the autobiographical aspects of philosophy and the philosophical significance of autobiographical writing in ordinary language philosophy can be seen as a test of representativeness—a test of the ground upon which one stands when saying “I”, “We” and “You.”. (shrink)

This article examines the political themes in Cavell’s philosophy through a reading of the film Gaslight in the context of contemporary American politics. It demonstrates how Cavell’s ideas offer valuable insights into gender politics, fascism, and propaganda in American society. The article proceeds in three sections, first reviewing Cavell’s ontology of film and genre to elucidate his claim that film embodies scepticism. Next, it analyses gaslighting in the film as an enactment of gendered politics of scepticism and explores Cavell’s resources (...) for responding to it. Lastly, it investigates the political implications of gaslighting, particularly in light of its association with post-truth politics, using Cavell’s interpretation as a philosophical framework to understand instances like Donald Trump’s manipulation of America. (shrink)

This article tries to shed light on the multiple, but underrated pleasures of the heist film – a genre that has attracted numerous major directors from Jean-Pierre Melville and Stanley Kubrick to Michael Mann and Steven Soderbergh, but has received limited scholarly attention. I approach the genre from a, broadly, philosophical perspective and draw on thinkers such as Peter Sloterdijk, Georg Simmel, Paul Souriau and Bruno Latour to argue that their emphasis on (1) skillful action and kinaesthetic empathy, (2) smooth (...) transgression of boundaries and (3) well-functioning social collaboration and we-connection, the genre's best exemplars satisfy, in fictional and quasi-utopian form, a number of real-life desires. (shrink)

Given recent discussions of personal privacy, or more particularly, its invasion via the internet, it is not surprising to find the issue of personal privacy emerging regarding God’s relation to our private lives. Two different and opposing views of this God-person relation have surfaced in the literature: ‘God and Privacy’ by Falls-Corbitt and Michael McLain, and ‘Privacy and Control’ by Scott Davison. I discuss key elements in both sides of this debate. Even though I will register my sympathy with both (...) sides, I claim that both fail to grasp what I call the existential depth of the God-person relationship. (shrink)

In this paper I consider one aspect of how student writing is supported in the university. I focus on the use of the 'writing frame', questioning its status as a vehicle for facilitating student voice, and in the process questioning how that notion is itself understood. I illustrate this by using examples from the story of the 1944 Hollywood film Gaslight and show that apparent means of facilitating voice can actually contribute to a state of voicelessness. The paper considers what (...) recovery of voice entails and the role of the 'voice coach' both in the film, and in the classroom. Drawing on the work of Stanley Cavell, his readings of Gaslight and of the American writers Thoreau and Emerson, I explore the themes of crisis and transformation in relation to the self and society. Thoreau's notion of the father tongue and his metaphor of the axe are considered in relation to the concept of voice and are shown to be suggestive of a mature relationship to language and of an Emersonian self-reliance that is denied by the mere technical skill and mastery learning of some current approaches to academic writing. (shrink)

In this paper I consider one aspect of how student writing is supported in the university. I focus on the use of the ‘writing frame’, questioning its status as a vehicle for facilitating student voice, and in the process questioning how that notion is itself understood. I illustrate this by using examples from the story of the 1944 Hollywood film Gaslight and show that apparent means of facilitating voice can actually contribute to a state of voicelessness. The paper considers what (...) recovery of voice entails and the role of the ‘voice coach’ both in the film, and in the classroom. Drawing on the work of Stanley Cavell, his readings of Gaslight and of the American writers Thoreau and Emerson, I explore the themes of crisis and transformation in relation to the self and society. Thoreau’s notion of the father tongue and his metaphor of the axe are considered in relation to the concept of voice and are shown to be suggestive of a mature relationship to language and of an Emersonian self-reliance that is denied by the mere technical skill and mastery learning of some current approaches to academic writing. (shrink)

This paper addresses both ‘student engagement’ in contemporary universities, and student ‘disengagement’ – where the latter is often seen as a failure of performance, or absence of will. In a bold move, the paper asks whether students should be engaged in their university education, and whether there is value in forms of disengagement. It finds an original way in which student disengagement can be understood by drawing on the writings of Stanley Cavell – on the philosophical appeal to what we (...) say, our search for criteria, and on ideas of acknowledgement and avoidance in his work on Shakespearian tragedy. It shows what is at stake in our attunement with, and dissent from, criteria, and how such dissent can be educative. The paper considers the film ‘Stella Dallas’, in which Stella’s aversion to, her disengagement from, her culture’s criteria, is not a passive withdrawal, but rather the finding of voice, her education as a grownup. The paper concludes that disengagement, understood as aversion, dissent and refusal of voice, is not to be seen always as a lack of action or of care, but as the opposite: the active voicing of what we will, or will not, consent to in our education. (shrink)

This article considers conversations in and about education. To focus the discussion, it uses the scenario of a conversation between a trainee teacher and her mentor reflecting together on a lesson that the trainee has just taught. I begin by outlining the notion of reflective practice as popularised by Donald Schön, and show how, in the scenario, the reflective practice conversation leads to talk characterised by recourse to particular dominant discourses within education, and how this in turn can lead to (...) a certain voicelessness. I then consider what the possibilities for the reflective practice conversation might be, looking first at the Greek notion of parrhēsia and how this has been discussed in the work of Michel Foucault in contrast to other forms of talk such as rhetoric or chattering. I argue that, whilst the parrhēsiastic conversation may allow for the exploration of the relationships (between the mentor and the trainee, each participant and their words and a relationship of care for the self), such possibilities are fraught with difficulty. I then move to consider how such relationships might be developed through recognising the expressive aspects of language emphasised in Stanley Cavell's notion of passionate utterance. I first trace the development of Cavell's thought through John Austin's contrast in language between the constative and the performative. I then illustrate the idea of passionate utterance from the films Cavell describes as the ‘Hollywood comedies of remarriage’, and argue that the passionate utterance opens up opportunities for the kind of conversation in education that is itself educative. (shrink)

In this article, I claim that Sam Mendes' Revolutionary Road is a recent version of the film genre that Stanley Cavell calls the “melodrama of the unknown woman”. Accordingly, my discussion focuses on two key elements of that identification: the film's overriding dramatic and thematic emphasis on conversation; and the central characters’ relation to the wider social and political concerns of America.

This article tries to bring out the implication of Cavell’s critical comments on Derrida, clustered around Cavell’s charge that deconstruction entails a flight from the ordinary. Cavell’s and Derrida’s different readings of Austin’s ordinary language philosophy provide a common ground for elaborating their respective positions. Their writings are at once the closest but also the most divergent when addressing the moral implication of speech, or more precisely, when addressing their understanding of responsibility and voice. Employing Derrida’s so-called ‘double reading’ as (...) a leitmotif will not only shed light on the moral dimension of deconstruction, but also bring the central target of Cavell’s critique into the open. (shrink)

This article argues that Stanley Cavell's notion of moral perfectionism must be understood, within the American cultural context, as deeply intertwined with myths of heroic American masculinity. It traces connections between Cavell's descriptions of moral perfectionism, the transcendentalist authors on whom he relies, and writings about the myth of the American frontier hero. When understood as a tradition of masculinity, it becomes possible to trace moral perfectionism across much wider areas of American cinematic culture than Cavell's reading suggests; Good Will (...) Hunting is used as an example which further illuminates the relationship between moral perfectionism and American masculinities. Psychoanalysis, a major feature of Good Will Hunting as well as an important aspect of Cavellian moral perfectionism, must also be revisited in terms of the differences in its popular mythologisation for men versus for women. (shrink)

“Despair and a sense of loss are not static conditions but goads to our continuous labor” (Senses 70). This is the way Stanley Cavell describes one of the fundamental lessons of skepticism, the fam...

Introduction to William Rothman by Alan Cholodenko in the Special Section of Film-Philosophy on Stanley Cavell.

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)

This article examines William Rothman’s recent essay on Vertigo , ‘Scottie’s Dream, Judy’s Plan, Madeleine’s Revenge’, and particularly his suggestion that in a crucial scene towards the end of the film the character Judy deliberately puts on jewellery in order that Scottie becomes aware that she was the actress who played Madeleine. We look at why Rothman was previously unable to see this in the film, why Judy is unable directly to tell Scottie and why for Rothman a deep truth (...) of the film is this inability of Judy to tell Scottie. In order to address these issues, this article looks at art historian Michael Fried’s notion of “absorption”, and particularly that interpretation of it offered by Lacanian cultural theorist Joan Copjec in ‘The Invention of Crying and the Antitheatrics of the Act’ in her collection Imagine There’s No Woman: Ethics and Sublimation. (shrink)