Stefan Ramaekers and Joris Vlieghe’s ‘Infants, childhood and language in Agamben and Cavell: education as transformation’ is an insightful discussion of an important facet of educational experience. In the article, they consider a Fred Astaire dance sequence from the 1953 Vincente Minnelli film, The Band Wagon, in combination with a remarkable article about this same sequence by Stanley Cavell. On the strength of this, they develop an interesting line of thought regarding the experience of language, exploring connections between the ideas (...) of Cavell and Agamben. Rich and thought-provoking though their discussion is, I find that it deflects attention from the most important aspects of the film sequence and the literature that has developed in response – specifically regarding questions of race and praise. The present discussion attempts to address these matters. (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)

In this article I want to explore some questions that arise from the work of Stanley Cavell. My purpose is to examine lines of connections between Cavell's readings of Wittgenstein (specifically his notions of 'criteria', 'aspect blindness' and 'primitive reaction', with special reference to the philosophical problem of 'other minds') and Shakespeare, on the one side, and a certain dimension of the ethical, on the other. Although Cavell has rarely offered explicit remarks on the issue of morality, and is normally (...) not considered a moral philosopher, it is my contention that it is possible to elicit what we could call an implied ethics from his philosophical view. This ethical outlook is not to be confused with a theory, but is rather a turn or bent that emerges especially by understanding the place of acknowledgment and ethical responsiveness in our practical life. Key Words: acknowledgment • Cavell • ethics • skepticism • Wittgenstein. (shrink)

This essay explores possible paths after postcolonial theory, with the after understood not as a negation, but as a form of inheritance and the creation of routes, such that an aftermath need not have a resentful or self-hating relation and nor simply an acceptance of given pictures of ‘western’ thought. The route explored here is neither fully secular nor religious, and nor from a radically alternative ontology, but rather prompted by three enduring concerns within the global humanities, explored in three (...) sections of this paper. The first section ‘Political Theologies as an Alternative to the Dichotomy of Religion and Secularism’, asks what the difference and proximity between theology and theory may be, if we acknowledge the at times less visible theological genealogies of ‘secular’ social and critical theory. Rather than taking such genealogies only to be an effect of Eurocentrism, or as the lasting hegemony of Protestant Christian assumptions, we examine other ways of navigating tentative movements across ontological borders. The second section, ‘Theory as Darsan (Pilgrimage/Path/School)’ suggests that rather than thinking of concepts as anchored entirely to given territories or identities or as tools of ‘generalization’, we might place the word theory in relation to its genealogical kin, theos and theoria/darsan, as the formation of contemplative styles that emerge through forms of recurrent journeying within and across territories, following the tracks of others. As an instance of such journeying, we focus on a particular thinker, Stanley Cavell, whose writing suggests ways of remapping geographies of thought, in ways that could be significant for global thought, across so-called western and non-western territories. How might such journeys be continued? Section 3: ‘A Darsan: the Killing of Birds, Some Centuries Apart’ offers one such journey, three minor coordinates of a world map, located in three poetically enshrined bird killings, in Valmiki’s Ramayana, in Coleridge’s Rime of the Ancient Mariner, and in Richard Power’s The Echo Maker, each of which incants a curse of unsettlement, and a fault line in relation to being human. This article hopes to contribute to debates on decolonization, currently underway in universities across the world, and seeks to offer a possible alternative to static conceptions of west and non-west. (shrink)

The Slow Professor: Challenging the Culture of Speed in the Academy was published in 2016 to critical acclaim. Rejecting outright the marketisation of the modern university, the book proposed a countercultural approach which denounced the seductive imperatives to overwork and competition and called on academics to make a more deliberate moral choice. In this paper, I critically engage with The Slow Professor's ethical vision. I draw on the work of writers Sally Rooney, John Williams and David Foster Wallace in careful (...) exploration of ‘slowness’ and its cognate terms. I am interested not only in the importance of slowness for university academics but for students in the 21st century university. These students, as pointed out recently by Bruce Macfarlane, are made to carry a plethora of conflicting identities and yet it is perhaps more important that we begin to demand less of our students and not more. Thus, in an era of audit and accountability, this paper explores the possibilities for a less frenetic approach to university teaching and learning. (shrink)

The Slow Professor: Challenging the Culture of Speed in the Academy was published in 2016 to critical acclaim. Rejecting outright the marketisation of the modern university, the book proposed a countercultural approach which denounced the seductive imperatives to overwork and competition and called on academics to make a more deliberate moral choice. In this paper, I critically engage with The Slow Professor's ethical vision. I draw on the work of writers Sally Rooney, John Williams and David Foster Wallace in careful (...) exploration of ‘slowness’ and its cognate terms. I am interested not only in the importance of slowness for university academics but for students in the 21st century university. These students, as pointed out recently by Bruce Macfarlane, are made to carry a plethora of conflicting identities and yet it is perhaps more important that we begin to demand less of our students and not more. Thus, in an era of audit and accountability, this paper explores the possibilities for a less frenetic approach to university teaching and learning. (shrink)

This paper engages the philosophical concepts of subjectification and acknowledgment in conversation with Philip Pullman’s young adult novel, Northern Lights. Our particular focus is Lyra Belacqua, Pullman’s central character. Precarious in her vulnerability and in her unknown significance, we read Lyra as usefully negotiating the dangerous transition from childhood to adolescence. In her negotiation of this complex liminality, we argue that Lyra models those difficult-to-define moments encountered by children as they learn to be in and of the world. Situating our (...) reading in a Philosophy of Education discourse, we draw theoretically from the work of Gert Biesta and Stanley Cavell. With Biesta as the primary focus of our paper, we generalize beyond Northern Lights to argue that the reading of fiction constitutes “a weak educational event” in Biesta’s intriguing understanding of that phrase. Partly as a theoretical framing for the Pullman text, we begin with an outline of Biesta’s philosophy. (shrink)

Die Hypothek des toten Vaters, mortgage, macht das Trauerspiel, tragical history, von Hamlet, Prince of Denmark, zu einem Gegenstand endloser Forschungen. Resistent gegen allfällige Historisierungen, die des neueren und neuesten New Historicism einge­schlossen, erhellt sich sein historischer Gehalt anamorphotisch, vom Rande des Texts her.

Cognitivism in respect to the arts refers to a constellation of positions that share in common the idea that artworks often bear, in addition to aesthetic value, a significant kind of cognitive value. In this paper I concentrate on three things: (i) the challenge of understanding exactly what one must do if one wishes to defend a cognitivist view of the arts; (ii) common anti-cognitivist arguments; and (iii) promising recent attempts to defend cognitivism.

Jonathan Bennett (1974) maintains that Huckleberry Finn’s deliberations about whether to return Jim to slavery afford insight into the tension between sympathy and moral judgment; Miranda Fricker (2007) argues that the trial scene in To Kill a Mockingbird affords insight into the nature of testimonial injustice. Neither claims merely that the works prompt an attentive reader to think something new or to change her mind. Rather, they consider the reader cognitively better off for her encounters with the novels. Nor is (...) her cognitive improvement restricted to acquiring new justified true beliefs about the works themselves. What the reader gleans is supposed to enhance her knowledge or understanding of the .. (shrink)

Two years after the death of his small son, Ralph Waldo Emerson famously wrote of the experience, "I cannot get it nearer to me" (CW 3:29). Most readers have been troubled by this remark, reading it as a sign that Emerson's relationship to grief and even to his son was disturbingly oblique, and the predominant response has been that it demonstrates he was detached, cold, and disconnected in the service of his transcendental philosophy.1 Such a response is grounded in the (...) tacit assumption that philosophy seems to be, or to call for, some intellectually grounded transcendence of the personal, whether the personal is whimsical or fatal. Emerson himself worried at times that he was too cold, too intellectual, even as .. (shrink)

This paper presents and defends a reappraisal of J.L. Austin’s infamous analogy between saying ‘I know’ and ‘I promise’ in ‘Other Minds.’ The paper has four sections. In §1, I contend that the standard reading of Austin’s analogy is a strawman that distorts the terms of the analogy and superimposes philosophical commitments that Austin was precisely trying to combat. In §§2 and 3, I argue that to understand the point of the analogy we must contextualize ‘Other Minds’ as a response (...) to logical positivism. I recap A.J. Ayer’s influential account of positivism, before arguing that ‘Other Minds’ and its centrepiece analogy should be read as an attack on Austin’s colleague’s organizing positivist assumptions – specifically, descriptivism and the fact/value dichotomy that it props up. My main thesis is that Austin sought to show that epistemic discourse is imbricated with ethical commitments. This reading is anticipated by Cavell, to whom I turn in §4. I bring together insights from across Cavell’s oeuvre to develop this reading of Austin’s analogy and finally to critique certain aspects of it. This paper adds to the recent resurgence in Austin scholarship and aims to get clear the philosophical and historical stakes of his historically maligned analogy. (shrink)

This paper attempts to make more explicit the relationship between narrativity and feminist care ethics. The central concern is the way in which narrativity carries the semantic load that some accounts of feminist care ethics imply but leave hanging. In so doing, some feminist theorists of care-based ethics then undervalue the major contribution that narrativity provides to care ethics: it carries the semantic load that is essential to the best care. In this article, I defend the narrative as the central (...) medium though which we make sense of and communicate our lives and their attendant hopes and cares. More than just working with the narrative of the cared-for, caring is about investing in the narrative of the cared-for in order to meet the needs of this cared-for and how this narrative might turn out. I will further demonstrate how the attitude of caring or investing in a narrative would amount to what Gabriel Marcel has described as the attitude of disponibilité. (shrink)