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 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 examines Stanley Cavell's theories from the perspective of a 'politics of cinema' and engages in a critical reading of Sofia Coppola's 2006 film, Marie Antoinette.

Despite considerable differences, Stanley Cavell and Jean-Luc Nancy share the demand for a renewal of thinking produced through and with the concept of the world. Their articulation of the legacy bequeathed by Heidegger and Wittgenstein begins with an understanding of the world in excess of knowledge and insists on this impossible mastery as the most productive incentive for thinking. Inasmuch as philosophy has understood itself as producer of worldviews, systems and principle, philosophy has constantly suppressed the thinking of the world, (...) for any worldview absorbs and dissolves the world in its vision. For both Cavell and Nancy an insistence on this suppression leads to an emphasis on film. Two gestures can be said to intertwine in their thinking of film: to recapture our relation to the world as one that is not based on knowing as certainty, but on the reception of the singular; to recapture thinking as that which is attracted and called for by the insurgence of the singular, by the seam in experience. Nancy and Cavell reverse the idea of cinema as completing the regime of representation stressing how cinema produces a step away from thinking as representation in view of what the article names thinking as patience. The article concludes by asking: what does it mean for philosophy to understand itself as patience? (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 this article I compare and contrast Hannah Arendt’s and Stanley Cavell’s understandings of critique, focusing in each case upon the role played in it by skepticism. Both writers are decisively influenced by the later Heidegger’s thought that thinking as such is, first, the necessary turn to a practice adequate to our situation and, second, something that we shun. They also share the desire to take up this Heideggerian thought in Kantian terms: what is at stake is critical thinking. It (...) is here, however, that they part ways, with Arendt insisting that critique is as incompatible with skepticism as it is with dogmatism, and Cavell insisting that skepticism is the central moment within critique. Arendt’s attempt to ban skepticism from critique forces her into the contradictory position of at once denying and affirming the role of dogma in critical thinking. Cavell, in contrast, is able to shed light consistently upon the question of how citizens might best respond to the new – a task, ironically, that is a... (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)

Although the cinematic medium can be used in philosophically valuable ways, bold contentions about how films 'do philosophy' in an independent, innovative and exclusively cinematic manner are highly problematic. Philosophers' interpretations of the stories conveyed in cinematic fictions do not actually support such bold claims about film's independent philosophical value; nor do they offer adequate appreciations of the films' artistic value. Different kinds of interpretations having different goals and conditions of success should be kept in view if we are to (...) take a sufficiently critical perspective on contributions in this area. In particular, 'as if' interpretations in which a philosophical problematic is freely applied to elements of a movie's story are contrasted to interpretations that target a film author's actual philosophizing. (shrink)

This paper aims to show how Emerson provides a reworking of Kantian understandings of moral education in young children’s Bildung. The article begins and ends by thinking of Emersonian self-cultivation as a form of improvisatory or wild Bildung. It explores the role of Bildung and self-cultivation in preschools through a philosophy that accounts for children’s ‘Wild wisdom’ by letting Emerson speak to Kant. The paper argues that Kant’s vision of Bildung essentially involves reason’s turn upon itself and that Emerson, particularly (...) in how he is taken up by Cavell, shows that such a turn is already present in the processes of children inheriting, learning, and improvising with language. This improvisatory outlook on moral education is contrasted with common goals of moral education prescribed in early childhood education where the Swedish Curriculum for the Preschool Lpfö 98 is used as an example. (shrink)

This paper aims to show how Emerson provides a reworking of Kantian understandings of moral education in young children’s Bildung. The article begins and ends by thinking of Emersonian self-cultivation as a form of improvisatory or wild Bildung. It explores the role of Bildung and self-cultivation in preschools through a philosophy that accounts for children’s ‘Wild wisdom’ by letting Emerson speak to Kant. The paper argues that Kant’s vision of Bildung essentially involves reason’s turn upon itself and that Emerson, particularly (...) in how he is taken up by Cavell, shows that such a turn is already present in the processes of children inheriting, learning, and improvising with language. This improvisatory outlook on moral education is contrasted with common goals of moral education prescribed in early childhood education where the Swedish Curriculum for the Preschool Lpfö 98 is used as an example. (shrink)

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)

The article lays down the broad strokes of an interpretive approach to social criticism. In developing this approach, the author stresses the importance of both a pluralistic notion of social justice and a rich ideal of personal growth. While objecting to one-dimensional conceptions of social justice centering on legal equality, the author develops the idea of there being multiple "spheres of justice", including the spheres of "care" and "merit". Each of these spheres, he argues, is subject to historical interpretation. He (...) furthers this view by arguing that the social basis for these different spheres is best understood against the canvas of an ideal of self-fulfillment and individuality. Based on the elaboration of these two sets of premises—a pluralistic conception of social justice and a collective ideal of personal self-fulfillment—the article outlines the basis for and challenges inherent to the practice of interpretive social criticism. (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)

This paper begins with a discussion of Stanley Cavell’s philosophy of language learning. Young people learn more than the meaning of words when acquiring language: they learn about (the quality of) our form of life. If we—as early childhood educators—see language teaching as something like handing some inert thing to a child, then we unduly limit the possibilities of education for that child. Cavell argues that we must become poets if we are to be the type of representatives of language (...) that education calls for. In the final section of the paper I discuss the work of Lucy Sprague Mitchell, someone who developed an approach to language teaching that overlaps in interesting ways with Cavell’s approach in The Claim of Reason. (shrink)

The documentary film is a popular curriculum tool, and the goal of this paper is to expand the educational significance of the documentary genre I argue that current understandings of this genre are limited and limiting, and offer an alternative perspective on the genre. This alternative will be built from Stanley Cavell’s philosophy of education, in particular, his understanding of the role that ‘representativeness’ plays in teaching and learning.

This paper highlights the philosophical and educational significance of expression in Ludwig Wittgenstein's Philosophical Investigations. When the role of expression is highlighted, we will be better able to appreciate Stanley Cavell's insistence that: (i) Wittgenstein offers ways of responding to, though not a refutation of, the problem of skepticism concerning other minds, and (ii) Wittgenstein's writing style is an important aspect of his philosophy. The educational implications of this appreciation will be explored with reference to the lives of adolescences.

Textbooks and manuals on management suggest that managers are heroes who deal with difficult problems of collective adaptation and change. American films are similarly built on the premise of a hero confronted with extremely difficult situations. What if this hero figure promoted for so long in both management literature and the American film industry was the same at the structural level? This paper will attempt to clearly define the ethical performance of heroes that is perhaps shared by the imagination industry (...) and the workplace on the long run. We shall follow this picture of a hero-leader in the ethics of business and cinema through a large corpus of movies and writings on management and provide a set of six features for examining both, a common heroic structure we shall call the Hero-Leader Matrix. (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)

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