“If you will listen to me, I will say, do not involve yourselves in any –ism. Study every –ism. Ponder and assimilate what you have read and try to practice yourself what appeals to you out of it. But for heaven’s sake do not set out to establish any –ism.”William James’s 1907 treatise Pragmatism is the book in which James most clearly lays out the core tenets of pragmatism and makes arguments for pragmatism over against rival schools of philosophy. Precisely (...) for this reason, I argue, it may very well be his least persuasive case for pragmatism.To understand why, we will need to analyze the distinctive grammar of pragmatism. According to James, pragmatism is a method and “a method only,”2 specifically a method that... (shrink)

This dissertation explores and analyzes interpretive skepticism in literary theory. It argues that traditional interpretive theories and debates often harbor unacknowledged forms of skeptical thinking and arguments. As these forms of skepticism are seldom recognized as skepticism, the problem tends to remain hidden and unresolved. The dissertation further argues that interpretive skepticism is (i) the result of a philosophical confusion, and (ii) practically harmful when used in order to regulate interpretive practice. Accordingly, a central purpose of the dissertation is to (...) offer an analysis and taxonomy of what interpretive skepticism is. Only once we are in a position to understand and recognize it in its many guises will we be able to criticize and challenge it. The first part of the dissertation thus aims at identifying a specific structure of skeptical reasoning within the theory of literary interpretation. In articulating this taxonomy and analysis, the study builds on the American philosopher Stanley Cavell’s reinterpretation of epistemological skepticism in terms of tragedy, avoidance and repudiation of grammatical criteria. The second part of the study explores, in greater detail, interpretive skepticism within New Criticism. It centers on analyses of two classics within interpretive theory: “The Intentional Fallacy” by Monroe C. Beardsley (and W.K. Wimsatt) and “The Heresy of Paraphrase” by Cleanth Brooks. The study argues that Beardsley becomes both a so-called “skeptical twin” about literary interpretation and a straightforward literary other-minds skeptic with regard to authorial intentions. Brooks, for his part, becomes a straightforward skeptic about poetic interpretation and a “skeptical twin” about poetic meaning. Both theorists are investigated in comparison with Cavell’s explorations of the themes of intention, overinterpretation, fraudulence, modernism, and aesthetic judgment in art, literature and criticism. Despite these skeptical findings, the study also argues that there are important similarities between Cavell’s non-skeptical approach to literature and criticism, and New Critical “close reading.” The dissertation concludes with a chapter that leaves the confines of the New Critical idiom to explore interpretive skepticism within the tradition of so-called “hermeneutics of suspicion.” Through readings of Susan Sontag, Eve Kosofsky Sedgwick, and Cora Diamond, it argues that suspicious or paranoid hermeneutics is not skeptical in itself but can become so through the skeptical temptations of dogmatism, authoritarianism, and fraudulence. (shrink)

My Cavellian argument is that the form or space of skeptical questioning -- regardless of whether we are asking about the veridicality of the appearance of another's pain, about the veridicality of the meaning of a word or phrase, about the veridicality of a perception, etc. -- leaves behind the ordinary, finite, and social activities and practices which make meaningful language use possible. But Cavell does not mean "left behind" in the sense that returning to these finite and social practices (...) of language use will defeat skepticism; Cavell thinks that the direct attempt to defeat skepticism has still not adequately understood what the appearance of a skeptical problem has deflected. Rather, in Cavell's philosophy, if we return to the everyday use of language after working through the threat of skepticism and after coming to terms with what led us into skeptical thinking, what we find is a renewed relation to the felt life of the ordinary mind, one which acknowledges those unhandsome elements of our condition which skepticism would seek to deny. In later work, Cavell will describe the proper response to skepticism as a transformation of the actual everyday into the eventual everyday. With respect to the question of how language corresponds to or represents the world, I suggest, throughout this dissertation, that this question is a confused response to the fact of our inheritance of language and culture, the fact that we are born into a social, already-made system of meanings over which in many ways we have astonishingly little freedom. And that conclusion, I argue -- the conclusion that a particular form of skepticism deflects -- is yet another starting point for Cavell's philosophy, an insight brought out only through an engagement with skepticism. (shrink)

The borderline between philosophy and literature is highly contested. Still, if literary theorists and philosophers agree on the occasional work’s ability to transcend border norms altogether, Samuel Beckett’s Endgame is a piece of dramatic writing that amply deserves the distinction. My article attempts a symptomatic comparison between the existential condition of Endgame’s characters, on the one hand, and the philosophical predicament, on the other. The importance of failure – both as an obstacle and as a catalyst for regeneration – provides (...) a useful framework for this cross-disciplinary comparison. I draw inspiration from Stanley Cavell’s reading of Endgame, but I take Cavell’s analysis a step further. In ‘Ending the Waiting Game’ Cavell finds satisfaction in discovering what Beckett’s play can say about a specific school of philosophy – logical positivism. I treat this discovery as an invitation to consider the possibility of a broader conclusion. There is much in Endgame, in Cavell’s other writings, in the works of his and Beckett’s commentators and in Wittgenstein’s legacy that points to the existence and acceptance of philosophical infirmity. I see the recognition of this infirmity as a necessary step towards a better understanding of the play but also as a contribution to our general sense of the productive continuities between philosophy and literature. (shrink)