This reissue of an American philosophical classic includes a new preface by Cavell, in which he discusses the work's reception and influence. The work fosters a fascinating relationship between philosophy and literature both by augmenting his philosophical discussions with examples from literature and by applying philosophical theories to literary texts. Cavell also succeeds in drawing some very important parallels between the British analytic tradition and the continental tradition, by comparing skepticism as understood in Descartes, Hume, and Kant with philosophy of (...) language as practiced by Wittgenstein and Austin. (shrink)

In these three lectures, Cavell situates Emerson at an intersection of three crossroads: a place where both philosophy and literature pass; where the two traditions of English and German philosophy shun one another; where the cultures of America and Europe unsettle one another. "Cavell’s ’readings’ of Wittgenstein and Heidegger and Emerson and other thinkers surely deepen our understanding of them, but they do much more: they offer a vision of what life can be and what culture can mean.... These profound (...) lectures are a wonderful place to make [Cavell’s] acquaintance."—Hilary Putnam. (shrink)

This handsome new edition of Stanley Cavell's landmark text, first published 20 years ago, provides a new preface that discusses the reception and influence of his work, which occupies a unique niche between philosophy and literary studies.

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)

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.

This book offers philosophy in the key of life.

Something out of the ordinary -- The interminable Shakespearean text -- Fred Astaire asserts the right to praise -- Henry James returns to America and to Shakespeare -- Philosophy the day after tomorrow -- What is the scandal of skepticism? -- Performative and passionate utterance -- The Wittgensteinian event -- Thoreau thinks of ponds, Heidegger of rivers -- The world as things.

Stanley Cavell, one of America's most distinguished philosophers, has written an invaluable companion volume to Walden, a seminal book in our cultural heritage. This expanded edition includes two essays on Emerson.

This book is Stanley Cavell’s definitive expression on Emerson. Over the past thirty years, Cavell has demonstrated that he is the most emphatic and provocative philosophical critic of Emerson that America has yet known. The sustained effort of that labor is drawn together here for the first time into a single volume, which also contains two previously unpublished essays and an introduction by Cavell that reflects on this book and the history of its emergence. -/- Students and scholars working in (...) philosophy, literature, American studies, history, film studies, and political theory can now more easily access Cavell’s luminous and enduring work on Emerson. Such engagement should be further complemented by extensive indices and annotations. If we are still in doubt whether America has expressed itself philosophically, there is perhaps no better space for inquiry than reading Cavell reading Emerson. (shrink)

Stanley Cavell was one of the most distinguished and wide-ranging philosophers of his time. This posthumous volume assembles an array of writings that Cavell left behind, synthesizing into a cohesive intellectual vision unpublished works on modernity, music, skepticism, psychoanalysis, anthropology, tragedy, and the human voice.

Reissued with a new preface, this famous collection of essays covers a remarkably wide range of philosophical issues, including essays on Wittgenstein, Austin, Kierkegaard, and the philosophy of language, and extending beyond philosophy into discussions of music and drama. Previous edition hb ISBN (1976): 0-521-21116-6 Previous edition pb ISBN (1976): 0-521-29048-1.

_Philosophy and Animal Life_ offers a new way of thinking about animal rights, our obligation to animals, and the nature of philosophy itself. Cora Diamond begins with "The Difficulty of Reality and the Difficulty of Philosophy," in which she accuses analytical philosophy of evading, or deflecting, the responsibility of human beings toward nonhuman animals. Diamond then explores the animal question as it is bound up with the more general problem of philosophical skepticism. Focusing specifically on J. M. Coetzee's _The Lives (...) of Animals_, she considers the failure of language to capture the vulnerability of humans and animals. Stanley Cavell responds to Diamond's argument with his own close reading of Coetzee's work, connecting the human-animal relation to further themes of morality and philosophy. John McDowell follows with a critique of both Diamond and Cavell, and Ian Hacking explains why Cora Diamond's essay is so deeply perturbing and, paradoxically for a philosopher, he favors poetry over philosophy as a way of overcoming some of her difficulties. Cary Wolfe's introduction situates these arguments within the broader context of contemporary continental philosophy and theory, particularly Jacques Derrida's work on deconstruction and the question of the animal. _Philosophy and Animal Life_ is a crucial collection for those interested in animal rights, ethics, and the development of philosophical inquiry. It also offers a unique exploration of the role of ethics in Coetzee's fiction. (shrink)

A philosophical study of popular movies uses the viewer as a point of reference.

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

Reissued with an additional preface to sit alongside the volume on Stanley Cavell in Contemporary Philosophy in Focus this famous collection of essays covers a remarkably wide range of philosophical issues and extends beyond philosophy into discussions of music and drama.

In this classic collection of wide-ranging and interdisciplinary essays, Stanley Cavell explores a remarkably broad range of philosophical issues from politics and ethics to the arts and philosophy. The essays explore issues as diverse as the opposing approaches of 'analytic' and 'Continental' philosophy, modernism, Wittgenstein, abstract expressionism and Schoenberg, Shakespeare on human needs, the difficulties of authorship, Kierkegaard and post-Enlightenment religion. Presented in a fresh twenty-first century series livery, and including a specially commissioned preface, written by Stephen Mulhall, illuminating its (...) continuing importance and relevance to philosophical enquiry, this influential work is now available for a new generation of readers. (shrink)

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)

The two essays in this book, first published in 1989, were delivered as two of the 1987 Carpenter Lectures at the University of Chicago. Wittgenstein and Emerson are major influences on and subjects of Cavell's thought, and here he thinks and rethinks of these two intellectual forebears. As the title shows, he finds an important crux for contemplation in Emerson's idea of America.

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 collection of essays explores Thoreau's Walden, and discusses the importance of Thoreau and Emerson on American thought.

Granted a certain depth of accuracy in citing an aspect of Spengler as an enactment of an aspect of Wittgenstein's thought, Wittgenstein's difference from Spengler should have depth. One difference can be characterized by saying that in the Investigations Wittgenstein diurnalizes Spengler's vision of the destiny toward exhausted forms, toward nomadism, toward loss of culture, or of home, or community: he depicts our everyday encounters with philosophy, with our ideals, as brushes with skepticism, wherein the ancient task of philosophy, to (...) awaken us, or bring us to our senses, takes the form of returning us to the everyday, the ordinary, every day, diurnally. (shrink)

Reissued with a new preface and a new essay on Macbeth, King Lear, Othello, Coriolanius, Hamlet and The Winter's Tale, this famous collection of essays on Shakespeare's tragedies considers the plays as responses to the crisis of knowledge and the emergence of modern skepticism.

A collection of 17 important readings provide those unfamiliar with Cavell's work with an overview of its strategic purpose, its central themes, and its argumentative development. The readings are taken from every one of the major fields in which Cavell has been involved--aesthetics, philosophy of religion, philosophy of Wittgenstein, Austin, Emerson, literary criticism, film theory, and psychoanalysis. Brief editorial introductions to each piece are included. A previously unpublished essay on Wittgenstein serves as an epilogue. Annotation copyright by Book News, Inc., (...) Portland, OR. (shrink)

Stanley Cavell has been a brilliant, idiosyncratic, and controversial presence in American philosophy, literary criticism, and cultural studies for years. Even as he continues to produce new writing of a high standard -- an example of which is included in this collection -- his work has elicited responses from a new generation of writers in Europe and America. This collection showcases this new work, while illustrating the variety of Cavell's interests: in the "ordinary language" philosophy of Wittgenstein and Austin, in (...) film criticism and theory, in literature, psychoanalysis, and the American transcendentalism of Ralph Waldo Emerson and Henry David Thoreau. The collection also reprints Richard Rorty's early review of Cavell's magnum opus, The Claim of Reason (1979), and it concludes with Cavell's substantial set of responses to the essays, a highlight of which is his engagement with Rorty. (shrink)

In this classic collection of wide-ranging and interdisciplinary essays, Stanley Cavell explores a remarkably broad range of philosophical issues from politics and ethics to the arts and philosophy. The essays explore issues as diverse as the opposing approaches of 'analytic' and 'Continental' philosophy, modernism, Wittgenstein, abstract expressionism and Schoenberg, Shakespeare on human needs, the difficulties of authorship, Kierkegaard and post-Enlightenment religion. Presented in a fresh twenty-first century series livery, and including a specially commissioned preface, written by Stephen Mulhall, illuminating its (...) continuing importance and relevance to philosophical enquiry, this influential work is now available for a new generation of readers. (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)

Writing in continuous gratitude to Gary Matthews's wonderful project of rescuing childhood from its disregard, not to say banishment, in professional philosophy, I relate here certain moments in his considerations of early childhood to moments in Wittgenstein's Philosophical Investigations, which opens with a scene of childhood from Augustine's Confessions, and also to moments in later stages of childhood (as Matthews also significantly indicates) and, beyond that, to adolescent crises and to what I have called philosophy as "the education of grown-ups." (...) I raise the issue of whether we are to see the "odd" questions of early childhood as proto-science, which will eventually graduate into better science, or as proto-philosophy, which will be continuously elaborated in philosophical investigation. This raises the question of whether philosophy is to be regarded, early or late, as inseparable from science or, as the later Wittgenstein urges, autonomous with respect to science's glamorous advances. (shrink)

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)