This article argues that Immanuel Kant recreates in his critical philosophy one of the most distinctive features of Christian Wolff’s rationalism—the marriage of reason and experience. The article begins with an overview of Wolff’s connubium and then surveys the reasons some of his contemporaries opposed the marriage of reason and experience, paying special attention to the distinctions between phenomena and noumena, sensible and intellectual cognition, and empirical and pure cognition that Kant employs in his inaugural dissertation On the Form and (...) Principles of the Sensible and the Intelligible World. The final section of the article argues that, in the Critique of Pure Reason, Kant rejects the anticonnubialist positions he defended in his inaugural dissertation and introduces a new account of the relation between reason and experience that recreates Wolff’s connubium within the context of his critical philosophy. (shrink)

In a magisterial book-length study, Professor E. Christian Brugger concludes that the canons of the Council of Trent, given the beliefs and intentions of its participants, provide “a dogmatic definition of the absolute indissolubility of marriage as a truth of divine revelation” (original italics). The present concern is whether Brugger’s arguments support this conclusion. Also subject to scrutiny are the relevance, plausibility, and consistency of the conciliar thinking on which his arguments are premised. It will be argued that Brugger’s conclusion (...) is unwarranted, leaving the question of divorce and remarriage an open one. (shrink)

Philosophers since Plato, at least some philosophers, have, from time to time, seen music as an appropriate object of philosophical scrutiny. And, of course, in the nineteenth century, Schopenhauer and Nietzsche elevated music to a level of philosophical importance never reached before that time. But the marriage of music to philosophy ended in divorce at the close of the nineteenth century, and, as well, there occurred a sharp decline in the philosophical study of the arts tout court. However, with the (...) rise of interest in aesthetics and the philosophy of art, in the late 1960s, it was inevitable that philosophy and music should again enter into matrimony. And it is that remarriage, during the past thirty-five or so years, that I explore in the present article. (shrink)

This article investigates the views of Song Siyeol 宋時烈 (1607–1689), a Confucian scholar-official in Joseon Korea, on marriage ritual, with a special focus on the issue of women’s remarriage. Song opposed the legal ban on women’s remarriage that was enforced in his age, despite the danger this invited of being accused of promoting licentious deeds as well as generating suspicion about his loyalty as a subject. He clearly understood women’s remarriage as an ethical and not a legal (...) issue. The ethical principle of his conception of spousal loyalty, or ui 義, however, reveals its gendered aspect through his discussion with a fellow Confucian scholar. Moreover, his private behavior exemplifies the gendered aspects of his view on spousal fidelity. In addition, the unequal application of ui was supported by beliefs about the asymmetrical relation between Heaven and Earth, that were widely held and deployed by Confucians of Joseon Korea. (shrink)

This paper asks three inter-related questions, proceeding chronologically through a divorcee’s experience: is it responsible and rational to make an unconditional marital vow in the first place? does divorce break that unconditional marital vow? And the main question: can the divorcee make a second unconditional marital vow in all moral seriousness? To the last question I answer yes. I argue that the divorce process is so disorienting – to use Amy Harbin’s term – as to transform the divorcee and therefore (...) partly release her from the original vow. Arguing this will require a specific understanding of personal identity and change. (shrink)

Based on interviews with a random sample of white women who are in a second marriage, this article examines changes in women's marital power across marriage, divorce, and remarriage. In some marriages, women's market work is not considered a resource and hence does not have a positive effect on marital power, particularly when husbands are employed in low-status occupations. Conversely, women who are domestically oriented do not necessarily suffer a loss of power. Hochschild's concept of “economy of gratitude” illuminates (...) the way that marital power is affected by the meanings couples assign to women's paid and unpaid labor. Furthermore, women's previous market work and marital and divorce experiences affect the meaning of their paid and unpaid labor upon remarriage, as well as their desire for each. (shrink)

This paper asks three inter-related questions, proceeding chronologically through a divorcee’s experience: is it responsible and rational to make an unconditional marital vow in the first place? does divorce break that unconditional marital vow? And the main question: can the divorcee make a second unconditional marital vow in all moral seriousness? To the last question I answer yes. I argue that the divorce process is so disorienting – to use Amy Harbin’s term – as to transform the divorcee and therefore (...) partly release her from the original vow. Arguing this will require a specific understanding of personal identity and change. (shrink)

This paper asks three inter-related questions, proceeding chronologically through a divorcee’s experience: is it responsible and rational to make an unconditional marital vow in the first place? does divorce break that unconditional marital vow? And the main question: can the divorcee make a second unconditional marital vow in all moral seriousness? To the last question I answer yes. I argue that the divorce process is so disorienting – to use Amy Harbin’s term – as to transform the divorcee and therefore (...) partly release her from the original vow. Arguing this will require a specific understanding of personal identity and change. (shrink)

Moloney, Francis J Jesus' teaching on divorce is a question of central importance to the Christian churches. The ministry of Pope Francis, and the agenda of the Synod of Bishops on the Family, has again drawn attention to the issue. Given the paucity of material on marriage and divorce in the entire Bible, it is not surprising that very little material in the New Testament is dedicated to Jesus' attitude to the issue. But what is found in Paul, Mark, Matthew (...) and Luke is confronting to contemporary sensitivities, and calls for clear analysis. An uncritical affirmation that Jesus prohibited divorce does not do justice to what is recalled in our inspired Scriptures. The fact that he did so must be given its due importance, but Jesus' prohibition of divorce and remarriage is not the only word on marriage and divorce in the pages of the New Testament. A neglect of the subtleties expressed across the pastoral and theological reinterpretations of Paul, Mark, and Matthew, accepted by the church as the inspired Word of God, call for close attention. (shrink)

In political philosophy and in economics, unfair inequality is usually assessed between individuals, nowadays often on luck-egalitarian grounds. You have more than I do and that's unfair. By contrast, in epidemiology and sociology, unfair inequality is traditionally assessed between groups. More is concentrated among people of your class or race than among people of mine, and that's unfair. I shall call this difference the egalitarian ‘divorce’. Epidemiologists, and their ‘divorce lawyers’ Paula Braveman, Norman Daniels, and Iris Marion Young, explain that (...) not every inequality between individuals is an inequity. Only inequality between social status groups is unfair. Only such inequality stems from problems like partiality, discrimination, oppression, inequality-related population health problems, and unfair distribution of prospects. And it alone is actionable. By contrast, inequality between individuals, e.g. in longevity, is natural, inevitable, less important, or otherwise less informative — not unjust. In ‘divorce trial’ mode, I respond to epidemiologists that group inequalities lack the intrinsic disvalue that they ascribe them. They may be instrumentally or contingently bad or wrong, not essentially so. I then shift to ‘remarriage’: although group inequalities lack intrinsic badness or wrongness, for multiple reasons they remain useful to measure. (shrink)

This paper considers two different kinds of philosophical interpretations of the movie Eternal Sunshine of the Spotless Mind. On the one hand, Eternal Sunshine as a thought experiment that can function as an argument against utilitarianism. On the other hand, Eternal Sunshine as an instance of the genre of the remarriage comedy. I will argue that these two kinds of interpretations are in conflict. More specifically, Eternal Sunshine, understood as a comedy of remarriage, cannot function as an argument (...) against utilitarianism, at least in the sense specified by Grau and Wartenberg. Finally, I will suggest a different way in which Eternal Sunshine, understood as a comedy of remarriage, might function as an argument against utilitarianism. (shrink)

This essay explores the impact of Kierkegaard’s work on the thought of Stanley Cavell. Cavell identifies two central themes in Kierkegaard’s philosophy: first, rather than concerning itself with problems of logic or with abstract questions, philosophy is concerned with ordinary life and its lived spiritual questions; second, there are things that can only be understood by participating in them. Therefore, the task of the philosopher is not to explain or define ideas but to dramatize for the reader that the choice (...) of one’s inward way of life is of vital importance. These two themes, along with Kierkegaard’s account of repetition, are fundamentally important in Cavell’s own work in the philosophy of film, specifically in what Cavell calls the “comedies of remarriage” and the “melodramas of the unknown woman.”. (shrink)

Marriage is a very complicated social phenomenon. It is not only one of people being united, but also one of people becoming separated, and being united again. These are what we call the issues of divorce and remarriage. In marriage there are corresponding moral or ethical requirements. Certainly, there needs to be moral and ethical constraints or parameters for divorce and for remarriage, otherwise marital relationships may become abnormal and even pathological.

"In 'I Don't Know, Just Wait: Remembering Remarriage in Eternal Sunshine of the Spotless Mind', William Day shows how Kaufman's Eternal Sunshine of the Spotless Mind should be considered part of the film genre known as remarriage comedy; but he also shows how Kaufman contributes something new to the genre. Day addresses, in particular, how the conversation that is the condition for reunion involves discovering 'what it means to have memories together as a way of learning how to (...) be together'. One of the most innovative aspects of Kaufman's filmic representation of such a conversation is its effect on the audience: how the narrative structure 'replicates for the viewer the felt contingency of memory that we attribute' to the characters we see onscreen - a couple contending with the interrelated experiences of remarriage and remembering." --David LaRocca, Introduction to The Philosophy of Charlie Kaufman, 12. (shrink)

This paper deals critically with Stanley Cavell’s Pursuits of Happiness, a study of seven film comedies from the 30’s and 40’s, among them The Philadelphia Story, His Girl Friday, Adam’s Rib, and It Happened One Night. Negatively, I argue that Cavell’s interpretations of the films he deals with are often extravagant, if held to any objective standard; that his conception of the genre of the comedy of remarriage is highly arbitrary, both in its inclusions and exclusions, and in its (...) contention that the genre does not have a history; and that the philosophy of marriage implicit in Cavell’s criticism is unsatisfactory in implying the illegitimacy of most existing marriages. Positively, I support his contentions that the genre has its roots in Shakespearean comedy and that the films often (sometimes quite consciously) raise the very difficult philosophical questions Cavell takes them to raise. Though I find much to disagree with, I contend that Cavell is writing criticism of the highest order. (shrink)

This paper deals critically with Stanley Cavell’s Pursuits of Happiness, a study of seven film comedies from the 30’s and 40’s, among them The Philadelphia Story, His Girl Friday, Adam’s Rib, and It Happened One Night. Negatively, I argue that Cavell’s interpretations of the films he deals with are often extravagant, if held to any objective standard; that his conception of the genre of the comedy of remarriage is highly arbitrary, both in its inclusions and exclusions, and in its (...) contention that the genre does not have a history; and that the philosophy of marriage implicit in Cavell’s criticism is unsatisfactory in implying the illegitimacy of most existing marriages. Positively, I support his contentions that the genre has its roots in Shakespearean comedy and that the films often (sometimes quite consciously) raise the very difficult philosophical questions Cavell takes them to raise. Though I find much to disagree with, I contend that Cavell is writing criticism of the highest order. (shrink)

The hardest thing in appropriating [a] holistic natural law perspective is to recognise the invisible mean of judgement, which alone contains the limits of all things... The notion of mean and limits - so fundamental to ethics - calls for inner understanding that the nature of the mean cannot be defined 'a priori', because it involves an exercise of judgement, ethical judgement.

Pope John Paul II called for an intense dialogue between science and theology, “a common interactive relationship,” in which each discipline is “open to the discoveries and insights of the other” while retaining its own integrity. This essay seeks to be responsive to that call and is an initial exploration of relationships between contemporary neuroscience and Catholic theological ethics. It examines neuroscientific data on the bicameral brain and theological ethical data on marital ethics, including divorce and remarriage, and asks (...) what insight the former might provide into both the latter and the different ethical methods that respond to marital ethics. The analysis is undertaken in the hope of illuminating a pathway that opens the insights of one way of doing theological ethics to the insights of another way, thereby eliminating the unnecessary, unhelpful, and sometimes un‐Christian polarizations that presently separate them. (shrink)

The Samaritan woman in John 4 has been generally viewed as morally loose because of her marital experience. Nigerian women with similar experience are also perceived by many as morally deficient. This article examined the woman’s experience in light of divorce and remarriage in Nigeria. Employing the reader-oriented and descriptive methods, the essay found that in his encounter with the Samaritan woman Jesus did not accuse her of any sin. Moreover, the Pentateuchal laws, which were binding also on Samaritans, (...) had provisions by which it was permissible for a woman to be married several times. Therefore, the woman’s marital experience did not necessarily make her morally deficient. The article also found that in Nigeria certain patriarchal factors do force women out of marriage, which also has nothing to do with their moral status. Due to the Christian doctrine that prohibits a woman to marry another man while her husband is still alive, some churches treat women divorcees with contempt and segregation. But this doctrine is based on biblical passages, which if adapted to the Nigerian readers’ context make divorce and remarriage acceptable. This view is in line with Jesus’ open attitude to the Samaritan woman. Therefore, in the Nigerian context the pastoral significance of the Samaritan woman’s story resides not in her morality but in the church recognising that divorce and remarriage do not constitute disobedience to scripture, and that they are not necessarily an indication of moral misconduct on the part of the affected women.Contribution: Contributing to the scholarly discussion on the Samaritan woman narrative, the article compared her marital experience with those of Nigerian women affected by divorce and remarriage, and postulated that their experiences are not necessarily an indication of moral depravity on their part. (shrink)

One quality of remarriage comedies is that, for all their ingratiating manners, and for all the ways in which they are among the most beloved of Hollywood films, a moral cloud remains at the end of each of them. And that moral cloud has to do with what is best about them. What is best are the conversations that go on in them, where conversation means of course talk, but means also an entire life of intimate exchange between the (...) principal pair. We are bound to remember from these films, even years after viewing them, something of their sound: of conversation between Cary Grant and Irene Dunne in The Awful Truth, or between Grant and Rosalind Russell in His Girl Friday, or Grant and Katharine in Bringing up Baby, or those two together with James Stewart in The Philadelphia Story, or between Hepburn and Spencer Tracy in Adam’s Rib. We feel that these people know one another, and they know how to play together in a way to make one happy and hope for the best. But the moral cloud has to do with what that conversation is meant to do, and what I say about those films is that the conversation is in service of the woman’s sense of herself as in need of an education. Importantly for that reason, I call her a descendent of Nora in Henrik Ibsen’s A Doll’s House, who in one of the most celebrated moments in modern theater, ends a play by closing a door behind her. She leaves the dollhouse saying to her husband that she requires an education and that he is not the man who can provide it for her. The implication is that since he is not this man, he cannot be her husband. And implying the contrary as well: if he were, then he would be, and their relationship would accordingly—“miracle of miracles”—constitute a marriage. Stanley Cavell is the Walter M. Cabot Professor of Aesthetics and the General Theory of Value at Harvard University. His most recent works include In Quest of the Ordinary: Lines of Skepticism and Romanticism , This New Yet Unapproachable America , and Conditions Handsome and Unhandsome. (shrink)

ONE Introduction The history of psychology in the twentieth century is a story of the divorce and remarriage of psychology and philosophy. ...

_Despite advances in standard of living of the population, the condition of widows and divorced women remains deplorable in society. The situation is worse in developing nations with their unique social, cultural and economic milieu, which at times ignores the basic human rights of this vulnerable section of society. A gap exists in life expectancies of men and women in both developing and developed nations. This, coupled with greater remarriage rates in men, ensures that the number of widows continues (...) to exceed that of widowers. Moreover, with women becoming more educated, economically independent and aware of their rights, divorce rates are increasing along with associated psychological ramifications. The fact that widowed/divorced women suffer from varying psychological stressors is often ignored. It has been concluded in various studies that such stressors could be harbingers of psychiatric illnesses (e.g., depression, anxiety, substance dependence), and hence should be taken into account by treating physicians, social workers and others who come to the aid of such women. A change in mindset of the society is required before these women get their rightful place, for which a strong will is needed in the minds of the people, and in law-governing bodies._. (shrink)

William Rothman argues that the driving force of Hitchcock's work was his struggle to reconcile the dark vision of his favorite Oscar Wilde quote, "Each man kills the thing he loves," with the quintessentially American philosophy, articulated in Emerson's writings, that gave classical Hollywood movies of the New Deal era their extraordinary combination of popularity and artistic seriousness. A Hitchcock thriller could be a comedy of remarriage or a melodrama of an unknown woman, both Emersonian genres, except for the (...) murderous villain and godlike author, Hitchcock, who pulls the villain's strings -- and ours. Because Hitchcock believed that the camera has a murderous aspect, the question "What if anything justifies killing?," which every Hitchcock film engages, was for him a disturbing question about his own art. Tracing the trajectory of Hitchcock's career, Rothman discerns a progression in the films' meditations on murder and artistic creation. This progression culminates in _Marnie _, Hitchcock's most controversial film, in which Hitchcock overcame his ambivalence and fully embraced the Emersonian worldview he had always also resisted. Reading key Emerson passages with the degree of attention he accords to Hitchcock sequences, Rothman discovers surprising affinities between Hitchcock's way of thinking cinematically and the philosophical way of thinking Emerson's essays exemplify. He finds that the terms in which Emerson thought about reality, about our "flux of moods," about what it is within us that never changes, about freedom, about America, about reading, about writing, and about thinking are remarkably pertinent to our experience of films and to thinking and writing about them. He also reflects on the implications of this discovery, not only for Hitchcock scholarship but also for film criticism in general. (shrink)

Sexual experimentation, living together, raising children outside of marriage, remarriage after divorce, and same-sex relationships...These behaviours have become common in the wider society as well as among Christians and Catholic Christians. Not only do they think and act differently than the official Church teaching, but they do so convinced that they are acting rightly. This challenges ethics to respond by what can be called an 'ethics of mercy', by meeting people where they are and helping them to grow towards (...) the fullness of life and love. Such a pastoral and educational ethics of growth should dare to stand within the tension between what is desirable and what is attainable, without surrendering the 'pro-vocative' idea of conjugal covenant as the basis for the family. Mercy is needed not only after ethics but in ethics. In harmony with Pope Francis's plea for a 'gospel of mercy', this book seeks a middle way between merciless rigourism and relativising subjectivism. It proposes an ethics of redemption that accompanies people on their way to meaningful living and loving, grounded in a spirituality that springs from the salvation offered in Jesus. (shrink)

Increasing numbers of young mothers in the work force, more and more children requiring extrafamilial care, high rates of divorce, lower rates of remarriage, increasing numbers of female-headed households, growing numbers of zero-parent families, and significant occurrences of child maltreatment are just some of the social indicators indicative of the family in a changing world. These trends and their consequences for children are described and then examined from the perspectives of microeconomic theory, the relative-income hypothesis, sex-ratio theory, and one (...) form of modernization theory. The paper concludes with a preliminary examination of the added explanatory power provided by evolutionary theory. (shrink)

Divorce is not the biggest threat to marriage. Discouragement is. You’ve probably heard the grim facts: Half of all marriages end in divorce. The divorce rate inside the church is the same as outside. Most marriages are just holding on. But what if these “facts” are actually myths? In The Good News About Marriage, best-selling author Shaunti Feldhahn presents groundbreaking research that reveals the shocking, incredibly inspiring truth: · The actual divorce rate has never gotten close to 50 percent. · (...) Those who attend church regularly have a significantly lower divorce rate than those who don’t. · Most marriages are happy. · Simple changes make a big difference in most marriage problems. · Most remarriages succeed. For too long, our confidence in marriage has been undermined by persistent misunderstandings and imperfect data. This landmark book will radically change how we think and talk about marriage—and what we can dare to hope from it. “Shaunti takes aim at marriage myths that have spread like a cancer through our culture–myths that have become self-fulfilling prophecies. This book is packed with game-changing revelations. Like this one: Not only are most people staying married, they are happy in their marriages!” –Emerson Eggerichs, best-selling author of Love and Respect. (shrink)

Harold Shapiro, the former president of Princeton, ventured to say that theology had been divorced from the liberal. Professor Doug Dix's book is about arranging a remarriage. His analysis suggests the divorce goes deeper than Shapiro may have realized. Love has been divorced from learning because money has replaced truth as the object of affection. Now students learn to earn. Natural Literacy strives to motivate students and faculty to instead learn to love.

Stanley Cavell’s “ontology of film” is his way of expressing that in our experience of movies, we are both aware that we are perceiving nothing but flickering light on a screen yet also respond intellectually and emotionally as if we are experiencing real people, although in a world in which we cannot intervene. In his discussions of “comedies of remarriage” and “the melodrama of the unknown woman,” he argues that these movies are about what it is to grow into (...) adult human beings who are free to love and who can accept the risks of loving another free human being. (shrink)

Im Ausgang von der anf änglichen Frage, welche Formen der Empathie zu den Produktionsbedingungen einer gelingenden Komödie gehören, wird zunächst argumentiert, dass Komik generell ›kulturelle Empathie‹ voraussetzt, d.i. ein Gespür dafür, welche Erwartungen und emotionalen Reaktionen bestimmte Themen und situative Konstellationen auslösen werden. Situationskomik und insbesondere die Komik peinlicher familiärer Situationen werden darauf zurückgeführt, dass wir uns sowohl empathisch in die Gefühle und die Peinlichkeit der Lebenslage der Protagonisten hineinversetzen können als auch gleichzeitig selbst die unbeteiligte Perspektive des Beobachters einnehmen. (...) Anschließend untersucht der Beitrag die Filmkomödie Toni Erdmann als Sonderfall einer Wiederverheiratungskomödie, die selbst eine Reflexion über Empathie darstellt. Es wird gezeigt, dass die Form von Empathie, die der Protagonist im Zusammenhang des für die Wiederverheiratungskomödie charakteristischen Erziehungsprozesses für die Protagonistin Ines aufbringt, nicht als ein Sichhineinversetzen in die wirklichen Gefühle oder die Lebenslage von Ines verstanden werden kann – in dieser Hinsicht erscheint er auf komische Weise empathiefrei. Toni Erdmanns Empathie zielt vielmehr auf ihre das eigene verengte Selbstverständnis transzendierenden Möglichkeiten und somit auf ihre Freiheit. Starting from the initial question which forms of empathy are included in the making of a comedy, it is argued that comedy requires ›cultural emphathy‹, i.e. a clear sense of what expectations and reactions would be triggered among the public by certain topics and performances. The comic effects of slapstick and other forms of situational comedy in association with family configurations are attributed to our capacity to put ourselves into the awkward situations of the protagonists and, at the same time, to adopt the perspective of the uninvolved spectator. Subsequently the film comedy ›Toni Erdmann‹ is examined as a special case of remarriage comedy which represents a reflection upon empathy. It is argued that the protagonist Winfried, in the context of the process of education which is typical for remarriage comedies, does not feel emphathy for the protagonist Ines with regard to her actual feelings and living conditions (on the contrary, some comical effects derive from his refusal of empathy). His emphathy is rather directed towards those of her possibilities and capacities which transcend her actual image of herself; in other words, it is directed towards her freedom. (shrink)

Christian divorce is construed as letting go of past sin in repentance and seeking new life in faithfulness and forgiveness; this painful crisis is seen as a confrontation with God's judgment and as an opening up to God's grace; one is urged to maintain an awareness of temptations to continue in sin and of opportunities for reconciliation and cooperation. This view is developed through an analysis of the concepts of covenant, infidelity and adultery, as well as a comparison of civil, (...) contractual marriage and the Christian sacrament and covenant of marriage. "Practical Postscripts" discuss the issues of the nurture of children of divorced persons and remarriage. "From the beginning of creation, 'God made them male and female.' For this reason a man shall leave his father and mother and be joined to his wife, and the two shall become one flesh.' So they are no longer two but one flesh. What therefore God has joined together, let not man put asunder." (Mark 10:6-9). (shrink)

_ Source: _Volume 38, Issue 1, pp 25 - 54 Scholars have assumed but not proven that Erasmus was a Church reformer. They have located his impetus for Church reform in his editions of the New Testament. A consideration of the orientation of reform aids in analysing Erasmus’ _Annotations on the New Testament_. A programmatic return to ancient sources facilitated a philological reform of the text of the New Testament. Furthermore, Erasmus’ recourse to Scripture exposed contemporary aberrations from appropriate Christian (...) conduct. In the case of divorce for the sake of remarriage, Erasmus looked forwards for change more than backwards. Exposing faults and suggesting a change to Church laws on marriage did not constitute the structural reorganization that qualified Erasmus as a Church reformer. (shrink)

Introduction to the study of African Christian ethics -- Foundations of contemporary African ethics -- Foundations of Western ethics -- Foundations of Christian ethics -- Foundations of African Christian ethics -- Applying African Christian ethics -- Church and state -- War and violence -- Strikes -- Poverty -- Corruption -- Fund-raising -- Procreation and infertility -- Reproductive technologies -- Contraception -- Polygamy -- Domestic violence -- Divorce and remarriage -- Widows and orphans -- Rape -- Incest -- Prostitution and (...) sex trafficking -- Female circumcision -- Homosexuality -- HIV/AIDS -- Abortion -- Euthanasia and infanticide -- Strikes and medical services -- Drug and alcohol abuse -- Witchcraft. (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 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)

In lieu of an abstract, here is a brief excerpt of the content:KINSHIP AND SEPARATION IN CAVELL'S PURSUITS OF HAPPINESS by Alex Neill In the second part of his article "Getting To Know You,"1 Roger A. Shiner suggests that light can be shed on various epistemological and metaphysical problems through a consideration of what Stanley Cavell has called in his book Pursuits ofHappiness "the Hollywood genre of remarriage."2 Shiner's aim is "to present the genre of remarriage as a (...) figure for the profoundest relationships of epistemology and metaphysics.... Specifically, divorce and remarriage as part of human life are to be seen as figures for separation and kinship, avoidance and acknowledgement in the philosophical sense of those terms" (p. 80). Much of the first part of his paper is concerned with spelling out just what the philosophical sense of these terms in Cavell's work is, and in particular with attempting to draw out the conceptual relationship and balance between the twin notions of kinship and separation. Understanding this relationship is crucial to Shiner's metaphysical and metaphilosophical projects; however, he thinks that it is obscured by Cavell himself: "I believe Cavell's own account in Pursuits ofHappiness to be unstable and its instability importantly instructive" (p. 87). While I share Shiner's view that what he calls Cavell's "conceptual framework" represents an original and important contribution to our understanding of central issues in epistemology and metaphysics, and agree with much of what he has to say about its importance with regard to questions of philosophical method, I find his claim that there is an instability in Cavell's account of the roles of kinship and separation in Pursuits of Happiness unconvincing. There are two elements involved in this claim, and I think that Shiner's discussion of both is seriously misleading with regard to the conceptual relationships between kinship, separation, and acknowledgement. In what follows, I would like to consider 136 Alex Neill137 his claim in some detail, with a view to clarifying the nature of the relationships between these concepts. The standard pattern of the comedies that Cavell discusses in Pursuits ofHappiness is represented by a progression from marriage to divorce to remarriage. A central claim of Shiner's paper is that this pattern reflects a theme which runs through much of Cavell's other work, according to which our relationship to the world and to others is not one of knowing but of acknowledging. 3 Shiner's suggestion is that remarriage is a figure for the condition of acknowledgement, a condition which requires an acceptance of the facts of both human kinship (symbolized here by a first marriage) and human separation (symbolized here by divorce). Shiner's assertion that there is an instability in Cavell's account of the genre of remarriage is based on the latter's inclusion of Bringing Up Baby and It Happened One Night in the genre. His suggestion is that the inclusion of these films obscures the importance of the notion of kinship, a key notion in the genre in its own right, and an important figure for a central concept of metaphysics. The point is that in these films, the protagonists are not at first married to each other: the films begin with their meeting for the first time, and conclude with their marriages. Thus it appears that in Bringing Up Baby and It Happened One Night the kinship stage of the pattern is missing. This is the first element in the instability which Shiner is concerned to bring out. If the inclusion of Bringing Up Baby and It Happened One Night in the genre of remarriage is legitimate, then, it would seem that they must represent or express kinship in some way other than through a first marriage. That is, in order to see Cavell's account as being stable, we need an alternative formulation ofkinship that can be satisfied by these films. A candidate for such an alternative formulation is suggested by Cavell in his reading of The Philadelphia Story: "Having... in some way created a childhood past together, remains a law for the happiness of the pair in the universe of remarriage comedies" {PH, p. 136). However, Shiner finds this formulation of kinship in terms of... (shrink)

This paper casts the television series BoJack Horseman as a challenge to the genre that Stanley Cavell calls “the comedy of remarriage.” First, it is argued that the last season of the series explicitly suggests but finally contradicts the narrative pattern of the comedy of remarriage. Then, the impossibility of remarriage in BoJack Horseman is traced back to some structural features of the medium of television and its relationship to time. Finally, the impossibility of remarriage in (...) BoJack Horseman is related to the capacity of the medium of television to enable self-defeating fictions which challenge fiction as a cultural institution. (shrink)

In his diaries from the beginning of the 1930s, Ludwig Wittgenstein comments extensively both on Søren Kierkegaard's view of philosophical method and on his view of love. The aim of this article is to show how Wittgenstein's reflections on Kierkegaard's view of love reveal a fundamental difference between the two thinkers' views of philosophical method, a difference in their view of the role of the reader of and partner in doing philosophy, between Kierkegaard's indirect communication to the reader and Wittgenstein's (...) dialogical engagement with the reader. The article opens with a presentation of substantial similarities between Wittgenstein's and Kierkegaard's conceptions of philosophy. After this, I present an account of Kierkegaard's view of love and marriage, an understanding of which is necessary in order to understand Wittgenstein's reservations towards Kierkegaard. This in turn leads me to the main investigation that shows how a difference in Kierkegaard and Wittgenstein's views on love connects to a fundamental difference in their views of philosophy. This difference between the two thinkers will finally be elucidated through the understanding of love developed by Stanley Cavell in his work on the so‐called Hollywood remarriage comedies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Stanley Cavell and Criticizing the University from WithinMichael FischerStanley Cavell has spoken often of his "lifelong quarrel with the profession of philosophy" but he has said less about the university as a whole and its pressures on all academic disciplines, philosophy included. 1 In Cavell's work, "academic" or "professional" philosophy takes shape in an institutional context he has not yet fully analyzed. I want here to extrapolate from Cavell's (...) work a critical, yet sympathetic, response to the university that I think is especially needed today, when the rise of the so-called corporate university is intensifying some of the professional pressures that Cavell resists.Cavell's discomfort with academic philosophy stems in part from what he regards as its narrowness, specifically, its marginalization of Ludwig Wittgenstein and other philosophers, not to mention Henry David Thoreau and Ralph Waldo Emerson, the comedies of remarriage, and other work that Cavell cares about. In his view, the professional marginalization of these writers partly results from their exemplifying what can seem to be a vague moral seriousness, even at times a prophetic urgency, that calls for something akin to conversion rather than issuing in specific conclusions or reforms. According to Cavell, academic philosophy, by contrast, subsumes moral concerns under ethics, a separate field in which the "point of conversation is getting the other to agree to, or to do, something." 2Although Cavell does not systematically analyze the institutional pressures on academic philosophy, he does drop some hints. As befitting a subject seeking legitimacy in the university, academic philosophy has aligned itself with teachable subjects such as science, as opposed to more elusive pursuits such as painting and creative writing, which [End Page 471] have been less at home in the university and where the necessity of university instruction may be less clear and the line between success and failure harder to draw. 3 What can be taught in academic philosophy is a method of analysis, mastery of which can be certified in students by professors and in professors by journals, promotion and tenure committees, and administrators. Subdividing philosophy into discrete fields such as ethics makes it even more manageable, or less susceptible to sweeping pronouncements that cannot be tested by experts. Finally, the interest in getting "the other to agree to, or to do, something" associates academic philosophy, or at least ethics, with measurable results and maybe even progress.The rise of the so-called corporate university has exacerbated the emphasis on teachable expertise and definable outcomes that I have been describing. Take the largest private university in the United States—the University of Phoenix—as a model that some state and non-profit private universities may be emulating as they struggle to cut costs, meet external expectations, and work with reduced budgets. At the University of Phoenix, the interest in measurable results gets recast as learning outcomes that teachers enable students to reach as efficiently as possible. Specialization narrows these learning outcomes to sharply defined skills, such as writing business memos, which students can master and build on. Finally, the emphasis on method does not simply depersonalize instruction; it reduces the need for instructors. Each instructor is tasked with teaching as many students as possible, sometimes through distance learning, with class size reaching a limit only when the learning outcomes cannot be delivered. Lacking tenure, these instructors can be replaced, like interchangeable parts, when they wear out or their student customers become too dissatisfied with them. At another rapidly growing for-profit university, DeVry, students unhappy with their instructors are assured, in the words of a campus dean, that "weak links" will be "fixed" in a "total quality management" environment. 4Along similar lines, Lindsay Waters has recently explored how "the corporate makeover of the university" and "the commercialization of higher education" have affected academic publishing. 5 Universities compete in an increasingly cutthroat marketplace and face an escalating insistence on results from state legislatures, federal agencies, accrediting associations, and boards. Capitulating to this "accountability culture" (EP, p. 20), bottom-line driven administrators have stepped up demands for faculty productivity, measured in quantitative terms by numbers of students taught, grants won, and, what most concerns Waters, books and [End... (shrink)