European Journal of Philosophy, Volume 29, Issue 4, Page 937-947, December 2021.

The aim of my paper will be to provide a commentary on the introduction to the French edition of Ethics and the Limits of Philosophy (1985) by Bernard Williams (1929–2003) and to show the Nietzschean legacy that is made explicit there. In this introduction, called “L'éthique, question de style?” and published in 1990, Williams reflects on some of the problems of style that his book poses to French readers, to whom he feels his work is less familiar. Furthermore, Williams recalls (...) some moments of the Royaumont colloquium (which he attended in 1958) and dwells on some peculiarities that distinguish him from analytic philosophy, “French” philosophy, Wittgenstein and Heidegger. Finally, the text closes with a description of the image of the philosopher to whom Williams feels closest—that of Nietzsche—and illustrates the reasons that distance him from other models of philosophical writing. (shrink)

Abstract:Taking my title from "Lingering in the Woods," one of Umberto Eco's Six Walks in the Fictional Woods, I present a study of Stanley Cavell's style of writing. While a dominant Anglo-American style of philosophical writing seems to be motivated principally by a desire for argumentation, a Cavellian, lingering style aims at thorough expression and description of the human experience. Traces of this style can be found also in Ludwig Wittgenstein's writing. After reopening the debate that arose from some responses (...) to The Claim of Reason, I conclude with a close reading of Cavell's "Excursus on Wittgenstein's Vision of Language.". (shrink)

The aim of this article is to comment on an episode of The Sopranos in which we are shown two simultaneous failed attempts at education. Tony Soprano’s son and “nephew” seek their own path, their own education, and both end up returning to the world of the two families: the Soprano family and the Mafia family. On this road, they meet people who could lead them out of these worlds, but their affiliation with the family will not be scratched: the (...) two families have too many attractions to be abandoned. The missed education of the two young men mirrors the fall of Tony Soprano, whose tragic fate this episode anticipates. (shrink)

The aim of this paper is to say something significant about Stanley Cavell's style. To accomplish this task, we adopt a distant reading approach, quantifying what seems to be an idiosyncratic use of parentheses. After outlining our methodological approach and the choices of texts from Cavell's corpus, we will present the results of our quantitative analysis. Two kinds of results will be presented and interpreted: the result of a comparison between Cavell and other authors (i.e. why Cavell's use of parentheses (...) is exceptional) and the result of a quantitative analysis of Cavell's texts (i.e. how Cavell uses parentheses throughout his books). For both results, we will provide our own interpretation. In the conclusion, we will draw the moral of this parenthetical story, hoping to open future parentheses. (shrink)

L’opera del giovane scrittore, poeta, critico d’arte e filosofo americano Michael Angelo Tata si presenta, fin dall’inizio, come un testo ambizioso. Come sottolinea l’autore stesso, l’obiettivo del libro è di andare oltre le tesi del filosofo Arthur C. Danto riguardanti Andy Warhol e la sua arte(p. 1). Ironia della sorte, l’autore di Beyond Brillo Box viene chiamato in causa in uno scritto che potrebbe benissimo intitolarsi Beyond Arthur Danto. Ma nello specifico quali aspetti della teoria de...

The English original of Bernard Williams’s Ethics and the Limits of Philosophy was published in 1985. Since its publication, it has provoked a substantial body of philosophical commentary, sympathetic as well as critical. Williams’s introduction to the 1990 French translation of Ethics and the Limits of Philosophy is an unusual text and an illuminating new source for readers of Williams. Refreshingly, it reflects an effort on Williams’s part to establish a connection with a new set of readers. It is also (...) the work of a philosopher relishing the freedoms that come from not having to connect with the old one. Does his introduction itself benefit from a further introduction? We believe that it does, and for the same reason that the book needed some prefatory words before it could be put into the hands of French readers: because the work is not, or no longer, fully self-explanatory. (shrink)