In *Here and There*, Stanley Cavell suggests that music, like speech, implicates the listener, so that our descriptions of music "are to be thought of not as discoveries but as impressions and assignments of meaning." Such impressions express what "makes an impression upon us," "what truly matters to us." Moreover, this aspect of music "is itself more revolutionary than ... any political event of which it could be said to form a part." I offer one indication of that significance (...) by considering a recent challenge to an old claim about the relation between jazz and democracy. Stanley Crouch claims that jazz practice is an emblem of democracy, while Benjamin Givan observes the undemocratic, hierarchical way that jazz musicians work together. But both positions rest on a limited notion of "democracy." I contrast it to the tradition in political thought that requires each citizen to find their own voice if they're to acquire the ability to govern themselves. Consequently, a better emblem of jazz's democratic advance lies in the challenge it presents to the attentive listener. Jazz listening is increasingly characterized by a learned culture of hearing what isn't played, hearing allusions, hearing unspoken interplay. The nature of this "hearing between the lines" parallels the tradition of esoteric writing in the history of political thought. It suggests that jazz's democratic importance is found in the listener's willingness to give voice to what she hears, not knowing whether her experience is shared by others or whether it singles her out, possibly for skepticism or ridicule. (shrink)

John Rawls was what we might call a “frenemy” to Stanley Cavell. Time and again, Cavell states his admiration for Rawls's political philosophy but criticizes it for two reasons. First, he believes that Rawls too hastily dismisses a perfectionist tradition that is essential for a flourishing liberal democracy. Second, he attacks certain aspects of Rawls's theory of justice as moralistic and legalistic. The first half of this article examines Cavell's critique of Rawls and argues that the two authors are (...) more closely aligned than suspected. It begins by reconstructing Cavell's critique of Rawls, and using archival materials from Harvard University, presents for the first time Rawls's interpretation of this critique. The second half of the article highlights perfectionist themes in Rawls's A Theory of Justice. The contribution of this article is to reevaluate the relationship between two of the most important moral philosophers of the twentieth century and also to provide a more expansive theory of liberalism that incorporates the psychological depth, moral subtlety and political hopefulness of moral perfectionism. (shrink)

Can one conceive something to say about Allan Bloom’s view of America and the American university that he hasn’t already heard? Setting aside the perhaps undiscussable differences in what we each saw in our students of the 1960s, I find two regions in which Bloom’s experience and mine differ systematically that are specific and clear enough to be stated briefly, perhaps usefully: first, our experience of the position of philosophy in the intellectual economy we were presented with in the two (...) decades prior to the 1960s; second, our experience of the modern and the popular in the arts. My citing of these differences can only prove worthwhile, however, against a background of agreement I find with his work over the centrality of a cluster of issues, of which I specify five: a first agreement concerns the illustriousness of the university in the life of a democracy; a second concerns the irreplaceability of Great Books—what Thoreau calls scriptures—in a humanistic education; a third concerns the unaware imbibing of European thought by a chronically unprepared American constitution—a condition that is as live for us, or should be, as when Emerson was founding American thinking by demonstrating his knack of inheriting, by transfiguring, European philosophy; a fourth moment of agreement concerns the goal of a democratic university education as keeping open the idea of philosophy as a way of life, call it the life of the mind, a name for which might be Moral Perfectionism ; a fifth sense of my agreement with Bloom concerns the threat that a discourse about such issues, such as the prose fashioned in Bloom’s book , is becoming unintelligible to the culture that has produced it, and not alone to the young . 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 and This New Yet Unapproachable America: Essays after Emerson after Wittgenstein. (shrink)

We invited five Cavell scholars to write on this topic. What follows is a vibrant exchange among Paola Marrati, Andrew Norris, Jörg Volbers, Cary Wolfe and Thomas Dumm addressing the question whether, in the contemporary political context, Cavell’s skepticism and his Emersonian perfectionism amount to a politics at all.

Despite his significant influence across the humanities, Cavell's work has attracted little attention from political theorists. This book addresses that gap by explicating the political dimensions of his thought and placing it in conversation with contemporary debates within the discipline, focusing on the challenge of post-truth politics.

'Becoming Who We Are' clarifies the political and existential aspects of Stanley Cavell's understanding of ordinary language and of skepticism, and shows the close connection between his reception of Kant, Heidegger, and Austin and his exploration of what Emersonian Perfectionism offers to democracy and modern life.

Stanley Cavell's The World Viewed was the first book on cinema to attempt to provide an ontological theorisation of film that could account not only for its popular instances and the reason why they enthralled audiences for over half a century but also for the demise of its mythic function and the possibility of its redemption in serious modernist film. Inadequately understood at the time of its publication, and for too long ignored by Film Studies, Cavell's arguments about modernist (...) cinema all but disappeared in the wake of the rise of postmodern theory. Yet the crisis of belief that confronted modern arts, condemned them to the production of serious works, and eventually unsettled the privileged place of mainstream cinema in twentieth century liberal democracies, still laps at our feet. This essay follows on the back of Kathleen Kelley's recent essay on Cavell, Greenberg, Bazin and medium specificity in film and Robert Sinnerbrink's work aligning Cavell’s understanding of cinema as 'a moving image of skepticism' with the project of thinking philosophically about film. It aims to continue to unpack the idea of automatism as it is conceived by Cavell to operate in film and to argue, along with Kelley and Sinnerbrink, for its importance for understanding the conviction of serious films. (shrink)

This essay addresses the ethical and political significance of Foucault’s late work on the ethics of care of the self and parrhesia. We argue, first, that understanding this significance requires seeing Foucault’s investigation of these classical practices against the backdrop of his identification of, and attempt to make perspicuous, the problem of biopolitical governance – specifically the paradox of relations of power and capacity. On this basis we go on, second, to consider how this turn may inform an ethics of (...) democratic governance. In constructing this case, we demonstrate the relationship between the ethics of care of the self as a practice of freedom and the tradition of moral perfectionism identified by Stanley Cavell. This allows us to show how Cavell and Foucault mutually complement each other in the articulation of an approach to an ethics of democracy and we outline the fundamental features of such an approach. (shrink)

In 1969 Stanley Cavell's Must We Mean What We Say? revolutionized philosophy of ordinary language, aesthetics, ethics, tragedy, literature, music, art criticism, and modernism. This volume of new essays offers a multi-faceted exploration of Cavell's first and most important book, fifty years after its publication. The key subjects which animate Cavell's book are explored in detail: ordinary language, aesthetics, modernism, skepticism, forms of life, philosophy and literature, tragedy and the self, the questions of voice and audience, jazz and sound, (...) Wittgenstein, Austin, Beckett, Kierkegaard, Shakespeare. The essays make Cavell's complex style and sometimes difficult thought accessible to a new generation of students and scholars. They offer a way into Cavell's unique philosophical voice, conveying its seminal importance as an intellectual intervention in American thought and culture, and showing how its philosophical radicality remains of lasting significance for contemporary philosophy, American philosophy, literary studies, and cultural studies. (shrink)

In the contemporary culture of accountability and the ‘economy’ of education this generates, pragmatism, as a philosophy for ordinary practice, needs to resist the totalising force of an ideology of practice, one that distracts us from the rich qualities of daily experience. In response to this need, and in mobilising Dewey's pragmatism, this paper introduces another standpoint in American philosophy: Stanley Cavell's account of the economy of living in Thoreau's Walden. By discussing some aspects of Cavell's The Senses of (...) Walden that suggest both apparent similarities and radical differences between Thoreau and Dewey, I shall argue that Cavell discovers rich dimensions of practice in Thoreau's American philosophy, ones that are overshadowed in Dewey's pragmatism: that he demonstrates another way of ‘making a difference in practice’. Cavell, as a critical interlocutor of Dewey, from within American philosophy, offers a way of using language in resistance to the rhetoric of accountability and in service to the creation of democracy as a way of life. I shall conclude by suggesting that the enriched tradition of American philosophy from Dewey to Cavell is to be found in their promotion of philosophy as education and education as philosophy. (shrink)

In this paper, I discuss the importance of practices of disidentification and imagination for democratic progress and change. To this end, I bring together certain aspects of Stanley Cavell’s and Richard Rorty’s reflections on democracy, aesthetics, and morality with Jacques Rancière’s account of the importance of appearance for democratic participation. With Rancière, it can be shown that any public–political order always involves the possibility (and often the reality) of exclusion or oppression of those who “have no part” in the (...) current order through a particular order of perceptibility, and that democratic action, therefore, requires rupturing acts of political agency on the part of self-proclaimed political actors through which disidentifications and constructions of difference against such existing orders become possible. With Cavell and Rorty, in turn, it can be shown that these rupturing moments, in order to actually become politically effective, require a responsive disposition and a willingness to engage in practices of imagination on the part of those who occupy dominant positions on existing orders, insofar as they must acknowledge the expression of others’ sense of injustice. The upshot of my discussion is that a comprehensive account of the aesthetic dimension of democratic politics must simultaneously address the interruption of political action on the one hand and responsiveness on the other, and that Rancière and the neo-pragmatists Rorty and Cavell complement each other insofar as they illuminate the blind spots of their respective approaches. (shrink)

This essay presents an approach to understanding improvised music, finding in the work of certain outstanding jazz musicians an emblem of Ralph Waldo Emerson's notion of self-trust and of Stanley Cavell's notion of moral perfectionism. The essay critiques standard efforts to interpret improvised solos as though they were composed, contrasting that approach to one that treats the procedures of improvisation as derived from our everyday actions. It notes several levels of correspondence between our interest in jazz improvisations and the (...) particular demands of Emerson's writing, and ends by considering how exemplary moments of instruction in jazz are expressive of Emersonian self-trust. (shrink)

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 article explores the relationship between democracy, citizenship and scholarship through the notion of voice. The conception of voice in current policy operates governmentally, and shores up an identity ordered according to existing classifications and choices rather than destabilising it, and enabling critique. Rather than leading to an empowerment then the notion of voice, found in policy, research and practice, constitutes a depoliticisation of citizenship. The work of Ralph Waldo Emerson, Stanley Cavell and Michel Foucault is drawn upon here (...) to explore an understanding of voice constituted in seeking a different way of accounting for ourselves, a different relation of the self to the self and others than is demanded by the current order. This is explored in relation to thought and scholarship as expressions of one's voice and thus of one's citizenship. (shrink)

To speak of democracy is often to speak less of a fact than of a hope. In his introduction to Democracy in America, Alexis de Tocqueville admitted that ‘… in America I saw more than America; I sought the image of democracy itself, with its inclinations, its character, its prejudices and its passions, in order to learn what we have to fear or to hope from its progress’. De Tocqueville recognised that democracy's success would rely on its constant promotion, the (...) affirmation and revaluation of its terms and conditions, such that it sustains the investedness of its (voluntary) participants. This paper considers the work of Stanley Cavell as inheriting the tone of de Tocqueville's romantic will to democracy, particularly in the discovery of its analogous image in ‘remarriage comedy’. I look first at the ways in which popular pictures of (in this case, American) democracy on film sustain an expression of hope for a better set of relations amongst equal and consenting participants, an expression that is identified as romantic in nature. By contrast, I will also discuss how representations of democracy's reality on screen—pictures that sit outside comfortable generic expectations, and reveal those moments in which interest in democratic participation or values has ebbed or is dormant—have as much to tell us about democracy's character as more idealist expressions of what it might be or become. (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)

Contemporary scenes of democracy and education exemplify a real scepticism about the point of political participation, and by implication about one's place in society in relation to others. What is called for is a recovery of desire per se ? of people's desire to say what they want to say and their desire to participate in the creation of the public. In response, this article examines Stanley Cavell's ordinary language philosophy. The way he reconstructs philosophy from the perspective of (...) ordinary language provides us with an alternative route to citizenship. Cavell's philosophy is turned towards our existential need to recover political passion, the mainspring of a desire to think that affirms humanity as necessarily political. And in the end this existential need dovetails with the need of the polis: that people speak in their own voice. That, I shall conclude, must be the basis of education for citizenship and political literacy. (shrink)

This chapter focuses on the work of Ralph Waldo Emerson and Henry David Thoreau, and their interpretation by Stanley Cavell. Cavell's philosophy has sought to reclaim the work of Emerson and Thoreau for and as philosophy, and particularly as American philosophy. In Cavell's Emersonian moral perfectionism, perfectionism is understood as ateleological, and not in terms of perfectibility. Cavell therefore seeks to distinguish this American expression of perfectionism from what he identifies as a dimension or tradition of the moral life (...) that spans the course of Western thought, found in teleological form in, for example, Plato and Aristotle. Emerson's essay expresses a disappointment in America's passive acceptance of its European inheritance and in the implications of this for citizenship and democracy. America, or American man, must undertake its own labour to produce its own knowledge of itself and the world. (shrink)

Joshua Foa Dienstag engages in a critical encounter with the work of Stanley Cavell on cinema, focusing skeptical attention on the claims made for the contribution of cinema to the ethical character of democratic life.

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 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.

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 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 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)

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)

Stanley Cavell reflects on the writing of Barbara Cassin in light of his interest in interpreting certain philosophers as “philosophically destructive,” where this destructiveness may in fact be understood as philosophically creative. Cavell suggests that the writings of Austin and Wittgenstein may be considered in these terms, and speculates on the potential interest these writers might have for Cassin. Cassin's call for a rethinking of philosophy might be seen as uniquely essential to the practice of Austin and Wittgenstein.

How can we build a path from the binary of gender to the unity of common humanity? What kind of difference can the “different voice” of feminism make as a human voice? In this article, Naoko Saito argues that the way we talk about the difference of a “different voice” needs to be radically transformed. To envision a route to such a transformation, she explores an alternative possibility of feminism in the American transcendentalism of Margaret Fuller and Ralph Waldo Emerson. (...) First, Saito critically examines the politics of recognition and suggests a susceptibility to binary thinking in its approach. Second, as a way of transcending the binary mode of thinking, Saito introduces the humanist feminism of the nineteenth-century American transcendentalist Margaret Fuller. Third, as a way of elucidating the radicality of Fuller's transcendentalist feminism, Saito introduces the feminine voice of two male philosophers — Ralph Waldo Emerson and Stanley Cavell — as her conversational partners. By radically converting the way we talk about difference of voice, the transcendentalist feminism of Fuller, Emerson, and Cavell provides a third way that lies beyond the politics of recognition and care ethics. In conclusion, Saito proposes that the cultivation of the feminine subject requires an alternative political education that resists assimilation into political realism. This would realize our common humanity and, in its crossing of divides between men and women, would create democracy from within. (shrink)

_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)

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.

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)

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)

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)

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

This paper studies how Emerson's ‘Self-Reliance’ offers a meaningful account of political and moral self-education in Western democracies. Emerson's moral perfectionism involves an ethical, political and democratic individualism that needs to be reconsidered. This paper explores a perfectionist interpretation of the modern forms of self-education as political and ordinary practices, first with the case of conspiracy theories, which express an individual desire for self-education but appear as the result of a lack of self-reliance and a failure of political self-education, and (...) then through the explicit claim to self-education made by activists in ecological, anti-racial or feminist organisations, which embodies the democratic need for self-reliance. These two examples reveal a new kind of efficient and ordinary political power at the edge of civic commitment. This leads us to define an alternative conception of pedagogy, in which equality in self-reliance matters. This also underlines our moral and ordinary political responsibility and challenges the traditional philosophical opposition between personal and public, subjective and universal. This paper underlines the accuracy of Stanley Cavell's interpretation of Emerson's ‘Self-Reliance’ in order to provide a perfectionist interpretation of activism. It also opens a new crossed perspective between the French and American approaches. (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)

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.