![]() |
![]() |
Your cart is empty |
||
Showing 1 - 25 of 36 matches in All Departments
The first posthumous collection from the writings of Stanley Cavell, shedding new light on the distinctive vision and intellectual trajectory of an influential American philosopher. For Stanley Cavell, philosophy was a matter of responding to the voices of others. Throughout his career, he articulated the belief that words spring to life in concrete circumstances of speech: the significance and power of language depend on the occasions that elicit it. When Cavell died in 2018, he left behind some of his own most powerful language-a plan for a book collecting numerous unpublished essays and lectures, as well as papers printed in niche journals. Here and There presents this manuscript, with thematically relevant additions, for the first time. These writings, composed between the 1980s and the 2000s, reflect Cavell's expansive interests and distinctive philosophical method. The collection traverses all the major themes of his immense body of work: modernity, psychoanalysis, the human voice, moral perfectionism, tragedy, skepticism. Cavell's rich and cohesive philosophical vision unites his wide-ranging engagement with poets, critics, psychoanalysts, social scientists, and fellow philosophers. In Here and There, readers will find dialogues with Shakespeare, Thoreau, Wittgenstein, Freud, Heidegger, Walter Benjamin, Wallace Stevens, Veena Das, and Peter Kivy, among others. One of the collection's most striking features is an ensemble of five pieces on music, constituting Cavell's first discussion of the subject since the mid-1960s. Edited by philosophers who have been invested in Cavell's work for decades, Here and There not only gathers the strands of a writing life but also maps its author's intellectual journeys. In these works, Cavell models what it looks like to examine seriously one's own passions and to forge new communities through unexpected conversations.
Judgment, Imagination, and Politics brings together for the first time leading essays on the nature of judgment. Drawing from themes in Kant's Critique of Judgment and Hannah Arendt's discussion of judgment from Lectures on Kant's Political Philosophy, these essays deal with: the role of imagination in judgment; judgment as a distinct human faculty; the nature of judgment in law and politics; and the many puzzles that arise from the 'enlarged mentality, ' the capacity to consider the perspectives of others that aren't in Kant treated as essential to judgment
The spirit that founded the volume and guided its development is radically inter- and transdisciplinary. Dispatches have arrived from anthropology, communications, English, film studies (including theory, history, criticism), literary studies (including theory, history, criticism), media and screen studies, cognitive cultural studies, narratology, philosophy, poetics, politics, and political theory; and as a special aspect of the volume, theorist-filmmakers make their thoughts known as well. Consequently, the critical reflections gathered here are decidedly pluralistic and heterogeneous, inviting-not bracketing or partitioning-the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences (in so far as we are biological beings who are trying to track our cognitive and perceptual understanding of a nonbiological thing-namely, film, whether celluloid-based or in digital form); these disciplines, so habitually cordoned off from one another, are brought together into a shared conversation about a common object and domain of investigation. This book will be of interest to theorists and practitioners of nonfiction film; to emerging and established scholars contributing to the secondary literature; and to those who are intrigued by the kinds of questions and claims that seem native to nonfiction film, and who may wish to explore some critical responses to them written in engaging language.
Stanley Cavell looks closely at America's most popular art and our perceptions of it. His explorations 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 everywhere.
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.
What is a promise? What are the consequences of the act of
promising? In this bold yet subtle meditation, the author
contemplates the seductive promise of speech and the seductive
promise of love. Imagining an encounter between Moliere's Don Juan
and J. L. Austin, between a mythical figure of the French classical
theater and a twentieth-century philosopher, she explores the
relation between speech and the erotic, using a literary text as
the ground for a telling encounter between philosophy, linguistics,
and Lacanian psychoanalytic theory. In the years since the
publication of this book (which the author today calls "the
boldest, the most provocative, but also the most playful" she has
written), speech act theory has continued to play a central and
defining role in the theories of sexuality, gender, performance
studies, post-colonial studies, and cultural studies. This book
remains topical as readers increasingly discover how multiply
relevant the speaking body is.
During the ’30s and ’40s, Hollywood produced a genre of madcap comedies that emphasized reuniting the central couple after divorce or separation. Their female protagonists were strong, independent, and sophisticated. Here, Stanley Cavell names this new genre of American film—“the comedy of remarriageâ€â€”and examines seven classic movies for their cinematic techniques and for such varied themes as feminism, liberty, and interdependence. Included are Adam’s Rib, The Awful Truth, Bringing Up Baby, His Girl Friday, It Happened One Night, The Lady Eve, and The Philadelphia Story.
Ralph Waldo Emerson is one of the most significant figures in nineteenth-century American literature and culture-indeed, this collection argues, in the history of philosophy. The Other Emerson is a thorough reassessment of the philosophical underpinnings, theoretical innovations, and ethical and political implications of the prose writings of one of America's most enduring thinkers. Considering Emerson first and foremost as a daring and original thinker, The Other Emerson focuses on three Emersonian subjects-subjectivity, the political, and the nature of philosophy-and range in topic from Emerson's relationships to slavery and mourning to his place in the development of Romanticism as reread by contemporary systems theory. It is Emerson's appreciation of truth's instability that link him to the European philosophical tradition. Contributors: Eduardo Cadava, Princeton U; Sharon Cameron, Johns Hopkins U; Russell B. Goodman, U of New Mexico; Paul Grimstad, Yale U; Eric Keenaghan, U at Albany, SUNY; Gregg Lambert, Syracuse U; Sandra Laugier, Universite de Picardie Jules Verne; Donald Pease, Dartmouth College.
What is marriage? Can a relationship dedicated to equality,
friendship, and mutual education flower in an atmosphere of
romance? What are the paths between loving another and knowing
another? Stanley Cavell identified a genre of classic American
films that engaged these questions in his study of comedies of
remarriage, "Pursuits of ""Happiness." With "Contesting Tears,"
Cavell demonstrates that a contrasting genre, which he calls "the
melodrama of the unknown woman," shares a surprising number and
weave of concerns with those comedies.
The spirit that founded the volume and guided its development is radically inter- and transdisciplinary. Dispatches have arrived from anthropology, communications, English, film studies (including theory, history, criticism), literary studies (including theory, history, criticism), media and screen studies, cognitive cultural studies, narratology, philosophy, poetics, politics, and political theory; and as a special aspect of the volume, theorist-filmmakers make their thoughts known as well. Consequently, the critical reflections gathered here are decidedly pluralistic and heterogeneous, inviting-not bracketing or partitioning-the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences (in so far as we are biological beings who are trying to track our cognitive and perceptual understanding of a nonbiological thing-namely, film, whether celluloid-based or in digital form); these disciplines, so habitually cordoned off from one another, are brought together into a shared conversation about a common object and domain of investigation. This book will be of interest to theorists and practitioners of nonfiction film; to emerging and established scholars contributing to the secondary literature; and to those who are intrigued by the kinds of questions and claims that seem native to nonfiction film, and who may wish to explore some critical responses to them written in engaging language.
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.
An autobiography in the form of a philosophical diary, "Little Did I Know"'s underlying motive is to describe the events of a life that produced the kind of writing associated with Stanley Cavell's name. Cavell recounts his journey from early childhood in Atlanta, Georgia, through musical studies at UC Berkeley and Julliard, his subsequent veering off into philosophy at UCLA, his Ph.D. studies at Harvard, and his half century of teaching. Influential people from various fields figure prominently or in passing over the course of this memoir. J.L. Austin, Ernest Bloch, Roger Sessions, Thomas Kuhn, Robert Lowell, Rogers Albritton, Seymour Shifrin, John Rawls, Bernard Williams, W. V. O. Quine, and Jacques Derrida are no longer with us; but Cavell also pays homage to the living: Michael Fried, John Harbison, Rose Mary Harbison, Kurt Fischer, Milton Babbitt, Thompson Clarke, John Hollander, Hilary Putnam, Sandra Laugier, Belle Randall, and Terrence Malick. The drift of his narrative also registers the decisiveness of the relatively unknown and the purely accidental. Cavell's life has produced a trail of some eighteen published books that range from treatments of individual writers like Wittgenstein, Austin, Emerson, Thoreau, Heidegger, Shakespeare, and Beckett to studies in aesthetics, epistemology, moral and political philosophy, cinema, opera, and religion.
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.
In this powerful, compassionate work, one of anthropology's most distinguished ethnographers weaves together rich fieldwork with a compelling critical analysis in a book that will surely make a signal contribution to contemporary thinking about violence and how it affects everyday life. Veena Das examines case studies including the extreme violence of the Partition of India in 1947 and the massacre of Sikhs in 1984 after the assassination of then Prime Minister Indira Gandhi. In a major departure from much anthropological inquiry, Das asks how this violence has entered "the recesses of the ordinary" instead of viewing it as an interruption of life to which we simply bear witness. Das engages with anthropological work on collective violence, rumor, sectarian conflict, new kinship, and state and bureaucracy as she embarks on a wide-ranging exploration of the relations among violence, gender, and subjectivity. Weaving anthropological and philosophical reflections on the ordinary into her analysis, Das points toward a new way of interpreting violence in societies and cultures around the globe. The book will be indispensable reading across disciplinary boundaries as we strive to better understand violence, especially as it is perpetrated against women.
This book explores Cavell's writings along converging lines of thought rather than in isolated categories. The author claims that, after Cavell's celebrated reading of King Lear turned into a nightmarish meditation on Vietnam, he found a more audible voice. Noting that Cavell's keen ear for the expressive power of ordinary language makes him both a first-rate literary artist and a compelling philosopher of the everyday, he catches what holds Cavell's manifold interests together. Here the poetry of ideas and presence of mind that animate Cavell's writing receive readings attuned to the spirit of their composition and its enlivening powers.
"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.
In the name of efficiency, the practice of education has come to be dominated by neoliberal ideology and procedures of standardization and quantification. Such attempts to make all aspects of practice transparent and subject to systematic accounting lack sensitivity to the invisible and the silent, to something in the human condition that cannot readily be expressed in an either-or form. Seeking alternatives to such trends, Saito reads Dewey's idea of progressive education through the lens of Emersonian moral perfectionism (to borrow a term coined by Stanley Cavell). She elucidates a spiritual and aesthetic dimension to Dewey's notion of growth, one considerably richer than what Dewey alone presents in his typically scientific terminology.
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.
Stanley Cavell, einer der originellsten und provokantesten Denker der amerikanischen Gegenwartsphilosophie, findet in den letzten Jahren immer grossere internationale Aufmerksamkeit. Gemessen am Mainstream der analytischen Philosophie ist er ein recht atypischer Autor; er setzt sich nicht nur mit Wittgenstein, Austin und Kant, sondern auch mit Nietzsche, Heidegger und Derrida auseinander und diskutiert das Phantastische der Philosophie. Er interpretiert Dichter wie Shakespeare und Beckett, schreibt aber auch brillante Studien uber Fotografie und Film. Die Uberfulle der Themen und das Nebeneinanderbestehen werden dem orthodoxen analytischen Philosopen ungewohnlich, ja suspekt vorkommen ..." (Davide Sparti) Der vorliegende Band bietet einen reprasentativen Querschnittdurch Stanley Cavells philosophische und kunsttheoretische Essays."
"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.
Stanley Cavell is a titan of the academic world; his work in aesthetics and philosophy has shaped both fields in the United States over the past forty years. In this brief yet enlightening collection of lectures, Cavell investigates the work of two of his most tried-and-true subjects: Emerson and Wittgenstein. Beginning with an introductory essay that places his own work in a philosophical and historical context, Cavell guides his reader through his thought process when composing and editing his lectures while making larger claims about the influence of institutions on philosophers, and the idea of progress within the discipline of philosophy. In "Declining Decline," Cavell explains how language modifies human existence, looking specifically at the culture of Wittgenstein's writings. He draws on Emerson, Thoreau, and many others to make his case that Wittgenstein can indeed be viewed as a "philosopher of culture." In his final lecture, "Finding as Founding," Cavell writes in response to Emerson's "Experience," and explores the tension between the philosopher and language - that he or she must embrace language as his or her "form of life," while at the same time surpassing its restrictions. He compares finding new ideas to discovering a previously unknown land in an essay that unabashedly celebrates the power and joy of philosophical thought.
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 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
This collection of essays, which originally appeared as a book in 1962, is virtually the complete works of an editor of "Commentary" magazine who died, at age 37, in 1955. Long before the rise of Cultural Studies as an academic pursuit, in the pages of the best literary magazines of the day, Robert Warshow wrote analyses of the folklore of modern life that were as sensitive and penetrating as the writings of James Agee, George Orwell, and Walter Benjamin. Some of these essays--notably "The Westerner," "The Gangster as Tragic Hero," and the pieces on the "New Yorker," "Mad Magazine," Arthur Miller's "The Crucible," and the Rosenberg letters--are classics, once frequently anthologized but now hard to find. Along with a new preface by Stanley Cavell, "The Immediate Experience" includes several essays not previously published in the book--on Kafka and Hemingway--as well as Warshow's side of an exchange with Irving Howe.
This new paperback edition restores this landmark work to its orginal trim size, replacing the previous paperback that has sold about 8000 copies since it was published in 1982. The author has provided a new Preface, in which he discusses the reception and influence of the work, which occupies a unique niche between philosophy and literary studies. The Claim of Reason continues to be recognized as Cavell's masterpiece, and was the central topic of a book published by OUP UK in 1994 (Stephen Mulhall, Stanley Cavell: Philosophy's Recounting of the Ordinary). |
![]() ![]() You may like...
|