scholarly journals Reading Silence

Author(s):  
Larry Jackson

Stanley Cavell roams across a wide range of fields in his first book, Must We Mean What We Say? most obviously those of epistemology, ethics, and aesthetics. But nowhere in the book’s ten essays does he advance an explicit political theory. Still, this book, published in 1969 and written over the course of the preceding decade, quietly poses persistent political questions, even in essays on such topics as skepticism and King Lear, Kierkegaard’s Book on Adler and Beckett’s Endgame, atonal music and ordinary language philosophy. Just who is the “we” spoken of in the book’s title (we philosophers? we Americans? we human beings?)? Is there any relationship between democratic equality and the philosophical appeal to our everyday language, as described in the book’s eponymous essay? 1 Does the account that Cavell offers in his piece on Wittgenstein of practices and behaviors shared across cultures—the “whirl of organism” of our forms of life—suggest a nascent theory of human solidarity? Our freedom in language and the responsibility we bear for meaning, topics of the book’s opening essays, raise the question of what we might owe to one another and how we might offer—or withhold—it in our choices of words. Is this the beginning of a theory of justice? The concept of acknowledgment, described in the book’s final essays as a response to the challenge of skepticism, shifts the problem from what I can know to what I might do. Is this a theory of moral or political action (or both)?

Author(s):  
Stephen Mulhall

Born in Atlanta, Georgia, Stanley Cavell has held the Walter M. Cabot Chair in Aesthetics and the General Theory of Value at Harvard University since 1963. The range, diversity and distinctiveness of his writings are unparalleled in twentieth-century Anglo-American philosophy. As well as publishing essays on modernist painting and music, he has created a substantial body of work in film studies, literary theory and literary criticism; he has introduced new and fruitful ways of thinking about psychoanalysis and its relationship with philosophy; and his work on Heidegger and Derrida, taken together with his attempts to revitalize the tradition of Emersonian Transcendentalism, have defined new possibilities for a distinctively American contribution to philosophical culture. This complex oeuvre is unified by a set of thematic concerns – relating to scepticism and moral perfectionism – which are rooted in Cavell’s commitment to the tradition of ordinary language philosophy, as represented in the work of J.L. Austin and Wittgenstein.


2020 ◽  
Vol 24 ◽  
pp. 134-155
Author(s):  
Kyle Barrowman ◽  

In this article, the author argues for the probative value of ordinary language philosophy for the discipline of film studies by way of an analysis of the conversational protocols discernible in the film Steve Jobs (2015). In particular, the author focuses on the work of J.L. Austin, specifically his theory of speech acts and his formulation of the performative utterance, and Stanley Cavell, specifically his extension of Austinian speech act theory and his formulation of the passionate utterance, and analyzes the interactions between the titular character and his daughter through this unique Austinian/Cavellian lens. In so doing, the author endeavors to encourage more scholars in the field of film-philosophy to explore the key concepts and arguments in ordinary language philosophy for use in analyzing films. Despite its having been virtually ignored by film scholars over the last half century, one of many regrettable effects of the Continental bias of film scholars generally and film-philosophers specifically, the author contends that ordinary language philosophy provides powerful tools for the analysis of dialogue and communication in film, with Steve Jobs serving as a particularly insightful test case of the broad utility of ordinary language philosophy for film studies.


2019 ◽  
Vol 47 (2) ◽  
pp. 449-461 ◽  
Author(s):  
Daniel Wright

“To engage seriously with ordinary language philosophy,” Toril Moi tells us in the introduction to Revolution of the Ordinary: Literary Studies after Wittgenstein, Austin, and Cavell, “is a little like undergoing psychoanalysis. Wittgenstein assumes that we don't begin doing philosophy just for the sake of it, but because something is making us feel confused, as if we had lost our way.” As Moi begins her project of explaining to an audience of literary critics the insights of ordinary-language philosophy, represented primarily by the work of Ludwig Wittgenstein, J. L. Austin, and Stanley Cavell, and making a case for the value of their ideas for the practice we usually call close reading, this psychoanalytic metaphor makes a sudden turn to diagnosis, or to the initiation of a kind of therapeutic address that can feel coercive even in its charisma. You must recognize your sickness, Moi insists, before you can be receptive to the treatment. “Who wants to undergo philosophical therapy,” she goes on to ask, “if they feel that everything in their intellectual life is just fine as it is? Paradoxically, then, the best readers of the reputedly ‘conservative’ Wittgenstein might be those who genuinely feel the need for a change” (12). What kind of therapeutic project does Moi want to pursue in this book, which begins by distinguishing the best readers (the readiest patients) from those who think, conservatively, that everything is “just fine as it is”?


Author(s):  
Stephen Mulhall

Born in Atlanta, Georgia, Stanley Cavell held the Walter M. Cabot Chair in Aesthetics and the General Theory of Value at Harvard University from 1963 until his retirement in 1997. The range, diversity and distinctiveness of his writings are unparalleled in twentieth-century Anglo-American philosophy. As well as publishing essays on modernist painting and music, he has created a substantial body of work in film studies, literary theory and literary criticism; he has introduced new and fruitful ways of thinking about psychoanalysis and its relationship with philosophy; and his work on ‘Continental’ philosophers such as Nietzsche, Heidegger and Derrida, together with his attempts to revitalize the tradition of Emersonian Transcendentalism, has defined new possibilities for a distinctively American contribution to philosophical culture. This complex oeuvre is unified by a set of thematic concerns – relating to scepticism and moral perfectionism – which are rooted in Cavell’s commitment to the tradition of ordinary language philosophy, as represented in the work of J.L. Austin and Wittgenstein.


2015 ◽  
Vol 26 (1) ◽  
pp. 205-225
Author(s):  
Nikola Dedic

The main aim of this paper is the critique of poststructuralist theory of art, and particularly thesis about the avant-garde peace of art as a kind of transgression. As a starting point of this critique, the ordinary language philosophy developed by American philosopher Stanley Cavell is used, particularly his film theory. While poststructuralist philosophy was developed around the notion of ideology, Cavell interprets film and arts in general around the notion of skepticism. While poststructuralism, because of thesis about avant-garde as a kind of transgression within the field of ideology, is a kind of philosophy of negation, we point out that Cavell?s philosophy is a utopian theory of transcending of skepticism where avant-garde film has significant but not crucial place. Cavell?s thesis is used as a basis for re-thinking of modernism, which is in opposition to postmodernist turn realized by poststructuralism.


Author(s):  
Geoffrey Warnock

The label ‘ordinary language philosophy’ was more often used by the enemies than by the alleged practitioners of what it was intended to designate. It was supposed to identify a certain kind of philosophy that flourished, mainly in Britain and therein mainly in Oxford, for twenty years or so, roughly after 1945. Its enemies found it convenient to group the objects of their hostility under a single name, while the practitioners thus aimed at were more conscious of divergences among themselves, and of the actual paucity of shared philosophical doctrine; they might have admitted to being a ‘group’ perhaps, but scarcely a ‘school’. The sharp hostility which this group aroused was of two quite different sorts. On the one hand, among certain (usually older) philosophers and more commonly among the serious-minded public, it was labelled as philistine, subversive, parochial and even deliberately trivial; on the other hand, some philosophers (for instance, Russell, Popper and Ayer), while ready enough to concede the importance in philosophy of language, saw a concern with ordinary language in particular as a silly aberration, or even as a perversion and betrayal of modern work in the subject. How, then, did ‘ordinary language’ come in? It was partly a matter of style. Those taken to belong to the school were consciously hostile to the lofty, loose rhetoric of old-fashioned idealism; also to the ‘deep’ paradoxes and mystery-mongering of their continental contemporaries; but also to any kind of academic jargon and neologism, to technical terms and aspirations to ‘scientific’ professionalism. They preferred to use, not necessarily without wit or elegance, ordinary language. (Here G.E. Moore was an important predecessor.) Besides style, however, there were also relevant doctrines, though less generally shared. Wittgenstein, perhaps the most revered philosopher of the period, went so far as to suggest that philosophical problems in general actually consisted in, or arose from, distortions and misunderstandings of ordinary language, a ‘clear view’ of which would accomplish their dissolution; many agreed that there was some truth in this, though probably not the whole truth. Then it was widely held that ordinary language was inevitably fundamental to all our intellectual endeavours– it must be what one starts from, supplying the familiar background and terms in which technical sophistications have to be introduced and understood; it was therefore not to be neglected or carelessly handled. Again it was urged, notably by J.L. Austin, that our inherited everyday language is, at least in many areas, a long-evolved, complex and subtle instrument, careful scrutiny of which could be expected to be at least a helpful beginning in the pursuit of philosophical clarity. It was probably this modest claim– overstated and even caricatured by its detractors– which was most frequently supposed to be the credo of ordinary language philosophers. It was important that Russell – like, indeed, Wittgenstein when composing his Tractatus Logico-Philosophicus (1922) – firmly believed, on the contrary, that ordinary language was the mere primitive, confused and confusing surface beneath which theorists were to seek the proper forms of both language and logic.


2018 ◽  
Vol 15 (2) ◽  
pp. 179-193
Author(s):  
Naoko Saito

This paper reconsiders the meaning of political action by way of a dialogue between Dewey, Thoreau, and Cavell. These philosophers demonstrate possibilities of political engagement and participation. Especially in response to the psychological and emotional dimensions of political crisis today, I shall claim that American philosophy can demonstrate something beyond problem-solving as conventionally understood in politics and that it has the potential to re-place philosophy in such a manner that politics itself is changed. First, I shall draw a contrast between the ways of political action demonstrated respectively by Dewey and Thoreau. Some points of divergence are revealed within American philosophy. I shall then explore the partially different sense of political action implied by Cavell’s ordinary language philosophy, identifying this as the politics of acknowledgment. Finally, I shall propose the idea of challenging inclusion as an alternative political education for human transformation, taking this as a key to changing politics.


October ◽  
2020 ◽  
Vol 171 ◽  
pp. 47-76
Author(s):  
Kate Rennebohm

This essay uncovers and analyzes philosopher Ludwig Wittgenstein's little-known writings on film and related media, revealing their importance for film and media studies, the field of film philosophy, and for understanding Wittgenstein's later ethical thought. Through an explication of Wittgenstein's idiosyncratic ordinary-language philosophy, the author argues that these cinema remarks speak to Wittgenstein's sense that cinematic media offered new conceptualizations for thought on a variety of subjects. These include the nature of time, visual and phenomenological experience, and subjectivity. The remarks make clear, among other discoveries, that Wittgenstein was thinking about the relation of cinema and “the skeptical mindset” decades before Stanley Cavell made his influential arguments for such a connection. While the first half of the essay draws out the ethical stakes behind Wittgenstein's film remarks, the latter half turns explicitly to the philosopher's later, complex thought about ethics itself. Showing the importance of aesthetics, visuality, and sight to Wittgenstein's understanding of the field, this section addresses his notions of “aspect-seeing” and “aspect-change.” From this, the final section of contends that Wittgenstein's ethics want to work in the way he feels film can—by enabling one to “see anew” one's way of seeing as a way of seeing, thus opening new ethical-existential possibilities for one's way of being in the world.


2020 ◽  
Vol 81 (4) ◽  
pp. 527-552
Author(s):  
Tim Dean

Abstract This essay considers the “descriptive turn” in literary studies from the vantage point of poetics, arguing that the history of Western poetry, from the Greeks to the present, offers through the category of epideixis a theory and practice of description that illuminates some of the methodological impasses of contemporary literary studies. Epideixis, a basic mode of pointing or linguistic ostension, confers value, often by way of praise or blame, without trying to persuade its audience with the practical immediacy of political or forensic rhetoric. Drawing on the ordinary language philosophy of Ludwig Wittgenstein and Stanley Cavell, the essay suggests that praise constitutes a philosophically rigorous alternative to critique. This argument is exemplified via the work of Mark Doty, a contemporary poet of description-as-praise.


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