Podcast appearances and mentions of Stanley Cavell

Varför har tyckandet blivit så nedvärderat? Författaren Lyra Ekström Lindbäck går ut till försvar för åsiktens förenande funktion i samhället. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Först publicerad 2021-09-14.Fler och fler verkar tycka att tyckande och tänkande inte går ihop. I såväl politiska som estetiska diskussioner klassas tyckandet som så oseriöst att det uppfattas som en direkt motsättning till nyanserade reflektioner. Är det här en bra eller dålig diktsamling? Ska vi höja eller sänka skatterna i Sverige? Är den här låten gripande eller sentimental? Borde surrogatmödraskap tillåtas? Att komma ifrån ”det rena tyckandet”, som det ibland lite nedlåtande kallas, för att istället göra en mer sansad analys, har blivit ett ideal för både kultur- och ledarsidor. Men är det verkligen önskvärt, om ens möjligt, att göra sig av med tyckandet när det handlar om konst och politik?Kanske är tyckandet i själva verket det mest centrala. Den amerikanska filosofen Stanley Cavell kritiserar den analytiska traditionens oro för att ”estetiska (och moraliska och politiska) omdömen saknar något: argumenten som stöder dem är inte lika slutgiltiga som logiska omdömen, eller rationella på samma vis som vetenskapliga argument.” Det är de sannerligen inte, konstaterar Cavell: ”och vore de det skulle det inte finnas några sådana discipliner som konst (eller moral) och ingen sådan konst som kritiken.” Även om det går att resonera kring dem så är det rena vetandet ett omöjligt ideal när det kommer till konst och politik.I kontrast till tyckandet förespråkar man gärna tolkningen, som anses vidga, öppna och förklara. Men tolkningar kan lika gärna skymma som klargöra. Susan Sontag skriver i essän ”Mot tolkning” att ” tolkningsutsläppen idag förorenar vår sensibilitet. I en kultur vars redan klassiska dilemma är intellektets expansion på energins och sensualitetens bekostnad, så är tolkningen intellektets hämnd mot konsten.” I vägen för verkets omedelbara, sinnliga effekt på dig ställer man dess ”innebörd”, som om konsten bara vore en indirekt kunskapsförmedling. Som Sontag säger så trubbar det av och passiviserar publiken. Hur många vågar idag säga vad de tycker om en tavla innan de har läst kuratorns förklarande beskrivningar? Samtidigt drillas studenter på konstskolor i att presentera teoretiseringar av sina egna praktiker, som om det blivit otänkbart att verken kunde tala för sig själva.I Immanuel Kants Kritik av omdömeskraften, som anses ligga till grund för den moderna estetiken, utgår teorin om det sköna från det omedelbara smakomdömet. Kant beskriver smakomdömet som grundat i en subjektiv allmängiltighet. Till skillnad från mat och dryck så väntar du dig att andra borde hålla med dig när det kommer till konst och naturskönhet. Den subjektiva allmängiltigheten innebär inte någon objektiv kunskap, och det går därför aldrig att bevisa vem som har rätt i smakfrågor. Men du känner ändå att du ger uttryck för en mer allmän än privat uppfattning när du fäller estetiska omdömen. För Kant är denna förmåga en viktig indikator på att människorna lever i en gemensam värld – inte bara rationellt och materiellt, utan i själva upplevelsen av vår egen varseblivning.Som student på grundnivå hade jag svårt att förstå vad Kant menar. Hur kan omdömen om konst utgå från något annat än ett rent personligt tyckande? Det finns ju minst lika stora skillnader i musik- som i drinksmak. Kant är förstås medveten om att det sällan råder konsensus om det sköna. Smaken kommer alltid att vara stridbar. Men det är själva känslan av att alla borde hålla med oss som gör smakomdömet så centralt för honom. Här rör det sig om ett slags mellanmänskligt tyckande, ett gemensamt sinne eller en insisterande impuls till att dela samma verklighet, som utgör grunden för våra möjligheter till civiliserad samvaro.Kanske var mina svårigheter ett symptom på att vår syn på tycke och smak har ändrats dramatiskt sedan Kants tid. Hans filosofi var lika inriktad på att beskriva tänkandets begränsningar som dess möjligheter, men trehundra år efter Upplysningen kan vi inte längre acceptera en omedelbar lustkänsla som utgångspunkt för ett mer allmänt omdöme. Tyckandet har kommit att ses som något nästan uteslutande personligt och viktlöst.Paradoxalt nog beror det kanske på att vi idag uppmanas att tycka till om allt mer. Vi ska betygsätta våra taxiresor, välja vårdgivare och konstruera våra egna filterbubblor. Föreställningen om en gemensam smak är nästan död. Ibland leder det till rent bisarra tongångar i debatten: som om åsikter om vilka verk som borde inkluderas i en litterär kanon vore lika godtyckliga som om man föredrar Pepsi eller Cola. Tyckandet har sugits upp av våra konsumtionsidentiteter, en tom logik som kommit att genomsyra allt. Gillar du att spela golf? Då kanske du också skulle tycka om vinster i välfärden!Varför har tyckandet urholkats på det här viset? Enligt den politiska teoretikern Wendy Brown har en tyst nyliberal revolution ägt rum. Brown beskriver nyliberalismen som en normativ rationalitetsprincip som gradvis har tolkat om alla värden till ekonomiska. Vårt gemensamma samhälle har blivit en spelplan för investeringar och avkastningar. Jag tycker mig höra den här logiken eka i retoriken hos de svenska liberala partierna, vilket numera samtliga från Socialdemokraterna till Kristdemokraterna oblygt kallar sig. De beskriver staten som ett företag som ska förvaltas, och framställer marknadsanalys som det enda sättet att bedriva seriös politik. Du ska inte rösta utifrån dina åsikter, utan utifrån din och statens plånbok. De partier som inte opererar efter samma logik ses som ytterkantsextremister. Demokratin utmålas som ett val mellan ansvarstagande förvaltare och ideologiska fundamentalister.Tycker du att den här essän låter vänsterextrem eller kulturkonservativ? Är tonläget för svepande eller för kategoriskt? Jag har försökt tänka kring tyckandet, men inte utan att tycka något själv. Som Cavell säger skulle det knappast bli något kvar av vare sig estetiken eller politiken om man lyckades rationalisera dem fullständigt. Det betyder inte att utgångspunkten är irrationell. Snarare att den utgår från en impuls till mellanmänsklighet. Känslan av att alla borde hålla med oss är vad som ligger till grund för den passionerade kritiken och den engagerade politiken. I vårt eftertryckliga ja eller nej finns hjärtat av ideologin och smaken.Naturligtvis bör inte de nyanserade diskussionerna sluta där. Men utan det stridbara och gemenskapande tyckandet återstår bara godtyckliga personliga preferenser och analytisk logik. Vore det inte mer än så som höll oss samman kunde vi lika gärna överlåta såväl budgetläggning som recensionsuppdrag till artificiella intelligenser. Det skulle säkert vara mer informativt, lukrativt och effektivt. Men lyckligtvis är vi fortfarande för fästa vid vårt tyckande för att låta marknaden ta oss ända dit.Lyra Ekström Lindbäckförfattare och kritiker

Political Theorist Davide Panagia (UCLA) has two new books out focusing on the broader themes and ideas of film, aesthetics, and political theory. Sentimental Empiricism: Politics, Philosophy, and Criticism in Postwar France (Fordham University Press) interrogates French history and educational traditions from the Revolution through the postwar period and analyzes the cultural, social, political, and educational parameters that created the space for the French postwar political thinkers. In Sentimental Empiricism, Panagia explores the many directions of critical thought by Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault and how these theorists were pushing against, in many ways, the teleological structure as defined by Aristotle two millennia ago. This contrast in thinking is the heart of the book, helping the reader to consider distinctions between the more fixed classical ideas and a contemporary consideration of dispositionality and revisability. The research and broader historical sketch in Sentimental Empiricism leads to the thrust of Intermedialities: Political Theory and Cinematic Experience (Northwestern UP, 2024). In Intermedialities (Northwestern UP, 2024), Panagia continues to explore this concept of the revisability of our understanding of the world, and turns the specific focus to film. Film itself, as a medium and as a conveyor of ideas, is rarely at the center of discussions of politics and power. And yet this is the exact place where humans (audiences) can see movement, which is what we are always observing around us to contribute to how we essentially make sense of the world. Intermedialities compels the intertwining of political theory and the theory of film, with encounters between contemporary aesthetic theorists like Stanley Cavell, Gilles Deleuze, Miriam Hansen, and Jean-Luc Godard and more traditional modern thinkers like David Hume, Ludwig Wittgenstein, and Gilbert Simondon. Intermedialities should be of particular interest to political theorists and political scientists since it posits the importance of understanding and thinking about the life and world around us and how we are all connected to taking in this life as movement. The medium of film, which provides us with concepts, images, imaginaries, and perceptions, contributes to so much of our memory and imagination, but is often dismissed as not “real” politics. Panagia and the theorists with whom he is thinking help to tease out the very political nature of the projection of moving images. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Political Theorist Davide Panagia (UCLA) has two new books out focusing on the broader themes and ideas of film, aesthetics, and political theory. Sentimental Empiricism: Politics, Philosophy, and Criticism in Postwar France (Fordham University Press) interrogates French history and educational traditions from the Revolution through the postwar period and analyzes the cultural, social, political, and educational parameters that created the space for the French postwar political thinkers. In Sentimental Empiricism, Panagia explores the many directions of critical thought by Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault and how these theorists were pushing against, in many ways, the teleological structure as defined by Aristotle two millennia ago. This contrast in thinking is the heart of the book, helping the reader to consider distinctions between the more fixed classical ideas and a contemporary consideration of dispositionality and revisability. The research and broader historical sketch in Sentimental Empiricism leads to the thrust of Intermedialities: Political Theory and Cinematic Experience (Northwestern UP, 2024). In Intermedialities (Northwestern UP, 2024), Panagia continues to explore this concept of the revisability of our understanding of the world, and turns the specific focus to film. Film itself, as a medium and as a conveyor of ideas, is rarely at the center of discussions of politics and power. And yet this is the exact place where humans (audiences) can see movement, which is what we are always observing around us to contribute to how we essentially make sense of the world. Intermedialities compels the intertwining of political theory and the theory of film, with encounters between contemporary aesthetic theorists like Stanley Cavell, Gilles Deleuze, Miriam Hansen, and Jean-Luc Godard and more traditional modern thinkers like David Hume, Ludwig Wittgenstein, and Gilbert Simondon. Intermedialities should be of particular interest to political theorists and political scientists since it posits the importance of understanding and thinking about the life and world around us and how we are all connected to taking in this life as movement. The medium of film, which provides us with concepts, images, imaginaries, and perceptions, contributes to so much of our memory and imagination, but is often dismissed as not “real” politics. Panagia and the theorists with whom he is thinking help to tease out the very political nature of the projection of moving images. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

Political Theorist Davide Panagia (UCLA) has two new books out focusing on the broader themes and ideas of film, aesthetics, and political theory. Sentimental Empiricism: Politics, Philosophy, and Criticism in Postwar France (Fordham University Press) interrogates French history and educational traditions from the Revolution through the postwar period and analyzes the cultural, social, political, and educational parameters that created the space for the French postwar political thinkers. In Sentimental Empiricism, Panagia explores the many directions of critical thought by Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault and how these theorists were pushing against, in many ways, the teleological structure as defined by Aristotle two millennia ago. This contrast in thinking is the heart of the book, helping the reader to consider distinctions between the more fixed classical ideas and a contemporary consideration of dispositionality and revisability. The research and broader historical sketch in Sentimental Empiricism leads to the thrust of Intermedialities: Political Theory and Cinematic Experience (Northwestern UP, 2024). In Intermedialities (Northwestern UP, 2024), Panagia continues to explore this concept of the revisability of our understanding of the world, and turns the specific focus to film. Film itself, as a medium and as a conveyor of ideas, is rarely at the center of discussions of politics and power. And yet this is the exact place where humans (audiences) can see movement, which is what we are always observing around us to contribute to how we essentially make sense of the world. Intermedialities compels the intertwining of political theory and the theory of film, with encounters between contemporary aesthetic theorists like Stanley Cavell, Gilles Deleuze, Miriam Hansen, and Jean-Luc Godard and more traditional modern thinkers like David Hume, Ludwig Wittgenstein, and Gilbert Simondon. Intermedialities should be of particular interest to political theorists and political scientists since it posits the importance of understanding and thinking about the life and world around us and how we are all connected to taking in this life as movement. The medium of film, which provides us with concepts, images, imaginaries, and perceptions, contributes to so much of our memory and imagination, but is often dismissed as not “real” politics. Panagia and the theorists with whom he is thinking help to tease out the very political nature of the projection of moving images. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Political Theorist Davide Panagia (UCLA) has two new books out focusing on the broader themes and ideas of film, aesthetics, and political theory. Sentimental Empiricism: Politics, Philosophy, and Criticism in Postwar France (Fordham University Press) interrogates French history and educational traditions from the Revolution through the postwar period and analyzes the cultural, social, political, and educational parameters that created the space for the French postwar political thinkers. In Sentimental Empiricism, Panagia explores the many directions of critical thought by Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault and how these theorists were pushing against, in many ways, the teleological structure as defined by Aristotle two millennia ago. This contrast in thinking is the heart of the book, helping the reader to consider distinctions between the more fixed classical ideas and a contemporary consideration of dispositionality and revisability. The research and broader historical sketch in Sentimental Empiricism leads to the thrust of Intermedialities: Political Theory and Cinematic Experience (Northwestern UP, 2024). In Intermedialities (Northwestern UP, 2024), Panagia continues to explore this concept of the revisability of our understanding of the world, and turns the specific focus to film. Film itself, as a medium and as a conveyor of ideas, is rarely at the center of discussions of politics and power. And yet this is the exact place where humans (audiences) can see movement, which is what we are always observing around us to contribute to how we essentially make sense of the world. Intermedialities compels the intertwining of political theory and the theory of film, with encounters between contemporary aesthetic theorists like Stanley Cavell, Gilles Deleuze, Miriam Hansen, and Jean-Luc Godard and more traditional modern thinkers like David Hume, Ludwig Wittgenstein, and Gilbert Simondon. Intermedialities should be of particular interest to political theorists and political scientists since it posits the importance of understanding and thinking about the life and world around us and how we are all connected to taking in this life as movement. The medium of film, which provides us with concepts, images, imaginaries, and perceptions, contributes to so much of our memory and imagination, but is often dismissed as not “real” politics. Panagia and the theorists with whom he is thinking help to tease out the very political nature of the projection of moving images. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Political Theorist Davide Panagia (UCLA) has two new books out focusing on the broader themes and ideas of film, aesthetics, and political theory. Sentimental Empiricism: Politics, Philosophy, and Criticism in Postwar France (Fordham University Press) interrogates French history and educational traditions from the Revolution through the postwar period and analyzes the cultural, social, political, and educational parameters that created the space for the French postwar political thinkers. In Sentimental Empiricism, Panagia explores the many directions of critical thought by Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault and how these theorists were pushing against, in many ways, the teleological structure as defined by Aristotle two millennia ago. This contrast in thinking is the heart of the book, helping the reader to consider distinctions between the more fixed classical ideas and a contemporary consideration of dispositionality and revisability. The research and broader historical sketch in Sentimental Empiricism leads to the thrust of Intermedialities: Political Theory and Cinematic Experience (Northwestern UP, 2024). In Intermedialities (Northwestern UP, 2024), Panagia continues to explore this concept of the revisability of our understanding of the world, and turns the specific focus to film. Film itself, as a medium and as a conveyor of ideas, is rarely at the center of discussions of politics and power. And yet this is the exact place where humans (audiences) can see movement, which is what we are always observing around us to contribute to how we essentially make sense of the world. Intermedialities compels the intertwining of political theory and the theory of film, with encounters between contemporary aesthetic theorists like Stanley Cavell, Gilles Deleuze, Miriam Hansen, and Jean-Luc Godard and more traditional modern thinkers like David Hume, Ludwig Wittgenstein, and Gilbert Simondon. Intermedialities should be of particular interest to political theorists and political scientists since it posits the importance of understanding and thinking about the life and world around us and how we are all connected to taking in this life as movement. The medium of film, which provides us with concepts, images, imaginaries, and perceptions, contributes to so much of our memory and imagination, but is often dismissed as not “real” politics. Panagia and the theorists with whom he is thinking help to tease out the very political nature of the projection of moving images. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Political Theorist Davide Panagia (UCLA) has two new books out focusing on the broader themes and ideas of film, aesthetics, and political theory. Sentimental Empiricism: Politics, Philosophy, and Criticism in Postwar France (Fordham University Press) interrogates French history and educational traditions from the Revolution through the postwar period and analyzes the cultural, social, political, and educational parameters that created the space for the French postwar political thinkers. In Sentimental Empiricism, Panagia explores the many directions of critical thought by Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault and how these theorists were pushing against, in many ways, the teleological structure as defined by Aristotle two millennia ago. This contrast in thinking is the heart of the book, helping the reader to consider distinctions between the more fixed classical ideas and a contemporary consideration of dispositionality and revisability. The research and broader historical sketch in Sentimental Empiricism leads to the thrust of Intermedialities: Political Theory and Cinematic Experience (Northwestern UP, 2024). In Intermedialities (Northwestern UP, 2024), Panagia continues to explore this concept of the revisability of our understanding of the world, and turns the specific focus to film. Film itself, as a medium and as a conveyor of ideas, is rarely at the center of discussions of politics and power. And yet this is the exact place where humans (audiences) can see movement, which is what we are always observing around us to contribute to how we essentially make sense of the world. Intermedialities compels the intertwining of political theory and the theory of film, with encounters between contemporary aesthetic theorists like Stanley Cavell, Gilles Deleuze, Miriam Hansen, and Jean-Luc Godard and more traditional modern thinkers like David Hume, Ludwig Wittgenstein, and Gilbert Simondon. Intermedialities should be of particular interest to political theorists and political scientists since it posits the importance of understanding and thinking about the life and world around us and how we are all connected to taking in this life as movement. The medium of film, which provides us with concepts, images, imaginaries, and perceptions, contributes to so much of our memory and imagination, but is often dismissed as not “real” politics. Panagia and the theorists with whom he is thinking help to tease out the very political nature of the projection of moving images. Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI. She is co-editor of The Politics of the Marvel Cinematic Universe (University Press of Kansas, 2022), as well as co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/BENEATH and get on your way to being your best self. EPISODE 43 - “Favorite Classic Films of the 1930s” - 07/08/2024 During the golden era of old Hollywood, each decade brought forth exciting films that helped define the motion picture industry. In a new feature, Steve and Nan will discect each decade and highlight movies that resonated with them as they started their individual study of film. Beginning with the 1930s, listen as they discuss film that made an impact not only on them, but on the film industry as a whole. And yes, a few of the film they discuss are from that magic year of 1939. SHOW NOTES:  Sources: Pursuits of Happiness: The Hollywood Comedy of Remarriage (1981), by Stanley Cavell; The Screwball Comedy Films: A History and Filmography 1934-1942 (2022), by Grégoire Halbout; The Art of the Screwball Comedy (2013), by Doris Milberg; Wiliam Holden: A Biography (2010), by Michelangelo Capua; The Life and Loves of Barbara Stanwyck (2009), by Jane Ellen Wayne; The Lonely Life: An Autobiography (2017), by Bette Davis; Leslie Howard: The Lost Actor (2013), by Estel Eforgan; Jean Arthur: The Actress Nobody Knew (1997), by John Oller; The Films of Frank Capra (1977), by Victor Scherle and William Turner Levy; IMDBPro.com; Wikipedia.com; Movies Mentioned:  The Women (1939), starring Norma Shearer, Joan Crawford, Rosalind Russell, Paulette Goddard, Mary Poland, Joan Fontaine, Lucille Watson, Virginia Pohvah, Virginia Weidler, Marjorie Main, Virginia Grey, Hedda Hopper, Ruth Hussey, and Mary Beth Hughes; The Petrified Forest (1936), starring Leslie Howard, Bette Davis, Humphrey Bogart, Porter Hall, Genevieve Tobin, Dick Foran, Joe Sawyer, Charley Grapewin, and Paul Harvey; Mr. Smith Goes To Washington (1939), starring James Stewart, Jean Arthur, Thomas Mitchell, Claude Rains, Edward Arnold, Beulah Bondi, and Guy Kibbee; Easy Living (1937), starring Jean Arthur, Ray Milland, Edward Arnold, Luis Alberni, Franklin Pangborn, Mary Nash, William Demarest, and Esther Dale; My Man Godfrey (1936), starring William Powell, Carole Lombard, Gail Patrick, Alice Brady, Eugene Pallette, Jean Dixon, Misha Auer, and Alan Mowbray; The Awful Truth (1937), starring Cary Grant, Irene Dunne, Ralph Bellamy, Cecil Cunningham, Molly Lamont, Alexander D'Arcy, Joyce Compton, and Esther Dale; Stage Door (1937), starring Katharine Hepburn, Ginger Rogers, Lucille Ball, Ann Miller, Andrea Leeds, Eve Arden, Gail Patrick, Adolphe Menjou, Franklin Pangborn, Samuel S. Hinds, and Constance Collier; Golden Boy (1939), starring Barbara Stanwyck, William Holden, Adolphe Menjou, Lee J. Cobb, Joseph Calleia, Edward Brophy, and Sam Levene; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

En el episodio de hoy hablamos sobre esos lugares felices que merecen ser compartidos con aquellas personas que, con una misma sensibilidad, sabes que los van a apreciar. Que hablándolos contigo van a hacer que tus pequeñas, o grandes, debilidades por algo sean aún mejores precisamente por el hecho de haber compartido una mesa, un café, una tarta sacher o, en este caso, una Trinchera, con ellos. Hablamos hoy de unos cuantos de esos lugares favoritos, Cary Grant, Stanley Donen, Givenchy, Maurice Binder, la música de Mancini, Walter Matthau y, por supuesto, la mirada de Audrey Hepburn. Y es que hemos venido a hablar sobre las cosas felices, elegantes y bonitas, sobre el cine y la vida, valgan todas las redundancias. RECOMENDACIONES LIBÉRRIMAS — «La búsqueda de la felicidad: la comedia de enredo matrimonial en Hollywood», de Stanley Cavell, editado por Paidós Comunicación. — «Obertura de Tristán e Isolda», de Richard Wagner. — Las rimas de Luis Rosales. — «Vailima», del álbum “Auterretratos”, de Luis Eduardo Aute. — «Un golpe con estilo», de Zach Braff. (2017) (https://www.filmaffinity.com/es/film524502.html) — «El millonario», de Ronald Neame. (1954) (https://www.filmaffinity.com/es/film804826.html) Intervienen: Armando Pego Puigbó (@apego5) e Iñako Rozas (@inakorozas). Control técnico: Marcos Machado.

Stuart Klawans joins me to discuss his recent book Crooked but Never Common about the films of Preston Sturges, the first writer-director of the Hollywood sound era. Informed by the work of Stanley Cavell, Stuart's book reads these comedies as asking important questions about democracy, business, the New Deal, marriage, and other pressing questions. Plus they're a joy to watch!

The ideal of ‘conversation' recurs in modern thought as a symbol and practice central to ethics, democratic politics, and thinking itself. Interweaving readings of fiction and philosophy in a ‘conversational' style inspired by Stanley Cavell, Fiction, Philosophy and the Ideal of Conversation (Edinburgh UP, 2023) clarifies this lofty yet vague ideal, while developing a revitalizing model for interdisciplinary literary studies. It argues that conversation is key to exemplary responses to sceptical doubt in ordinary language and political philosophy – where scepticism threatens ethics and democratic politics – and in works of British fiction spanning from Jane Austen through Ali Smith. It shows that for these writers, conversation can shift attention from metaphysical doubts regarding our capacity to know ‘reality' and other people, to ethical, democratic, and aesthetic action. The book moreover proposes – and models – ‘conversational criticism' as a framework linking literary studies to broader political and ethical commitments, while remaining responsive to aesthetic form. Erin Elizabeth Greer is an Assistant Professor of Literature at the University of Texas at Dallas. She teaches and writes about modern and contemporary British and Anglophone literature, ordinary language philosophy, political philosophy, feminist theory, and critical new media studies. Her work has appeared or is forthcoming in Contemporary Literature, JML, Camera Obscura, Salmagundi, and Stanley Cavell and Aesthetic Experience. Tong He is Lecturer of English at Central China Normal University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The ideal of ‘conversation' recurs in modern thought as a symbol and practice central to ethics, democratic politics, and thinking itself. Interweaving readings of fiction and philosophy in a ‘conversational' style inspired by Stanley Cavell, Fiction, Philosophy and the Ideal of Conversation (Edinburgh UP, 2023) clarifies this lofty yet vague ideal, while developing a revitalizing model for interdisciplinary literary studies. It argues that conversation is key to exemplary responses to sceptical doubt in ordinary language and political philosophy – where scepticism threatens ethics and democratic politics – and in works of British fiction spanning from Jane Austen through Ali Smith. It shows that for these writers, conversation can shift attention from metaphysical doubts regarding our capacity to know ‘reality' and other people, to ethical, democratic, and aesthetic action. The book moreover proposes – and models – ‘conversational criticism' as a framework linking literary studies to broader political and ethical commitments, while remaining responsive to aesthetic form. Erin Elizabeth Greer is an Assistant Professor of Literature at the University of Texas at Dallas. She teaches and writes about modern and contemporary British and Anglophone literature, ordinary language philosophy, political philosophy, feminist theory, and critical new media studies. Her work has appeared or is forthcoming in Contemporary Literature, JML, Camera Obscura, Salmagundi, and Stanley Cavell and Aesthetic Experience. Tong He is Lecturer of English at Central China Normal University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The ideal of ‘conversation' recurs in modern thought as a symbol and practice central to ethics, democratic politics, and thinking itself. Interweaving readings of fiction and philosophy in a ‘conversational' style inspired by Stanley Cavell, Fiction, Philosophy and the Ideal of Conversation (Edinburgh UP, 2023) clarifies this lofty yet vague ideal, while developing a revitalizing model for interdisciplinary literary studies. It argues that conversation is key to exemplary responses to sceptical doubt in ordinary language and political philosophy – where scepticism threatens ethics and democratic politics – and in works of British fiction spanning from Jane Austen through Ali Smith. It shows that for these writers, conversation can shift attention from metaphysical doubts regarding our capacity to know ‘reality' and other people, to ethical, democratic, and aesthetic action. The book moreover proposes – and models – ‘conversational criticism' as a framework linking literary studies to broader political and ethical commitments, while remaining responsive to aesthetic form. Erin Elizabeth Greer is an Assistant Professor of Literature at the University of Texas at Dallas. She teaches and writes about modern and contemporary British and Anglophone literature, ordinary language philosophy, political philosophy, feminist theory, and critical new media studies. Her work has appeared or is forthcoming in Contemporary Literature, JML, Camera Obscura, Salmagundi, and Stanley Cavell and Aesthetic Experience. Tong He is Lecturer of English at Central China Normal University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The ideal of ‘conversation' recurs in modern thought as a symbol and practice central to ethics, democratic politics, and thinking itself. Interweaving readings of fiction and philosophy in a ‘conversational' style inspired by Stanley Cavell, Fiction, Philosophy and the Ideal of Conversation (Edinburgh UP, 2023) clarifies this lofty yet vague ideal, while developing a revitalizing model for interdisciplinary literary studies. It argues that conversation is key to exemplary responses to sceptical doubt in ordinary language and political philosophy – where scepticism threatens ethics and democratic politics – and in works of British fiction spanning from Jane Austen through Ali Smith. It shows that for these writers, conversation can shift attention from metaphysical doubts regarding our capacity to know ‘reality' and other people, to ethical, democratic, and aesthetic action. The book moreover proposes – and models – ‘conversational criticism' as a framework linking literary studies to broader political and ethical commitments, while remaining responsive to aesthetic form. Erin Elizabeth Greer is an Assistant Professor of Literature at the University of Texas at Dallas. She teaches and writes about modern and contemporary British and Anglophone literature, ordinary language philosophy, political philosophy, feminist theory, and critical new media studies. Her work has appeared or is forthcoming in Contemporary Literature, JML, Camera Obscura, Salmagundi, and Stanley Cavell and Aesthetic Experience. Tong He is Lecturer of English at Central China Normal University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/language

The ideal of ‘conversation' recurs in modern thought as a symbol and practice central to ethics, democratic politics, and thinking itself. Interweaving readings of fiction and philosophy in a ‘conversational' style inspired by Stanley Cavell, Fiction, Philosophy and the Ideal of Conversation (Edinburgh UP, 2023) clarifies this lofty yet vague ideal, while developing a revitalizing model for interdisciplinary literary studies. It argues that conversation is key to exemplary responses to sceptical doubt in ordinary language and political philosophy – where scepticism threatens ethics and democratic politics – and in works of British fiction spanning from Jane Austen through Ali Smith. It shows that for these writers, conversation can shift attention from metaphysical doubts regarding our capacity to know ‘reality' and other people, to ethical, democratic, and aesthetic action. The book moreover proposes – and models – ‘conversational criticism' as a framework linking literary studies to broader political and ethical commitments, while remaining responsive to aesthetic form. Erin Elizabeth Greer is an Assistant Professor of Literature at the University of Texas at Dallas. She teaches and writes about modern and contemporary British and Anglophone literature, ordinary language philosophy, political philosophy, feminist theory, and critical new media studies. Her work has appeared or is forthcoming in Contemporary Literature, JML, Camera Obscura, Salmagundi, and Stanley Cavell and Aesthetic Experience. Tong He is Lecturer of English at Central China Normal University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

This Special Subject is something extra-special: we discuss philosopher Stanley Cavell's idiosyncratic classic of film criticism, Pursuits of Happiness: The Hollywood Comedy of Remarriage and three classic comedies that are the subjects of essays in that book, Leo McCarey's The Awful Truth, Howard Hawks' His Girl Friday, and George Cukor's Adam's RIb. What is Cavell's "comedy of remarriage," and is it really a genre? What does "marriage" mean to Cavell, and what does it have to do with America and democracy? Why does divorce make marriage more romantic? Are the conversations we're having about film in North America getting better or worse? Why should you take an interest in your experience? Join us as we take an interest in our experience of Stanley Cavell and work through these and more questions! Time Codes: 0h 00m 45s:     Pursuits of Happiness: The Hollywood Comedy of Remarriage by Stanley Cavell (published in 1981) 0h 40m 31s:    THE AWFUL TRUTH (1937) [dir. Leo McCarey] 1h 06m 58s:    HIS GIRL FRIDAY (1940) [dir. Howard Hawks] 1h 23m 18s:    ADAM'S RIB (1949) [dir. George Cukor]   +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

"Flesh is interesting. it comes in different sizes and colors and shapes but the bones are the things that bind us and hold us up and also what is left of us when we are gone. Happy to have the flesh be part of the culture, I want the politics to focus on the bones because that's the only place that you get a sense of common human dignity and common human rights." -Susan Neiman“Susan Neiman's profound wisdom, courage and vision give us a public conception of goodness and a reinvigorated progressive vision. She is a beacon of light and hope in these morally debased times.” -Cornel WestWoke. If there is one word that can embody and define so much of what is right and wrong here in America, while mapping out the journey in between, its Woke.Weapon for the right; as in Ron DeSantis's lovely “Stop Woke” Act, philosophical (or actual) tattoo alongside the butterflies and infinity symbols for the left, this multi layered word that started out as a way to describe being a non-racist, empathetic, aware and grown ass human (and a lyric in an amazing song) has become much larger and more powerful than it's mere 4 letters would lead you to believe. (We see you “fuck”) In this episode, Adam sits down with American philosopher, writer, and director of the Einstein Institute, Susan Neiman, author of Left is Not WokeSusan has written extensively on the Enlightenment, moral philosophy, metaphysics, and politics. Her work shows that philosophy is a living force for contemporary thinking and action. An adept philosopher and public intellectual who has taught at Yale and Tel Aviv University, she has been a member of the Institute for Advanced Study and this is the latest of her nine books. Her upbringing in Atlanta during the Civil Rights Movement sealed her identity on the left. She has lived for years in Berlin, where she lectures and serves as the director of the Einstein Forum.Born and raised in Atlanta, Georgia, during the Civil Rights Movement, Neiman dropped out of high school to join American activists working for peace and justice. Later she studied philosophy at Harvard University, earning her Ph.D. in 1986 under the direction of John Rawls and Stanley Cavell. In the 80s she spent six years in Berlin, studying at the Free University and working as a freelance writer. She was professor of philosophy at Yale and Tel Aviv University. In 2000 she assumed her current position as director of the Einstein Forum in Potsdam.Links you are going to want after listening to this incredible episode: https://www.nytimes.com/2023/07/07/opinion/black-dancer-american-ballet-theater.htmlAmanda Gorman https://plato.stanford.edu/entries/foucault/https://plato.stanford.edu/entries/schmitt/Tell us what you think on Twitter! Or if you are fed up with Elon's bullshit, hit us up on Threads! There is always shenanigans over on TikTok too…Thanks for helping us save democracy one episode at a time!Join the Dirty Moderate Nation https://dirtymoderate.substack.com/Find us on Twitterhttps://twitter.com/DirtyModerate

"I can't get over / how it all works in together." That's the poet James Schuyler, towards the end of today's poem, "February," a favorite of mine, which I had the great fortune to talk about with an old and beloved friend, Eric Lindstrom.Eric is Professor of English at the University of Vermont and the author of two books: Romantic Fiat: Demystification and Enchantment in Lyric Poetry (Palgrave, 2011) and Jane Austen and Other Minds: Ordinary Language Philosophy in Literary Fiction (Cambridge UP, 2022). He's also the guest editor of two collections of essays: Stanley Cavell and the Event of Romanticism (Romantic Circles, 2014) and Ostensive Moments and the Romantic Arts: Essays in Honor of Paul Fry (Essays in Romanticism, forthcoming in March 2023). His essays have appeared in such journals as ELH, Studies in Romanticism, Criticism, Modern Philology, and Modernism/modernity. His most recent article, "Promethean Ethics and Nineteenth-Century Ecologies," published and available open access at Literature Compass online, was co-written with Kira Braham. Eric is completing a third book, James Schuyler and the Poetics of Attention: Romanticism Inside Out, and, from the gleanings of that project, assembling an uncreative, marginally scholarly commonplace called "'Now and Then': A Poetics and Commonplace of Intermittence."As ever, if you're enjoying the podcast, make sure you're following it and consider leaving a rating and review. Share it with a friend! And subscribe to my Substack, where you'll get a newsletter (with more links, thoughts, images) to go with each episode.

Our Valentine's Day 2023 episode is all about loves from the past who have inconveniently returned. In My Favorite Wife (1940), Irene Dunne is newly remarried Cary Grant's presumed dead wife, while in Kiss Me Goodbye (1982), James Caan is Sally Field's actually dead, or undead, husband, interfering with her engagement to the (ostensibly) less charismatic Jeff Bridges. We apply Stanley Cavell's concept of the "comedy of remarriage" to these movies and conclude that the comedy of My Favorite Wife really has nothing to do with its premise, whereas Kiss Me Goodbye does perform some interesting twists on comedy of remarriage tropes. In Fear and Moviegoing in Toronto, two more movies about love pick up these themes: Stanley Kwan's Rouge (1987) and Dorothy Arzner's Merrily We Go to Hell (1932). Happy Haunted Valentine's Day! Time Codes: 0h 0m 45s:        MY FAVORITE WIFE (1940) [dir. Garson Kanin] 0h 29m 59s:      KISS ME GOODBYE (1982) [dir. Robert Mulligan] 0h 49m 58s:      FEAR & MOVIEGOING IN TORONTO – ROUGE (1987) by Stanley Kwan & MERRILY WE GO TO HELL (1932) by Dorothy Arzner   +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Lawrence Rhu, my undergraduate mentor and friend of more than two decades, joins me today to discuss Stanley Cavell, one of his mentors and one of American philosophy's most idiosyncratic and humanist thinkers. Spurred by the publication of the recent posthumous publication of Cavell's Here and There: Sites of Philosophy, Larry and I talk about the affinities between Cavell, Emerson, and everyday anarchism.

Neste episódio conversamos com Isadora Kvitko, psicóloga formada pela PUCRS e especializanda em terapia cognitiva comportamental (TCC), e Igor Nascimento licenciado e mestrando em filosofia pela UFRGS (mais informações em: http://lattes.cnpq.br/3293431213324147), sobre pornografia, a partir de uma perspectiva filosófica, em que Igor se apropria de conceitos do filósofo nazista, Martin Heidegger e também de Stanley Cavell, em conjunto de uma abordagem psicológica, onde Isadora traz conceitos e ferramentas analíticas da TCC. Vale ressaltar que Igor e Isadora não são propriamente especialistas em pornografia, esse episódio é, sobretudo, um convite a refletir sobre temas cotidianos e, portanto, importantes como pornografia, sexo e relacionamentos. Instagram onde você pode contatar a Isadora: @psi.isadorakvitko Outros episódios em que Igor participou: Ep. 063: O Estudo do Grego Clássico Ep. 046: Ceticismo e Reconhecimento em Cavell Ep. 043: Cavell, Otelo e o ceticismo Bibliografia: Artigo sobre as diferenças entre erótico e pornográfico: https://www.ufrgs.br/jornal/o-sexo-nas-artes-entre-o-erotico-e-o-pornografico/ Livro citado: "Desejo sexual: uma investigação filosófica - Roger Scruton" Artigos e livros sobre os malefícios da pornografia citados durante o episódio: GROSSU, Arina O e MAGUIRE, Sean. The Link Between Pornography, Sex Trafficking, and Abortion. Em Family Research Council. WILSON, Gary. Your Brain on Porn: Internet Pornography and the Emerging Science of Addiction. Edição revisada. Margate: Commonwealth Publishing, 2017. STRUTHERS, William M. Wired for Intimacy: How pornography hijacks the male brain. Illinois: IVP Books, 2009. O “O Que é Tudo Isso?” agora é parte da Rede Colmeia Podcast's, mais informações em: https://colmeia.sul21.com.br/ Dúvidas críticas ou sugestões nos contate pelo oqueetudoisso@gmail.com, Você também pode nos seguir no Twitter (@OQTIPOD), instagram (oqtipod) e Facebook (o que é tudo isso podcast) Trilha: filmmusic.io "Great Times" de Sascha Ende (sascha-ende.de) CC BY 4.0 O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Código de Financiamento 001.

Tip romantične komedije, v kateri se par po ločitvi znova znajde skupaj, je v hollywoodskem filmu že dolgo prisoten. Še več, je tako zakoreninjen v njegovo zgodovino, da mu je Stanley Cavell, pred nekaj leti preminuli velikan svetovne filozofije, leta 1981 posvetil knjigo The Pursuit of Happiness (Na lovu za srečo). Prav nenavadna je vztrajnost določenih arhetipov v popularni kulturi, vztrajnost, ki jo izkazuje tudi Pot v raj z ostarelima, a vitalnima Julio Roberts in Georgeem Clooneyjem v glavnih vlogah. Film je poln žanrskih klišejev. Srečujemo se z zlizanimi šalami, predvidljivimi zapleti in razpleti, klišejskimi liki, kičastimi prizori in glasbo, ki ves čas skrbi, da idealnotipski obiskovalec kinematografov ne zaspi. Pa vendarle gre za film, ki nam lahko marsikaj ponudi. Če se zazremo onkraj prehitro razvijajoče se zgodbe in tipičnosti likov, lahko v njihovih dinamikah odkrijemo veliko zanimivih izhodišč. Ločenca se odpravita na otok Bali, kjer se je njuna hči zaljubila v lokalnega fanta in se namerava z njim poročiti. Tam je s svojo najboljšo prijateljico. Vsi liki Američanov so pravzaprav odlično strateško razporejeni in izražajo določen tip bolečine. Clooney je v vlogi ranjenega, nostalgičnega, a sprijaznjenega in modrega moškega srednjih let pravzaprav odličen. Imamo ženo, ki je ostala ujeta med različne pritiske in težnje sodobnosti ter, kot se to v življenju navadno zgodi, ostala ujeta v medli vmesnosti ter nostalgiji za mladostjo. Hči želi z izletom v eksotiko in mir tradicije ubežati ambicioznim neuresničenim težnjam staršev. Njena prijateljica pa zdravilo za težave v razbiti družini išče v promiskuitetnosti. Gre, skratka, za simpatično prikazano druščino izgubljenih duš iz valilnice ameriških sanj, s katero se bo marsikateri zahodni gledalec zlahka poistovetil. Pri tem Pot v raj onkraj svojega očitnega zgodbovnega razvoja ves čas sadi mala semena upora, znake in protislovja, ki so pravzaprav tiha kritika vladajočih pripovedi o osebni svobodi, uspehu in uresničenju. Gre za nenavadno prizemljeno, osvežujoče mirno in nevsiljivo pomenljivo produkcijo. To je očitno v sopostavitvi s kar nekoliko preveč idilično, a ne tudi pokroviteljsko prikazano domorodno skupnostjo v njeni globalizirani podobi. Poleg večnega motiva starih ljubezni je posebej zgovoren še odnos starejših Američanov do svoje v domovini izgubljene preteklosti ter otoške tradicije, ki se pravzaprav kaže kot prihodnost. Pot v raj tako spominja na tiste posrečene albume glasbenih popevk, ki lahko nagovorijo naše potrebe po enostavnem in prvinskem čustvovanju ter udobnosti spektakla, a v ta isti spektakel prinašajo nove zorne kote in bombice pronicljivosti. Muanis Sinanović

durée : 00:29:59 - Les Nuits de France Culture - Par Philippe Petit - Avec Stanley Cavell - Réalisation Laetitia Coïa Le cinéma est-il un objet digne de philosophie ? Parmi tous ceux qui ont tâché de penser l'art cinématographique, le philosophe américain Stanley Cavell est sans doute l'un de ceux dont l'influence a été la plus grande, pour les philosophes, pour les cinéastes, ou simplement pour tous ceux qui s'intéressent au cinéma. Né en 1926 à Atlanta aux Etats-Unis, il se forma à la philosophie à Harvard, commença son parcours d'enseignant à Berkeley avant de retourner à Harvard où il occupa, de 1963 à 1997, le poste de professeur d'esthétique et de théorie générale de la valeur. Son premier livre prenant le septième art pour objet fut publié aux Etats-Unis en 1971. Il s'intitulait The World Viewed : "La projection du monde". Cavell y montrait comment le cinéma, en projetant le monde sur un écran, réalisait notre rêve de l'embrasser tout entier. Plusieurs livre suivirent, et parmi eux : A la recherche du bonheur, en 1981 et Contesting Tears  (La protestation des larmes), en 1996. En 2008, Stanley Cavell racontait son parcours à Philippe Petit pour une série d'A voix nue. Dans le quatrième volet de cette rencontre, il revenait sur l'importance du cinéma, l'art qui nous permet de croire au monde. A voix nue - Stanley Cavell 3/4 : L'importance du cinéma (1ère diffusion : 24/01/2008) Par Philippe Petit Avec Stanley Cavell Réalisation Laetitia Coïa

Neste episódio, a professora Andrea Cachel (mais informações em: http://lattes.cnpq.br/5432999252829586) e o mestrando Igor Gonçalves (UFRGS) apresentam uma leitura filosófica do filme A Vida Invisivel de Euridice Gusmao (Karim Ainouz, 2019). Partindo da filosofia do cinema de Stanley Cavell, eles explicam o que é o sub gênero do melodrama da mulher desconhecida no cinema Hollywoodiano e defendem que A vida invisível seria um filme tipicamente brasileiro do gênero, em que as mulheres não seriam reconhecidas como indivíduos finitos e com vontade própria pelas pessoas ao seu redor. Eles tocam em questões como o abuso físico e psicológico de mulheres, as diferenças que existem entre redes de apoio de homens e de mulheres, a pressão social e familiar que as mulheres sofrem, as escolhas que devem fazer e quais são as consequências de certas renúncias para suas vidas. Indicações bibliográficas: Filmes: Tinta Bruta - Filipe Matzembacher, Márcio Reolon A vida invisível - Karim Aïnouz O céu de Suely - Karim Aïnouz Livros: Pursuits of Happiness - Stanley Cavell The World Viewed: Reflections on the Ontology of Film - Stanley Cavell Cinema e Filosofia, uma antologia - https://wp.ufpel.edu.br/nepfil/files/2020/07/FC-final-1.pdf Artigo: Cinema como filosofia? Uma introdução ao debate, e uma análise de Rashomon como caso-teste - Jonadas Têchio Outros vídeos sobre o assunto: Ver o canal no youtube Cinema e Filosofia UFRGS: https://www.youtube.com/channel/UCM7v7K-XPe8YqUVW97EkINA E o canal no youtube do professor Jônadas Techio: https://www.youtube.com/channel/UCrEP-dI_DXCqi0wV-wIZvyg Outros episódios sobre Cavell, cinema e filosofia: Ep. 046: Ceticismo e Reconhecimento em Cavell Ep. 043: Cavell, Otelo e o ceticismo Ep. 019: Rashomon (Parte 2 de 2 Cinema e Filosofia) Ep. 013: Relações entre Cinema e Filosofia (Parte 1 de 2) O “O Que é Tudo Isso?” agora é parte da Rede Colmeia Podcast's, mais informações em: https://colmeia.sul21.com.br/ Dúvidas críticas ou sugestões nos contate pelo oqueetudoisso@gmail.com, Você também pode nos seguir no Twitter (@OQTIPOD), instagram (oqtipod) e Facebook (o que é tudo isso podcast) Trilha: filmmusic.io "Great Times" de Sascha Ende (sascha-ende.de) CC BY 4.0 O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Código de Financiamento 001.

Timestamps:00:55: Understanding the world through Aesthetic. The immediacy of Art and the ability to grab us, intertwined with the cognitive process. Meaning-making Machines02:20: The biological programming of Art. We're biological beings and our experience of the world is biological. 04:35: Kant's opinion of Beauty. It should be universal. Should be, or is? Edmund Burke thinks it is. 06:35: Liking art is not enough. Why do you like it? Putting a scientific spin on the art experience and the 5 Pillars of Beauty11:00: Art is how we make meaning of the world, and it's subjective. Mental development. Everyone has their own unique perception, even 4 year olds. Object Permanence14:05: Solipsism, everything is subjective, we're alone and trapped in our own experience. Too far? How do I appreciate the specific location of my perception?16:00: Stanley Cavell, "Can you dig it?" That's all you need. Can you see what I see, can you feel what I'm feeling?17:50: We share biological programming. Even if we're all different, we're all kind of the same. Support the show (https://www.patreon.com/talkpopc)

La séparation (1/3) : Les nouvelles règles du jeu Parmi les dégâts collatéraux de la crise sanitaire, il faut compter l'explosion du nombre de séparations. Certains cabinets d'avocats spécialisés dans les divorces ont vu leur activité augmenter de 120%. Visiblement, les confinements successifs sont venus accélérer une tendance déjà bien en place : depuis le milieu des années 60, l'espérance de vie moyenne des couples n'a cessé de chuter. Les couples stables qui blanchissent ensemble sont en voie d'extinction, et nos trajectoires affectives de plus en plus précaires. Cela, hélas, on le sait. Alors, au moment de tomber amoureux, d'habiter ensemble et de faire des enfants, pas la peine de lire des livres de psycho ou de développement personnel dans l'espoir d'entretenir la flamme pour faire perdurer son couple. On ferait mieux de prendre acte des statistiques et de se préparer à l'éventualité d'une séparation, au cas où. D'anticiper ce qui arrive quand on passe par la case rupture, garde alternée et ou famille recomposée. Des étapes devenues banales dans nos jeux de l'oie amoureux mais qui, à l'échelle individuelle, chamboulent toujours tout comme un tremblement de terre. Pourquoi on se sépare autant, si vite et si mal, et comment encaisser cette épreuve sans y laisser toutes ses plumes ? Pour démarrer cette deuxième saison de Vivons heureux avant la fin du monde, Delphine Saltel entreprend de constituer un petit guide de survie en cas de séparation, en trois épisodes. Elle enregistre des couples qui cherchent à communiquer dans un centre de médiation familiale - interroge des divorcés plus ou moins traumatisés - rencontre des chercheuses en sciences sociales et des historiens qui décryptent ce qui se cache derrière cette forte augmentation des séparations conjugales. Séparation, mode d'emploi (1/3) : Les nouvelles règles du jeu Dans ce premier volet, la célèbre  sociologue Irène Théry, qui travaille sur la séparation depuis des années, déblaie le terrain autour de nos idéaux collectifs : le couple stable, l'amour toujours, ce qu'on en attend, ce qu'on y projette. Car c'est loin d'être bien clair dans nos têtes, surtout quand on se situe dans le ventre mou du modèle hétéro-monogame-avec enfants. L'égalité des sexes a totalement rebattu les cartes, et reconfiguré l'idée même du couple. Pour comprendre ce qui nous arrive, il faut commencer par expliciter les règles du jeu qui organisent désormais nos vies amoureuses et familiales  : duo-conversation, art de la dispute, CDD amoureux, liens de filiation indissolubles. Irène Théry nous invite à faire un détour par les comédies de l'âge d'or de Hollywood (Hawks, Lubitsch, McCarey) en compagnie du philosophe américain Stanley Cavell. Nous comprenons que quand Katharine Hepburn tient tête à Cary Grant, c'est le couple moderne qui est en jeu. Ainsi, l'autrice du Démariage nous livre quelques clés pour déverrouiller nos dilemmes et nos injonctions contradictoires. De quoi limiter la casse si on doit finir un jour, hélas, par se partager les meubles ou la garde des enfants. Avec :- Irène Théry, sociologue, autrice de "Le démariage"- Le témoignage de Sophie D.- Un reportage dans un centre de médiation familiale de l'association Olga Spitzer Bibliographie : - Irène Théry, Le démariage, Editions Odile Jacob, 1993.- Irène Théry, Couple, filiation et parenté aujourd'hui, Editions Odile Jacob, 1998.- Stanley Cavell, A la poursuite du bonheur, Hollywood et la comédie du remariage, Vrin , 1993.- Eva Illouz, La fin de l'amour, Seuil, 2020.- Mona Chollet, Réinventer l'amour, La Découverte, 2021. Liens utiles :- La sociologue et l'ourson Films : - L'impossible monsieur Bébé, Howard Hawks- Indiscrétions, George Cukor- Marriage Story, Noah Baumbach- Scenes from a marriage, série de Hagai Levi Vivons heureux avant la fin du mondeComment s'habiller, échanger, voyager, s'aimer dans les années 20 ? Pour se bricoler une morale minimale en des temps de crises sociale, écologique et sanitaire, Delphine Saltel (Que sont-ils devenus ?, Y'a deux écoles) explore chaque mois nos incohérences et les solutions possibles. Mêlant questionnement personnel, tribulations domestiques, reportages et entretiens avec des chercheurs et des activistes, ce nouveau podcast veut alerter, éveiller et rassurer sur un autre monde possible. Enregistrements : été 21 - Texte, voix, entretiens et montage : Delphine Saltel - Réalisation, musique originale et mix : Arnaud Forest - Illustration : Mathilde Rives - Production : ARTE Radio - Musique originale : Arnaud Forest

Varför har tyckandet blivit så nedvärderat? Författaren Lyra Koli går i den här essän ut till försvar för åsiktens förenande funktion i samhället. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Fler och fler verkar tycka att tyckande och tänkande inte går ihop. I såväl politiska som estetiska diskussioner klassas tyckandet som så oseriöst att det uppfattas som en direkt motsättning till nyanserade reflektioner. Är det här en bra eller dålig diktsamling? Ska vi höja eller sänka skatterna i Sverige? Är den här låten gripande eller sentimental? Borde surrogatmödraskap tillåtas? Att komma ifrån det rena tyckandet, som det ibland lite nedlåtande kallas, för att istället göra en mer sansad analys, har blivit ett ideal för både kultur- och ledarsidor. Men är det verkligen önskvärt, om ens möjligt, att göra sig av med tyckandet när det handlar om konst och politik? Kanske är tyckandet i själva verket det mest centrala. Den amerikanska filosofen Stanley Cavell kritiserar den analytiska traditionens oro för att estetiska (och moraliska och politiska) omdömen saknar något: argumenten som stöder dem är inte lika slutgiltiga som logiska omdömen, eller rationella på samma vis som vetenskapliga argument. Det är de sannerligen inte, konstaterar Cavell: och vore de det skulle det inte finnas några sådana discipliner som konst (eller moral) och ingen sådan konst som kritiken. Även om det går att resonera kring dem så är det rena vetandet ett omöjligt ideal när det kommer till konst och politik. I kontrast till tyckandet förespråkar man gärna tolkningen, som anses vidga, öppna och förklara. Men tolkningar kan lika gärna skymma som klargöra. Susan Sontag skriver i essän Mot tolkning att tolkningsutsläppen idag förorenar vår sensibilitet. I en kultur vars redan klassiska dilemma är intellektets expansion på energins och sensualitetens bekostnad, så är tolkningen intellektets hämnd mot konsten. I vägen för verkets omedelbara, sinnliga effekt på dig ställer man dess innebörd, som om konsten bara vore en indirekt kunskapsförmedling. Som Sontag säger så trubbar det av och passiviserar publiken. Hur många vågar idag säga vad de tycker om en tavla innan de har läst kuratorns förklarande beskrivningar? Samtidigt drillas studenter på konstskolor i att presentera teoretiseringar av sina egna praktiker, som om det blivit otänkbart att verken kunde tala för sig själva. I Immanuel Kants Kritik av omdömeskraften, som anses ligga till grund för den moderna estetiken, utgår teorin om det sköna från det omedelbara smakomdömet. Kant beskriver smakomdömet som grundat i en subjektiv allmängiltighet. Till skillnad från mat och dryck så väntar du dig att andra borde hålla med dig när det kommer till konst och naturskönhet. Den subjektiva allmängiltigheten innebär inte någon objektiv kunskap, och det går därför aldrig att bevisa vem som har rätt i smakfrågor. Men du känner ändå att du ger uttryck för en mer allmän än privat uppfattning när du fäller estetiska omdömen. För Kant är denna förmåga en viktig indikator på att människorna lever i en gemensam värld inte bara rationellt och materiellt, utan i själva upplevelsen av vår egen varseblivning. Som student på grundnivå hade jag svårt att förstå vad Kant menar. Hur kan omdömen om konst utgå från något annat än ett rent personligt tyckande? Det finns ju minst lika stora skillnader i musik- som i drinksmak. Kant är förstås medveten om att det sällan råder konsensus om det sköna. Smaken kommer alltid att vara stridbar. Men det är själva känslan av att alla borde hålla med oss som gör smakomdömet så centralt för honom. Här rör det sig om ett slags mellanmänskligt tyckande, ett gemensamt sinne eller en insisterande impuls till att dela samma verklighet, som utgör grunden för våra möjligheter till civiliserad samvaro. Kanske var mina svårigheter ett symptom på att vår syn på tycke och smak har ändrats dramatiskt sedan Kants tid. Hans filosofi var lika inriktad på att beskriva tänkandets begränsningar som dess möjligheter, men trehundra år efter Upplysningen kan vi inte längre acceptera en omedelbar lustkänsla som utgångspunkt för ett mer allmänt omdöme. Tyckandet har kommit att ses som något nästan uteslutande personligt och viktlöst. Paradoxalt nog beror det kanske på att vi idag uppmanas att tycka till om allt mer. Vi ska betygsätta våra taxiresor, välja vårdgivare och konstruera våra egna filterbubblor. Föreställningen om en gemensam smak är nästan död. Ibland leder det till rent bisarra tongångar i debatten: som om åsikter om vilka verk som borde inkluderas i en litterär kanon vore lika godtyckliga som om man föredrar pepsi eller cola. Tyckandet har sugits upp av våra konsumtionsidentiteter, en tom logik som kommit att genomsyra allt. Gillar du att spela golf? Då kanske du också skulle tycka om vinster i välfärden! Varför har tyckandet urholkats på det här viset? Enligt den politiska teoretikern Wendy Brown har en tyst nyliberal revolution ägt rum. Brown beskriver nyliberalismen som en normativ rationalitetsprincip som gradvis har tolkat om alla värden till ekonomiska. Vårt gemensamma samhälle har blivit en spelplan för investeringar och avkastningar. Jag tycker mig höra den här logiken eka i retoriken hos de svenska liberala partierna, vilket numera samtliga från Socialdemokraterna till Kristdemokraterna oblygt kallar sig. De beskriver staten som ett företag som ska förvaltas, och framställer marknadsanalys som det enda sättet att bedriva seriös politik. Du ska inte rösta utifrån dina åsikter, utan utifrån din och statens plånbok. De partier som inte opererar efter samma logik ses som ytterkantsextremister. Demokratin utmålas som ett val mellan ansvarstagande förvaltare och ideologiska fundamentalister. Tycker du att den här essän låter vänsterextrem eller kulturkonservativ? Är tonläget för svepande eller för kategoriskt? Jag har försökt tänka kring tyckandet, men inte utan att tycka något själv. Som Cavell säger skulle det knappast bli något kvar av vare sig estetiken eller politiken om man lyckades rationalisera dem fullständigt. Det betyder inte att utgångspunkten är irrationell. Snarare att den utgår från en impuls till mellanmänsklighet. Känslan av att alla borde hålla med oss är vad som ligger till grund för den passionerade kritiken och den engagerade politiken. I vårt eftertryckliga ja eller nej finns hjärtat av ideologin och smaken. Naturligtvis bör inte de nyanserade diskussionerna sluta där. Men utan det stridbara och gemenskapande tyckandet återstår bara godtyckliga personliga preferenser och analytisk logik. Vore det inte mer än så som höll oss samman kunde vi lika gärna överlåta såväl budgetläggning som recensionsuppdrag till artificiella intelligenser. Det skulle säkert vara mer informativt, lukrativt och effektivt. Men lyckligtvis är vi fortfarande för fästa vid vårt tyckande för att låta marknaden ta oss ända dit. Lyra Koli

Neste episódio conversamos com Jônadas Techio (mais informações em: http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4706098J6) e seu orientando Igor Nascimento, sobre Stanley Cavell. Como o autor compreende a relação entre Filosofia e Arte e a análise que o mesmo faz a respeito de Otelo como um caso particular de ceticismo sobre outras mentes. A bibliografia indicada é a seguinte: TECHIO, J. Ceticismo e Tragédia: Stanley Cavell, leitor de Otelo In: Imaginando a vida examinada.1 ed.Pelotas: NEPFIL Online, 2020, p. 120-134. Lattes Jônadas Cavell- Pursuits of Happiness (sobre comédias do recasamento); Contesting Tears (sobre o melodrama da mulher desconhecida); Must We Mean What We Say? (coletânea de artigos, fala sobre ceticismo, visão de Cavell da filosofia, problemas estéticos, etc.); The World Viewed (ontologia do cinema). Comentadores- HAMMER, Spen. Stanley Cavell: Skepticism, Subjectivity and the Ordinary.MULHALL, Stephen. Stanley Cavell: Philosophy's Recounting of the Ordinary. Eventos Cavell/Cinema e Filosofia- https://linktr.ee/PerspectivesFromCavell https://linktr.ee/cinefilosofia Demais indicações são feitas no final do episódio.

In this episode, I am joined by one of the founding editors of The Point, Jon Baskin, to discuss the prospects of philosophical literary criticism and how we can apply such criticism to the fiction of David Foster Wallace. Baskin elaborates his ideas in a book I highly recommend, Ordinary Unhappiness: The Therapeutic Fiction of David Foster Wallace. Jon and I discuss Wittgenstein, Iris Murdoch, Stanley Cavell, Robert Pippin, and of course, David Foster Wallace. I hope you enjoy our conversation.

Na primeira sessão de 2021 do Janelas Filosóficas, o professor Jônadas Techio nos falará sobre o seu livro A Ameaça do Solipsismo (publicado em inglês: The Threat of Solipsism, pela De Gruyter: https://www.degruyter.com/view/title/...​). O livro explora as conexões entre a visão do jovem Ludwig Wittgenstein sobre a verdade do solipsismo, seu posterior tratamento acerca da possibilidade de uma linguagem privada, e a visão de Stanley Cavell sobre a verdade do ceticismo. Por meio de leituras atentas de escritos representativos de ambos os autores, Jônadas argumenta que uma compreensão adequada do solipsismo e do ceticismo exige que se leve em conta um conjunto de dificuldades existenciais subjacentes, relacionadas a um desapontamento com a finitude -- em particular, com o ônus de ter de nutrir constantemente as frágeis conexões com o mundo e com outros que constituem as condições de possibilidade para seres finitos alcançarem significado. Ao apresentar as reflexões de Wittgenstein e de Cavell sobre esses tópicos em uma ordem que reflete a cronologia de seus escritos, o resultado é uma articulação coesa de alguns aspectos subestimados de suas metodologias filosóficas que tem o potencial de reorientar a interpretação de suas obras.

An exploration of the philosophical dimension of Alfred Hitchcock's classics (including Rear Window, Vertigo and Psycho) with renowned philosopher Robert Pippin (University of Chicago). Further Reading (direct links at anchor.fm/dphi): Alfred Hitchcock, Robert Pippin, François Truffaut, André Bazin, Douglas Sirk, Cahiers du Cinéma, French New Wave, Stanley Cavell, Henry James, Plato's theory of foms, Pauline Kael, The Lady Eve, Jean Renoir, James Stewart, Grace Kelly, Raymond Burr, Henry Fonda,

durée : 00:58:52 - Les Chemins de la philosophie - par : Adèle Van Reeth, Géraldine Mosna-Savoye - Héritière du philosophe Stanley Cavell, dont l'enseignement l'a marquée en profondeur, pour Sandra Laugier la philosophie se loge dans les détails du langage, de la voix, des compétences ordinaires, mais aussi dans le cinéma, et aujourd'hui dans les séries télé. - réalisation : Nicolas Berger, Laurence Malonda - invités : Sandra Laugier philosophe, professeure à l’Université Paris I Panthéon Sorbonne, spécialiste de philosophie du langage et de philosophie morale, chroniqueuse à Libération

Adèle Van Reeth est philosophe, auteure, chroniqueuse et productrice radio. Depuis 10 ans, elle présente et produit Les Chemins De La Philosophie sur France Culture et a participé à beaucoup d’autres émissions : les capsules D’art D’art sur France 2, … Lire la suite­­

In this edition of the podcast: a conversation with Timothy P. O’Malley of Notre Dame University’s McGrath Institute. We talk about marriage – what it is and isn’t, how it works (and doesn’t) and how – to borrow an expression from Stanley Cavell – healthy marriages and healthy societies are functions of one another. Also, an update on the promised series on race and racism, and some current comment from host Chris Altieri on the state of the Church.

Invité de la rédaction : Perrine Simon-Nahum interviewe Adèle Van Reeth philosophe, productrice de radio et chroniqueuse, pour son livre « La Vie ordinaire » paru chez Gallimard À propos du livre : « La Vie ordinaire » Paru aux éditions Gallimard "La vie ordinaire est une vie d'hypocrite. On fait comme si c'était "déjà ça" de vivre "tranquillement", comme si on ne voulait pas d'aventure. Comme s'il suffisait de se la couler douce dans les plis du laisser-être pour atteindre la tranquillité tant recherchée. Sauf que la plupart du temps, on n'y arrive pas. Puisque l'existence humaine est à la fois provisoire et continue, puisque rien ne dure et que le temps ne se retient pas, la tranquillité n'est pas de ce monde. Et c'est tant mieux. Que le dard de l'intranquillité vous pique encore et encore ! Demandez-vous, au moins une fois, si le nombre d'années parcourues, les épreuves et les angoisses endurées, si vous avez vécu tout ça pour vous réfugier dans la mauvaise foi de l'émerveillement ordinaire, sans jamais vouloir fouiller en dessous, remuer la vase qui étouffe vos désirs et vous fait croire qu'être quelqu'un, c'est peser lourd, et s'accrocher aux horaires comme si la vie en dépendait". Adèle Van Reeth est une philosophe, productrice de radio et chroniqueuse française. Elle intègre une classe préparatoire littéraire où elle prépare le concours d'entrée à l'École normale supérieure. Une fois admise, elle part en deuxième année étudier à l'Université de Chicago. Spécialiste en philosophie du cinéma, ancienne élève de l'École normale supérieure de Fontenay-Saint-Cloud (promotion 2005), elle travaille et intervient sur la question de l'ordinaire à partir notamment des travaux du philosophe Stanley Cavell. Depuis septembre 2011, elle produit et anime l'émission quotidienne de philosophie Les Nouveaux Chemins de la connaissance. En décembre 2012, cette émission devient la plus téléchargée du groupe Radio France, et maintient ponctuellement cette position. Après avoir participé à l'émission "Ça balance à Paris" en 2011 et collaboré à "Philosophie magazine" (2010-2012), elle est chroniqueuse régulière pour l'émission Le Cercle, présentée par Frédéric Beigbeder sur Canal+ Cinéma. En mars 2014, elle lance une collection intitulée "Questions de caractère" (co-édition Plon / France Culture) : elle dialogue avec des philosophes contemporains en gardant l'esprit et la démarche de son émission. Le premier volume, coécrit avec Jean-Luc Nancy, porte sur la jouissance, thème sur lequel elle est déjà intervenue à plusieurs reprises. Le 19 décembre 2017, il est annoncé qu'Adèle Van Reeth prend la suite de Jean-Pierre Elkabbach et animera à la rentrée 2018 la nouvelle émission littéraire de Public Sénat, toujours enregistrée dans la Bibliothèque du Sénat. Twitter : https://twitter.com/adelevanreeth?lang=fr 

Continuing on Cavell's essay "The Avoidance of Love: A Reading of King Lear" (1969), shifting away from Lear in particular to a more general discussion of tragedy and Cavell's psychological insights. Begin with Part One or get the ad-free, unbroken Citizen Edition. Please support PEL! End song: "Out of Your Hands" by Gretchen's Wheel, i.e., Lindsay Murray, as interviewed for Nakedly Examined Music #81. Sponsor: Visit TheGreatCoursesPLUS.com/PEL for a free trial of unlimited learning at $10/month w/ a quarterly plan.

On Cavell's essay "The Avoidance of Love: A Reading of King Lear" (1969). Can money buy you love? What is tragedy? With guest Erin O'Luanaigh. Don't wait for part two; get the full Citizen Edition now. Please support PEL!

durée : 00:59:00 - Les Masterclasses - par : Olivia Gesbert - Auteur de dix long-métrages en près de 25 ans, le cinéaste Arnaud Desplechin revient tout au long de sa masterclasse, sur son processus de création, sa définition du cinéma comme acte de croyance, durant laquelle il fait écho aux mots de Philip Roth et Stanley Cavell. - réalisation : Clotilde Pivin - invités : Arnaud Desplechin cinéaste

durée : 00:59:00 - Les Masterclasses - par : Olivia Gesbert - Auteur de dix long-métrages en près de 25 ans, le cinéaste Arnaud Desplechin revient tout au long de sa masterclasse, sur son processus de création, sa définition du cinéma comme acte de croyance, durant laquelle il fait écho aux mots de Philip Roth et Stanley Cavell. - réalisation : Clotilde Pivin - invités : Arnaud Desplechin cinéaste

durée : 00:52:47 - Grand bien vous fasse ! - par : Ali Rebeihi - Comment prévenir le traumatisme du confinement auprès des enfants ? Western en famille à la TV ; le conseil série du jour : "Succession" ; humour avec Nicole Ferroni ; la pause philosophique autour des pensées su philosophe américain Stanley Cavell.

America’s “environmental prophet,” Henry David Thoreau, set out for a simpler, more mindful, and more deeply lived life on Walden Pond on July 4th, 1845. How to live deliberately, being mindful of the things that truly matter and not let ourselves be distracted by what everyone else seems to expect and want from us. The date of July 4th is important, for the book is another Declaration of Independence: an effort to unshackle America from the consumerism, competitiveness, and the profound and shameful dishonesty that created a new nation without reaching true freedom and equality. Thoreau’s Walden is as much about how to live a better, simpler life, as it is about the right way of settling a continent stolen from Native peoples and aided by the moral sin of slavery. Thoreau, after all, gave a word to the idea of “civil disobedience,” refused to pay his taxes to a state that supported slavery (he was jailed for it), and railed against the dishonesty that propped up what today we call white supremacy. Walden is a deeply philosophical book about making sense of one’s circumstances, taking control of one’s life and reckoning with the temptation of living up to the expectations of others. The late Stanley Cavell, a philosopher who did much to insist that the United States have a unique tradition of thinking and writing (and with whom I was able to study in college), said that Thoreau’s Walden “means every word it says.” Cavell taught me how to read this book and take its claims seriously: that so much of what we think are circumstances given to us are structures we buy into — and that so many of the structures we cannot change by ourselves are deeply corrupt. “Rather than love, than money, than fame, give me truth.” What’s amazing about Walden is how Thoreau switches seamlessly from literal description (how many nails to build a cabin; how many rows of peas to make a harvest; how many hours to make a day) to metaphorical (or metaphysical) observations. “To be awake is to be alive, yet I never met a man who is quite awake.” Are we perhaps walking among a nation of sleepwalkers? How do we rouse ourselves from the slumber: how do we find not our true selves but our “next selves”? Walden breaks off (Thoreau did not chronicle his second year on Walden Pond) because Thoreau says that he “had other lives to live.” This should tell us that we ought not to follow in Thoreau’s path but choose our own path. We should realize we have other lives to live, and that to change our lives we must first genuinely live our life. I spoke with Benjamin Reiss, Samuel Candler Professor of English at Emory University and author of Wild Nights: How Taming Sheep Created Our Restless World and The Showman and the Slave, about Walden’s continued significance, how to read philosophically, and — yes, I did ask — how to get a good night’s sleep. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

America’s “environmental prophet,” Henry David Thoreau, set out for a simpler, more mindful, and more deeply lived life on Walden Pond on July 4th, 1845. How to live deliberately, being mindful of the things that truly matter and not let ourselves be distracted by what everyone else seems to expect and want from us. The date of July 4th is important, for the book is another Declaration of Independence: an effort to unshackle America from the consumerism, competitiveness, and the profound and shameful dishonesty that created a new nation without reaching true freedom and equality. Thoreau’s Walden is as much about how to live a better, simpler life, as it is about the right way of settling a continent stolen from Native peoples and aided by the moral sin of slavery. Thoreau, after all, gave a word to the idea of “civil disobedience,” refused to pay his taxes to a state that supported slavery (he was jailed for it), and railed against the dishonesty that propped up what today we call white supremacy. Walden is a deeply philosophical book about making sense of one’s circumstances, taking control of one’s life and reckoning with the temptation of living up to the expectations of others. The late Stanley Cavell, a philosopher who did much to insist that the United States have a unique tradition of thinking and writing (and with whom I was able to study in college), said that Thoreau’s Walden “means every word it says.” Cavell taught me how to read this book and take its claims seriously: that so much of what we think are circumstances given to us are structures we buy into — and that so many of the structures we cannot change by ourselves are deeply corrupt. “Rather than love, than money, than fame, give me truth.” What’s amazing about Walden is how Thoreau switches seamlessly from literal description (how many nails to build a cabin; how many rows of peas to make a harvest; how many hours to make a day) to metaphorical (or metaphysical) observations. “To be awake is to be alive, yet I never met a man who is quite awake.” Are we perhaps walking among a nation of sleepwalkers? How do we rouse ourselves from the slumber: how do we find not our true selves but our “next selves”? Walden breaks off (Thoreau did not chronicle his second year on Walden Pond) because Thoreau says that he “had other lives to live.” This should tell us that we ought not to follow in Thoreau’s path but choose our own path. We should realize we have other lives to live, and that to change our lives we must first genuinely live our life. I spoke with Benjamin Reiss, Samuel Candler Professor of English at Emory University and author of Wild Nights: How Taming Sheep Created Our Restless World and The Showman and the Slave, about Walden’s continued significance, how to read philosophically, and — yes, I did ask — how to get a good night’s sleep. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

America’s “environmental prophet,” Henry David Thoreau, set out for a simpler, more mindful, and more deeply lived life on Walden Pond on July 4th, 1845. How to live deliberately, being mindful of the things that truly matter and not let ourselves be distracted by what everyone else seems to expect and want from us. The date of July 4th is important, for the book is another Declaration of Independence: an effort to unshackle America from the consumerism, competitiveness, and the profound and shameful dishonesty that created a new nation without reaching true freedom and equality. Thoreau’s Walden is as much about how to live a better, simpler life, as it is about the right way of settling a continent stolen from Native peoples and aided by the moral sin of slavery. Thoreau, after all, gave a word to the idea of “civil disobedience,” refused to pay his taxes to a state that supported slavery (he was jailed for it), and railed against the dishonesty that propped up what today we call white supremacy. Walden is a deeply philosophical book about making sense of one’s circumstances, taking control of one’s life and reckoning with the temptation of living up to the expectations of others. The late Stanley Cavell, a philosopher who did much to insist that the United States have a unique tradition of thinking and writing (and with whom I was able to study in college), said that Thoreau’s Walden “means every word it says.” Cavell taught me how to read this book and take its claims seriously: that so much of what we think are circumstances given to us are structures we buy into — and that so many of the structures we cannot change by ourselves are deeply corrupt. “Rather than love, than money, than fame, give me truth.” What’s amazing about Walden is how Thoreau switches seamlessly from literal description (how many nails to build a cabin; how many rows of peas to make a harvest; how many hours to make a day) to metaphorical (or metaphysical) observations. “To be awake is to be alive, yet I never met a man who is quite awake.” Are we perhaps walking among a nation of sleepwalkers? How do we rouse ourselves from the slumber: how do we find not our true selves but our “next selves”? Walden breaks off (Thoreau did not chronicle his second year on Walden Pond) because Thoreau says that he “had other lives to live.” This should tell us that we ought not to follow in Thoreau’s path but choose our own path. We should realize we have other lives to live, and that to change our lives we must first genuinely live our life. I spoke with Benjamin Reiss, Samuel Candler Professor of English at Emory University and author of Wild Nights: How Taming Sheep Created Our Restless World and The Showman and the Slave, about Walden’s continued significance, how to read philosophically, and — yes, I did ask — how to get a good night’s sleep. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to our brand-new movie podcast! In this episode, Elise Moore and David Fiore ramble on about their respective lives cinematic and present impressionistic lists of their characteristic enthusiasms. Last, but not least, we sketch out the shape of ‘casts to come. Among the topics covered here:  our not being a David Lynch podcast, RCA Videodiscs, Canadians watching New England PBS stations, Xanadu, The Lady in the Lake, reading about movies you fear you’ll never see, The Strawberry Blonde, The Private Lives of Elizabeth and Essex, Bette Davis in general, Stanley Cavell, Ray Carney, Jonathan Rosenbaum, and the great Jerry Lewis. Time Codes: 0h 1m 00s:   Dave and Elise’s Nitrate Nativities 1h 16m 33s: 4 Impressionistic lists 1h 57m 35s: Coming attractions   *Read Elise’s Writing at Bright Wall/Dark Room, Cléo, and Bright Lights.* Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com Theme Music: “What’s Yr Take on Cassavetes?” – Le Tigre

durée : 00:30:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Philippe Petit - Avec Stanley Cavell - Traduction Rachel Brévière - Réalisation Laetitia Coïa - réalisé par : Viginie Mourthé

durée : 00:30:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Philippe Petit - Avec Stanley Cavell - Réalisation Laetitia Coïa - invités : Stanley CAVELL - Stanley Cavell : philosophe américain, spécialiste du cinéma - réalisé par : Viginie Mourthé

durée : 00:30:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Philippe Petit - Avec Stanley Cavell - Traduction Rachel Brévière - Réalisation Laetitia Coïa - réalisé par : Viginie Mourthé

durée : 01:00:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Philippe Petit - Avec Stanley Cavell - Traduction Rachel Brévière - Réalisation Laetitia Coïa - réalisé par : Viginie Mourthé

Veena Das is Krieger-Eisenhower Professor of Anthropology at the Johns Hopkins University in the United States. Her research covers a range of fields. She is passionately interested in the question of how ethnography generates concepts; how we might treat philosophical and literary traditions from India and other regions as generative of theoretical and practical understanding of the world; how to render the texture and contours of everyday life; and the way everyday and the event are joined together in the making of the normal and the critical. Her work on collective violence and urban transformations has appeared in many anthologies. Her most recent books are Life and Words: Violence and the Descent into the Ordinary (2007) Affliction: Health, Disease, Poverty (2015) and three co-edited volumes, The Ground Between: Anthropologists Engage Philosophy (2014), Living and Dying in the Contemporary World: A Compendium (2015) andPolitics of the Urban Poor (forthcoming). Her graduate students are working on a number of issues in different parts of the world and her work is deeply informed by her heady interactions with them."If in life, said Wittgenstein, we are surrounded by death, so to in the health of our understanding we are surrounded by madness. Rather than a forceful exclusion of this voice of madness, Wittgenstein returns us to the everyday by a gesture of waiting: 'If I have exhausted justifications I have reached bedrock, and my spade is turned. Then I am inclined to say: This is simply what I do.' In this picture of the turned spade as indicative of a turned pen, we have the picture of what the act of writing may be in the darkness of this time. For me the love of anthropology has turned out to be an affair in which when I reach bedrock I do not break through the resistance of the other, but in this gesture of waiting I allow the knowledge of the other to mark me."Das, Veena. Life and Words: Violence and the Descent into the Ordinary (Berkeley: University of California Press, 2007), p. 17.https://centreforethics.upce.cz/Niklas.Forsberg@upce.cz

Topics: A Swedish win makes this the Edin Decade; Kevin Koe: Good at curling; Japan’s ‘hello, world’ tournament; a frustrating finish for the USA; a near breakthrough for Italy; effects of the five-rock free guard zone; the USA-Canada cheering kerfuffle; the political philosophies of Stanley Cavell. The post Ep27: Recapping the 2019 World Men’s Curling Championship appeared first on Rocks Across The Pond.

No, he's not the Superman guy. But he does have a lot to do with the movies! This week, Connor and Dan discuss American philosopher Stanley Cavell, a pioneer in the realm of ordinary language philosophy and intellectual discussions of pop culture. He made dumb stuff sound smart! Kind of the opposite of this podcast!

Ep 116: Erek (@erek_smith) and Chloe (@itsthechew) join the show to discuss SNL's cold open about Kavanaugh and Chloe recs The Office, Robyn, Ocean's 8, while Erek asks What Would Gordon Do? and Allison discusses her trip to D.C. Allison interviews Eric Thurm (@EricThurm) about his recs: Lupin the Third, Yuri On Ice, Set It Up, The Lego Batman Movie, Switchblade Sisters, My Brother And Me, Hall and Oates, Boz Scaggs, God Emperor of Dune, and Stanley Cavell $5/month+ Patreon supporters: Check out the new bonus episode about Infinity War! https://www.patreon.com/posts/special-bonus-is-21398892 In bad news: Brett Kavanaugh's pathetic performance during the Senate Judiciary Committee would have earned him a label as "hysterical" if he was a woman, the FBI's Kavanaugh investigation will be narrow in scope, and here's how to talk to the women in your life right now In good news: American Bar Association requests Senate suspend  Kavanaugh vote until FBI investigation is completed, Elon Musk steps down as Chairman of Tesla following SEC charge of fraud, and a referendum on the Florida ballot could restore voting rights to 1.5 million people Light Treason News is supported by members! To sign up and keep the show going, visit lighttreason.news

Season 8 of the podcast returns with an episode of discussion from the Philosophy-Conference in Gothenburg which Dario attended over the summer. The theme of the event was Feminist Film-Philosophy which was driven by the festival director Dr. Anna Backman Rogers who discusses her aims for the conference putting female filmmakers and philosophers front and centre, she also talks about her work with the MAI journal and discusses her own research particularly her analysis of Sofia Coppola as a feminist auteur. Dario then speaks to Dr. Catherine Wheatley her keynote speech at the conference which looked at the Stanley Cavell's writings on gender and film, particularly in the light of criticisms he received from Tania Modleski who accused him of practicing a "feminism without women". Wheatley uses this dialogue as a starting point for discussions about who Film-Philosophy speaks for an to. In the last conversation, Dario and Catherine are joined by Dr. David Sorfa for a wide-ranging discussion around the discipline of Film-Philosophy including its cross-over with film studies, how film-philosophy should be taught, and the gender questions around which filmmakers and philosophers should be studied. Shownotes: MAI Journal: Feminism and Visual Culture Catherine Wheatley's obituary of Stanley Cavell - Sight and Sound David Sorfa - What is Film-Philosophy?

Stanley Cavell, who died on June 19, was one of the world's foremost contemporary thinkers, yet he always considered himself something of a philosophical outsider. His work ranged across the philosophy of language, aesthetics, ethics and epistemology—but also literature, cinema, and music. And his 'ordinary language' style and interest in questions of quality and value could be about to experience a renaissance.

How should we understand our new golden age of television? In New Television: The Aesthetics and Politics of a Genre (University of Chicago Press, 2017), Martin Shuster, Director of Judaic Studies and Assistant Professor at Goucher College, interrogates New Television and offers both a defense and critique. Drawing on the work of the late Stanley Cavell, along with others including Hannah Arendt, the book explores the ontology of New Television, the medium of the screen, and the nature of storytelling. New Television has a vast range of examples, including chapters specifically focused on The Wire, Weeds and Justified. Along with detailed aesthetic philosophical discussion of each program, the book ultimately poses the problem of the politics of New Television, questioning the extent to which it offers critical, emancipatory, or regressive contributions to our understanding of modern life. The book is essential reading for anyone watching television, and also those who are not! Learn more about your ad choices. Visit megaphone.fm/adchoices

How should we understand our new golden age of television? In New Television: The Aesthetics and Politics of a Genre (University of Chicago Press, 2017), Martin Shuster, Director of Judaic Studies and Assistant Professor at Goucher College, interrogates New Television and offers both a defense and critique. Drawing on the work of the late Stanley Cavell, along with others including Hannah Arendt, the book explores the ontology of New Television, the medium of the screen, and the nature of storytelling. New Television has a vast range of examples, including chapters specifically focused on The Wire, Weeds and Justified. Along with detailed aesthetic philosophical discussion of each program, the book ultimately poses the problem of the politics of New Television, questioning the extent to which it offers critical, emancipatory, or regressive contributions to our understanding of modern life. The book is essential reading for anyone watching television, and also those who are not! Learn more about your ad choices. Visit megaphone.fm/adchoices

How should we understand our new golden age of television? In New Television: The Aesthetics and Politics of a Genre (University of Chicago Press, 2017), Martin Shuster, Director of Judaic Studies and Assistant Professor at Goucher College, interrogates New Television and offers both a defense and critique. Drawing on the work of the late Stanley Cavell, along with others including Hannah Arendt, the book explores the ontology of New Television, the medium of the screen, and the nature of storytelling. New Television has a vast range of examples, including chapters specifically focused on The Wire, Weeds and Justified. Along with detailed aesthetic philosophical discussion of each program, the book ultimately poses the problem of the politics of New Television, questioning the extent to which it offers critical, emancipatory, or regressive contributions to our understanding of modern life. The book is essential reading for anyone watching television, and also those who are not! Learn more about your ad choices. Visit megaphone.fm/adchoices

How should we understand our new golden age of television? In New Television: The Aesthetics and Politics of a Genre (University of Chicago Press, 2017), Martin Shuster, Director of Judaic Studies and Assistant Professor at Goucher College, interrogates New Television and offers both a defense and critique. Drawing on the work of the late Stanley Cavell, along with others including Hannah Arendt, the book explores the ontology of New Television, the medium of the screen, and the nature of storytelling. New Television has a vast range of examples, including chapters specifically focused on The Wire, Weeds and Justified. Along with detailed aesthetic philosophical discussion of each program, the book ultimately poses the problem of the politics of New Television, questioning the extent to which it offers critical, emancipatory, or regressive contributions to our understanding of modern life. The book is essential reading for anyone watching television, and also those who are not! Learn more about your ad choices. Visit megaphone.fm/adchoices

How should we understand our new golden age of television? In New Television: The Aesthetics and Politics of a Genre (University of Chicago Press, 2017), Martin Shuster, Director of Judaic Studies and Assistant Professor at Goucher College, interrogates New Television and offers both a defense and critique. Drawing on the work of the late Stanley Cavell, along with others including Hannah Arendt, the book explores the ontology of New Television, the medium of the screen, and the nature of storytelling. New Television has a vast range of examples, including chapters specifically focused on The Wire, Weeds and Justified. Along with detailed aesthetic philosophical discussion of each program, the book ultimately poses the problem of the politics of New Television, questioning the extent to which it offers critical, emancipatory, or regressive contributions to our understanding of modern life. The book is essential reading for anyone watching television, and also those who are not! Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode #10: This episode is dedicated to philosopher and film academic Stanley Cavell, who sadly passed away a short while ago. So we have rewatched classic "His Girl Friday" and re-read Cavell's musings on it. Also, Love, Simon.

Rana Mitter discusses food in history. James C Scott on the role of grain and coercion in the development of the first settled societies, and how the Victorians changed lunch, with New Generation Thinkers Elsa Richardson and Chris Kissane. Plus, following the death of American philosopher Stanley Cavell last week, Rana discusses his work and legacy with Stephen Mulhall and Alice Crary. New Generation Thinkers is a scheme run by the BBC and the Arts and Humanities Research Council to select ten academics each year who can turn their research into radio. James C Scott is Stirling Professor of Political Science at Yale University. Elsa Richardson is a lecturer at the University of Strathclyde, Glasgow who is researching the 19th-century history of vegetarianism. Chris Kissane is a Visiting Fellow in Economic History at the LSE who has written Food, Religion and Communities in Early Modern Europe.Producer: Luke Mulhall

Må vi mene det vi sier? I hvilken grad sier vi det vi mener, og hvor gode sjanser gir vi egentlig oss selv og andre til å tenke høyt sammen? Om vår fornuft er sosial så er det nettopp i felleskap at vi tenker best, og dette faktum burde egentlig ha langt større effekt på måten vi snakker sammen enn det det har idag.  Målet her er ikke å komme med noen filsofisk argumentasjon, og episoden er forhåpentligvis heller ikke spesielt tung og abstrakt. Det grunnleggende spørsmålet er ganske enkelt hvordan vi forholder oss til hverandre når vi snakker og skriver sammen.  Et annet spørsmål som blir veldig viktig i denne sammenhengen er hvordan vi har endt opp med å skape en kultur hvor man forsøker å skjule det om det er noe man ikke vet i stedet for å spørre. I hvilken grad er det skolen som er delvis ansvarlig for at vi mennesker nesten alltid foretrekker å late som at vi vet snarere enn å innrømme dette? Og når blir denne uvanen nærmest et demokratisk problem?  Dette er noe av det vi tar for oss i denne sommerepisoden av Lars og Pål, som spilt inn på en veranda i en by ved sjøen her i landet, derav måkeskrikene.  Takk for at du hører på! Det vil sikkert dukke opp en episode eller to av podkasten i løpet av sommermånedene, forhåpentligvis, men det er foreløpig litt uklart når det blir. Ha en strålende sommer, og skriv oss gjerne en melding eller epost om du har fått noe ut av å lytte på oss.    Anbefalinger: Podkastene In the dark, Dialogisk, Skravleklassen, Caliphate Bøker: Yuval Noah Harari, Homo Deus  Dan Sperber, Hugo Mercier, The Enigma of Reason Anne Spurkeland, Immun Trond Berg Eriksen, Augustin. Det urolig hjerte Stanley Cavell, Must we mean what we say? Martha Nussbaum, Not for profit Lisa Feldman Barrett, How emotions are made Jorge Louis Borges, Labyrinter (novellen Mannen med den gode hukommelsen) Magnus Marsdal, Frihetens mødre Hope Jahren, Lab Girl Michael Pollan, How to change your mind; The botany of desire; The omnivore’s dilemma Ken Robinson, You, your child and school     ---------------------------- Logoen vår er laget av Sveinung Sudbø, se hans arbeider på originalkopi.com   Musikken er av Arne Kjelsrud Mathisen, se facebooksiden Nygrenda Vev og Dur for mer info. ----------------------------   Takk for at du hører på. Ta kontakt med oss på vår facebookside eller på larsogpaal@gmail.com Det finnes ingen bedre måte å få spredt podkasten vår til flere enn via dere lyttere, så takk om du deler eller forteller andre om oss. Alt godt, hilsen Lars og Pål

DEL 1/3 | FAGSEMINAR 11.10.2017 00:00:13: Intro 00:02:54: Toril Moi 00:59:02: Vigdis Hjorth 01:21:06: Anniken Greve I sin seneste bok «Revolution of the ordinary. Literary studies after Wittgenstein, Austin, and Cavell» hevder litteraturprofessor Toril Moi at lesning kan forandre livene våre. Boken går i kritisk dialog med det dominerende postmoderne, monolittiske litteraturbegrepet i humaniora, som har redusert lesning til formalisme og mistankens hermeneutikk. Ved å vende tilbake til den hverdagsfilosofiske tradisjonen etter Ludwig Wittgenstein, talehandlingsteoretikeren J. L. Austin og den amerikanske filosofen Stanley Cavell, presenterer Moi nye svar på grunnleggende litteraturkritiske spørsmål om forholdet mellom tekst, verden og lesning. Etter Mois foredrag blir det innlegg og diskusjon fra forfatter Vigdis Hjorth, professor i litteraturvitenskap Anniken Greve (UiT), professor i kulturhistorie Helge Jordheim (UiO), professor i nordisk Christine Hamm (UiB) og forskningsbibliotekar Trond Haugen (NB). See acast.com/privacy for privacy and opt-out information.

DEL 2/3 | FAGSEMINAR 11.10.2017 00:00:13: Trond Haugen 00:26:03: Christine Hamm 00:46:21: Helge Jordheim I sin seneste bok «Revolution of the ordinary. Literary studies after Wittgenstein, Austin, and Cavell» hevder litteraturprofessor Toril Moi at lesning kan forandre livene våre. Boken går i kritisk dialog med det dominerende postmoderne, monolittiske litteraturbegrepet i humaniora, som har redusert lesning til formalisme og mistankens hermeneutikk. Ved å vende tilbake til den hverdagsfilosofiske tradisjonen etter Ludwig Wittgenstein, talehandlingsteoretikeren J. L. Austin og den amerikanske filosofen Stanley Cavell, presenterer Moi nye svar på grunnleggende litteraturkritiske spørsmål om forholdet mellom tekst, verden og lesning. Etter Mois foredrag blir det innlegg og diskusjon fra forfatter Vigdis Hjorth, professor i litteraturvitenskap Anniken Greve (UiT), professor i kulturhistorie Helge Jordheim (UiO), professor i nordisk Christine Hamm (UiB) og forskningsbibliotekar Trond Haugen (NB). See acast.com/privacy for privacy and opt-out information.

DEL 3/3 | FAGSEMINAR 11.10.2017 Paneldebatt I sin seneste bok «Revolution of the ordinary. Literary studies after Wittgenstein, Austin, and Cavell» hevder litteraturprofessor Toril Moi at lesning kan forandre livene våre. Boken går i kritisk dialog med det dominerende postmoderne, monolittiske litteraturbegrepet i humaniora, som har redusert lesning til formalisme og mistankens hermeneutikk. Ved å vende tilbake til den hverdagsfilosofiske tradisjonen etter Ludwig Wittgenstein, talehandlingsteoretikeren J. L. Austin og den amerikanske filosofen Stanley Cavell, presenterer Moi nye svar på grunnleggende litteraturkritiske spørsmål om forholdet mellom tekst, verden og lesning. Etter Mois foredrag blir det innlegg og diskusjon fra forfatter Vigdis Hjorth, professor i litteraturvitenskap Anniken Greve (UiT), professor i kulturhistorie Helge Jordheim (UiO), professor i nordisk Christine Hamm (UiB) og forskningsbibliotekar Trond Haugen (NB). See acast.com/privacy for privacy and opt-out information.

In this twenty-ninth episode of the Philosophy Bakes Bread radio show and podcast, co-hosts Dr. Eric Thomas Weber and Dr. Anthony Cashio interview Drs. Amanda Fulford and Naomi Hodgson, on the topics of "What is the public?" and understanding philosophy as education - sung in a Tina Turner voice: "What's the Public Got to Do with It, Got to Do with It?" Dr. Fulford is Reader in the Philosophy of Education at Leeds Trinity University in Leeds, in the United Kingdom. Her work is informed by thinkers including Stanley Cavell and his readings of the 19th century essayists Henry David Thoreau and Ralph Waldo Emerson. Dr. Naomi Hodgson is Lecturer in Education Studies at Liverpool Hope University, also in the U.K., where she teaches the philosophy of education. Her work is focused on the relationship between education, government, and subjectivity.  She is author of Citizenship for the Learning Society (Wiley, 2016) and she coauthored Philosophy and Theory in Educational Research with Amanda, releasing that book also in 2016, with Routledge Press. Listen for our “You Tell Me!” questions and for some jokes in one of our concluding segments, called “Philosophunnies.” Reach out to us on Facebook @PhilosophyBakesBread and on Twitter @PhilosophyBB; email us at philosophybakesbread@gmail.com; or call and record a voicemail that we play on the show, at 859.257.1849. Philosophy Bakes Bread is a production of the Society of Philosophers in America (SOPHIA). Check us out online at PhilosophyBakesBread.com and check out SOPHIA at PhilosophersInAmerica.com.

The Real of Reality | International Conference on Philosophy and Film Wed, 02.11.2016 – Sun, 06.11.2016 ZKM_Media Theater, ZKM_Lecture Hall, ZKM_Media Lounge, ZKM_Cube Film is not representational, but, as Stanley Cavell, the American pioneer of philosophy of film claims, presentational. My paper proceeds on Cavell’s puzzling statement that a photographic image (which constitutes the film image) presents us “with the things themselves” and not with any kind of similarity or representation, therefore concluding that we “do not know” how to “place a photograph (…) ontologically” (in: The World Viewed). His observation actually cuts back to André Bazin, who claims about the photographic image: “the photographic image is the object itself, (…) it shares, by virtue of the very process of its becoming, the being of the model of which it is the reproduction; it is the model.” (in: What is Cinema?) This famous quote of Bazin is often interpreted in two ways: firstly as if reproduction would give the model an indexical reference or, secondly, as if reproduction would be an entity identical to its model. I will argue that both readings miss the point. Even if it was not the first intention of disclosure for Bazin, “to be the model” is referred to as something, which can be shared by transfer of reality. This “transference of reality from the thing to its reproduction” further presupposes, without reflecting on it, an equalization of being and reality, two distinct terms, which usually incorporate different meanings reflected by the division between ontology and metaphysics, between the inquiry into being and about the fundamental nature of reality. In some contexts “reality” designates “the world” in which entities are; Martin Heidegger states that “being-in” is the way in which being is, it always is a “being-in-the-world” (in: Being and Time). I propose to ask, in a Heideggerian way, for the being of objects in film and in the world and furthermore, building on Heidegger’s complex conception of “presence of what is present”, to ask for a ‘real of reality’, which is shared by beings and can be the transferred into the photograph: a kind of essence of reality, which makes the being of the photograph real–it is not fictitious and it is not an illusion. International Conference on Philosophy and Film Photography and film in particular paved the way for complex philosophical questions regarding the nature of reality and its mechanical reproduction. What does film reproduce and how can we grasp this element, which has the transactive ability to form reality although originating in reality? This shaping takes palce through a complex interaction of image, action and narration and tends to permeate reality completely. It is an inconspicuous process that already affects our everyday life profoundly and is based on a revolution of the real. What does film show? Do we have access to reality that is not based on images or narrations? And what can film and its analysis contribute to philosophical debates on the real? These are questions we are asking to engage in a dialogue between philosophy and film. For five days, one hundred and fifty philosophers, media scholars and filmmakers will connect philosophical theory with cinematic practice and open up new ideas and concepts. To accompany the program, there will be film screenings of documentaries of the invited filmmakers. The participation at the conference is also possible without the presentation of a paper. The conference will be held in English.

Can movies think? Or how could we think through the movies? Highly influenced by the work of Stanley Cavell, Ryland Walker Knight has explored the possibilities of thinking and language in cinema, whether it be a work from a beloved art house master or a brash and loud Hollywood blockbuster. Ryland discusses his childhood raised on double features, his critical work, his recent short film, Inside Voices, and his latest project, a video essay series exploring some of the imagery and hidden narratives in the work of Michael Mann (with a little help from Beach House). Finally, the two turn to The Awful Truth, and discuss how Le McCarey's attention to how voices sound and bodies move create some of its most indelible humor, and intelligent insights. 0:00-2:22 Opening2:56-12:16 Establishing Shots - A War and 13 Hours13:02-50:52 Deep Focus - Ryland Walker Knight51:10-53:21 Sponsorship Section54:04-1:04:18 Double Exposure - The Awful Truth (Leo McCarey)1:04:22-1:06:00 Close

Chassés-croisés et aveuglement sont au coeur du récit mélodramatique classique, caractérisé par une quête féminine que le philosophe Stanley Cavell a opposée aux « comédies du remariage », avec leur happy end codifié. Inconnue, oubliée, voire bafouée, la femme amoureuse de George Cukor ou de Max Ophuls n'en est pas moins une héroïne, enfin placée au centre de films marqués par leur sophistication narrative et visuelle (tournoiement des travellings et flashbacks soulignent chacun à leur manière la circularité fatidique de l'amour).

18.03.2015 À L'OCCASION DE LA SORTIE DU LIVRE "LE SNOBISME" D'ADÈLE VAN REETH ET RAPHAËL ENTHOVEN (PLON) UNE CO-ÉDITION FRANCE CULTURE ET PLON À l’occasion de la sortie du livre « Le Snobisme » d’Adèle Van Reeth, la philosophe et chroniqueuse sur France Culture s’est entretenue avec le philosophe écrivain Raphael Enthoven, sur le snobisme. En être ou ne pas en être, telle est la question du snob. Et si, plus qu’une comédie mondaine, le snobisme était une passion douloureuse ? Mais s’il n’est pas risible, c’est qu’il a, parfois, la sagesse de se moquer de lui-même. Diplômée de l’ENS, Adèle Van Reeth travaille sur le philosophe américain Stanley Cavell, le cinéma, et la pensée de l’ordinaire. En 2018, elle anime l'émission littéraire « Lives & vous » diffusée sur Public Sénat, puis « D’art d’art » sur France 2. Aujourd’hui, auteure et essayiste, elle est également productrice de l’émission « Les Chemins de la Philosophie » sur France Culture. Ancien élève de l'ENS et agrégé de philosophie, Raphaël Enthoven a fondé, avec Michel Onfray l'université populaire de Caen. L’auteur essayiste est également chroniqueur pour France Culture puis L’Express et maître de conférences à l'Institut d'études politiques de Paris. Il est aussi connu pour avoir animé des rencontres thématiques et philosophiques dans les média ou encore au Théâtre de l’Odéon. Raphaël Enthoven demeure un personnage respecté et admiré, il compte près d’une vingtaine d’ouvrages à son actif, dont « Jeu d’enfant : La philosophie », « Platon : La pensée magique » ou « Spinoza : Selon le cœur ». CONVERSATION ANIMÉE PAR KARINE PAPILLAUD (En français) © Photo : Emmanuel Viverge

The work of Theodore Adorno is well established as a crucial resource for understanding the complexities of contemporary capitalism, playing a foundational role in Critical Theory. Dialectic of Enlightenment, Adorno’s most well known text written with Max Horkheimer, is reassessed in a new book of philosophy by Martin Shuster. Autonomy after Auschwitz: Adorno, German Idealism and Modernity (University of Chicago Press, 2014) considers how autonomy might exist under the conditions of contemporary capitalism, following the disastrous inhumanity of events in the twentieth century. Shuster explores the nature of autonomy in four ways. The book opens with a re-reading of Dialectic of Enlightenment, as a means to engage and critique Kant’s notion of autonomy. The text then turns to consider a potential ‘response’ from Kant, in the form of Kant’s conception of a rational theology. It is here where Shuster considers the importance of God to Kantian ethics, most notably the role of God as establishing the value of humanity in the categorical imperative. The categorical imperative is juxtaposed with Adorno’s later work, which Shuster argues provides a way to think about autonomy that moves beyond and between the totalizing dialectic of enlightenment and Kant’s rational theology. The book closes with a consideration of Hegel’s relationship to this reading of Adorno, reassessing topics such as the teleology of history in Hegel through to the contemporary work of Stanley Cavell. The conclusion provides a practical call to arms based on the conception of autonomy developed in the book. The chapter on Dialectic of Enlightenment provides a stimulating reassessment of a text central to the critical theory tradition and should attract a general readership looking to add depth to their knowledge of this work. However the book itself will also be of interest to all readers of contemporary philosophy, holocaust studies and those wondering how we should live now. Learn more about your ad choices. Visit megaphone.fm/adchoices

The work of Theodore Adorno is well established as a crucial resource for understanding the complexities of contemporary capitalism, playing a foundational role in Critical Theory. Dialectic of Enlightenment, Adorno’s most well known text written with Max Horkheimer, is reassessed in a new book of philosophy by Martin Shuster. Autonomy after Auschwitz: Adorno, German Idealism and Modernity (University of Chicago Press, 2014) considers how autonomy might exist under the conditions of contemporary capitalism, following the disastrous inhumanity of events in the twentieth century. Shuster explores the nature of autonomy in four ways. The book opens with a re-reading of Dialectic of Enlightenment, as a means to engage and critique Kant’s notion of autonomy. The text then turns to consider a potential ‘response’ from Kant, in the form of Kant’s conception of a rational theology. It is here where Shuster considers the importance of God to Kantian ethics, most notably the role of God as establishing the value of humanity in the categorical imperative. The categorical imperative is juxtaposed with Adorno’s later work, which Shuster argues provides a way to think about autonomy that moves beyond and between the totalizing dialectic of enlightenment and Kant’s rational theology. The book closes with a consideration of Hegel’s relationship to this reading of Adorno, reassessing topics such as the teleology of history in Hegel through to the contemporary work of Stanley Cavell. The conclusion provides a practical call to arms based on the conception of autonomy developed in the book. The chapter on Dialectic of Enlightenment provides a stimulating reassessment of a text central to the critical theory tradition and should attract a general readership looking to add depth to their knowledge of this work. However the book itself will also be of interest to all readers of contemporary philosophy, holocaust studies and those wondering how we should live now. Learn more about your ad choices. Visit megaphone.fm/adchoices

The work of Theodore Adorno is well established as a crucial resource for understanding the complexities of contemporary capitalism, playing a foundational role in Critical Theory. Dialectic of Enlightenment, Adorno’s most well known text written with Max Horkheimer, is reassessed in a new book of philosophy by Martin Shuster. Autonomy after Auschwitz: Adorno, German Idealism and Modernity (University of Chicago Press, 2014) considers how autonomy might exist under the conditions of contemporary capitalism, following the disastrous inhumanity of events in the twentieth century. Shuster explores the nature of autonomy in four ways. The book opens with a re-reading of Dialectic of Enlightenment, as a means to engage and critique Kant’s notion of autonomy. The text then turns to consider a potential ‘response’ from Kant, in the form of Kant’s conception of a rational theology. It is here where Shuster considers the importance of God to Kantian ethics, most notably the role of God as establishing the value of humanity in the categorical imperative. The categorical imperative is juxtaposed with Adorno’s later work, which Shuster argues provides a way to think about autonomy that moves beyond and between the totalizing dialectic of enlightenment and Kant’s rational theology. The book closes with a consideration of Hegel’s relationship to this reading of Adorno, reassessing topics such as the teleology of history in Hegel through to the contemporary work of Stanley Cavell. The conclusion provides a practical call to arms based on the conception of autonomy developed in the book. The chapter on Dialectic of Enlightenment provides a stimulating reassessment of a text central to the critical theory tradition and should attract a general readership looking to add depth to their knowledge of this work. However the book itself will also be of interest to all readers of contemporary philosophy, holocaust studies and those wondering how we should live now. Learn more about your ad choices. Visit megaphone.fm/adchoices

The work of Theodore Adorno is well established as a crucial resource for understanding the complexities of contemporary capitalism, playing a foundational role in Critical Theory. Dialectic of Enlightenment, Adorno’s most well known text written with Max Horkheimer, is reassessed in a new book of philosophy by Martin Shuster. Autonomy after Auschwitz: Adorno, German Idealism and Modernity (University of Chicago Press, 2014) considers how autonomy might exist under the conditions of contemporary capitalism, following the disastrous inhumanity of events in the twentieth century. Shuster explores the nature of autonomy in four ways. The book opens with a re-reading of Dialectic of Enlightenment, as a means to engage and critique Kant’s notion of autonomy. The text then turns to consider a potential ‘response’ from Kant, in the form of Kant’s conception of a rational theology. It is here where Shuster considers the importance of God to Kantian ethics, most notably the role of God as establishing the value of humanity in the categorical imperative. The categorical imperative is juxtaposed with Adorno’s later work, which Shuster argues provides a way to think about autonomy that moves beyond and between the totalizing dialectic of enlightenment and Kant’s rational theology. The book closes with a consideration of Hegel’s relationship to this reading of Adorno, reassessing topics such as the teleology of history in Hegel through to the contemporary work of Stanley Cavell. The conclusion provides a practical call to arms based on the conception of autonomy developed in the book. The chapter on Dialectic of Enlightenment provides a stimulating reassessment of a text central to the critical theory tradition and should attract a general readership looking to add depth to their knowledge of this work. However the book itself will also be of interest to all readers of contemporary philosophy, holocaust studies and those wondering how we should live now. Learn more about your ad choices. Visit megaphone.fm/adchoices

The work of Theodore Adorno is well established as a crucial resource for understanding the complexities of contemporary capitalism, playing a foundational role in Critical Theory. Dialectic of Enlightenment, Adorno’s most well known text written with Max Horkheimer, is reassessed in a new book of philosophy by Martin Shuster. Autonomy after Auschwitz: Adorno, German Idealism and Modernity (University of Chicago Press, 2014) considers how autonomy might exist under the conditions of contemporary capitalism, following the disastrous inhumanity of events in the twentieth century. Shuster explores the nature of autonomy in four ways. The book opens with a re-reading of Dialectic of Enlightenment, as a means to engage and critique Kant’s notion of autonomy. The text then turns to consider a potential ‘response’ from Kant, in the form of Kant’s conception of a rational theology. It is here where Shuster considers the importance of God to Kantian ethics, most notably the role of God as establishing the value of humanity in the categorical imperative. The categorical imperative is juxtaposed with Adorno’s later work, which Shuster argues provides a way to think about autonomy that moves beyond and between the totalizing dialectic of enlightenment and Kant’s rational theology. The book closes with a consideration of Hegel’s relationship to this reading of Adorno, reassessing topics such as the teleology of history in Hegel through to the contemporary work of Stanley Cavell. The conclusion provides a practical call to arms based on the conception of autonomy developed in the book. The chapter on Dialectic of Enlightenment provides a stimulating reassessment of a text central to the critical theory tradition and should attract a general readership looking to add depth to their knowledge of this work. However the book itself will also be of interest to all readers of contemporary philosophy, holocaust studies and those wondering how we should live now. Learn more about your ad choices. Visit megaphone.fm/adchoices

John Hope Franklin Center

On October 12, 2009, Stanley Cavell gave the inaugural lecture for Duke University's Center for Philosophy, Art, and Literature. The lecture was based on the concluding part of his autobiography, to be published later this year by Stanford University Press.

On October 12, 2009, Stanley Cavell gave the inaugural lecture for Duke University's Center for Philosophy, Art, and Literature. The lecture was based on the concluding part of his autobiography, to be published later this year by Stanford University Press.