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A Pitch of Philosophy: Autobiographical Exercises

A Pitch of Philosophy: Autobiographical Exercises

by Stanley CavellStanley Cavell
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This book is an invitation to the life of philosophy in the United States, as Emerson once lived it and as Stanley Cavell now lives it—in all its topographical ambiguity. Cavell talks about his vocation in connection with what he calls voice—the tone of philosophy—and his right to take that tone, and to describe an anecdotal journey toward the discovery of his own voice.

Product Details

ISBN-13: 9780674669819
Publisher: Harvard
Publication date: 02/01/1996
Series: The Jerusalem-Harvard Lectures , #4
Edition description: New Edition
Pages: 196
Product dimensions: 6.00(w) x 9.00(h) x 0.49(d)
Lexile: 1540L (what's this?)

About the Author

Stanley Cavell was Walter M. Cabot Professor of Aesthetics and the General Theory of Value, Emeritus, at Harvard University.

Table of Contents


1. Philosophy and the Arrogation of Voice

2. Counter-Philosophy and the Pawn of Voice

The Metaphysical Voice

Worlds of Philosophical Difference

Pictures of Destruction

Derrida's Austin and the Stake of Positivism

Exclusion of the Theory of Excuses: On the Tragic

Exclusion of the Theory of the Non-Serious

Skepticism and the Serious

Two Pictures of Communication: Assigning

What (Thing) Is Transmitted? Austin Moves

Two Pictures of Language in Relation to (the) World

Three Pictures of My Attachment to My Words: Signing

Opera and the Lease of Voice



Subject Index

Name Index

What People are Saying About This

Ian Hacking

This is A Cavell's Progress. A reworking of his lifework themes intimating how the diverse parts, which might seem unconnected from the outside, are felt as of a piece. In philosophy, the discovery of Austin, the understanding of Wittgenstein, the raising of Emerson to the philosophical canon, the fascination with film, with images of women in a medium for women, the revelation that film and opera are the mediums of otherness for women. All this hung together with much intense family reminiscence, of Cavell choosing at sixteen his name, much about his mother the musician, about his father and the pawn shop.
Ian Hacking, University of Toronto

Samuel Weber

The result of Cavell's struggle to defend the Austinian heritage, in its 'democratic' defense of the ordinary, by restoring the distinctive voice and tone that he takes Derrida to neglect is to my knowledge the most suggestive discussion of the distinctive status of tone and voice in response to the two philosophical traditions epitomized, however ironically, by Derrida and Austin.
Samuel Weber, UCLA

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