Greg Chase

Technopia Full Box Set

Juliet Floyd

Sandra Laugier

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

Cavell's Must We Mean What We Say? at 50

The early decades of the twentieth century were a period of major economic and cultural upheaval across Europe and America. Scholars have typically held that novelists responded to these shifts by questioning language’s capacity to picture the world accurately. But, even as modernist novels move away from a view of language as a means of gaining knowledge, they also underscore its capacity to grant acknowledgment; they treat words as tools for recognizing and responding to the inner lives of others. This book brings out this crucial feature of modernism by engaging with the philosophy of Ludwig Wittgenstein and with Stanley Cavell’s pioneering interpretation of Wittgenstein’s thought. The book shows how Wittgenstein’s interest in acknowledgment emerges over the course of his career-long effort to grapple with the same disorienting conditions of modern life that the experimental fiction of this period registers, including world wars, industrialization, and new conceptions of sexuality. It, then, argues that modernist novels by E.M. Forster, Virginia Woolf, Nella Larsen, William Faulkner, and others exhibit a similar interest in language’s capacity to grant acknowledgment. These novels offer readers a way of hearing what Wittgenstein calls “the silent soliloquy of others,” giving us words by which we might acknowledge the otherwise unvoiced inner lives of socially marginalized figures.

Greg Chase

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