David Perez-Chico

In the present article we subscribe to a form of meta-skepticism according to which the theory of knowledge is impossible. This form of meta-skepticism is based on two apparently necessary conditions: the identification of one or more of the assumptions of the theory of knowledge in order to criticize them; and the more or less explicit assumption that there is an alternative account of knowledge to the one attributed to the theory of knowledge in question. Once these preliminary issues have been clarified, we will review different varieties of meta-skepticism in order to verify whether all of them, even the most austere, satisfy the previous two conditions. This will lead us to conclude, in the first place, that all varieties of meta-skepticism satisfy them and, secondly, that no type of meta-skepticism is free of epistemological implications. In the light of this conclusion, we will end up considering whether meta-skepticism stands its ground.

After centuries of philosophical explorations of the remote and the elevated, in our work we give credibility to the possibility that the time has come for philosophy to conquer back the ordinary. Nor only we assume this, but we would also conclude that the main task of philosophy is the recovery of the ordinary (world). A task that also helps to understand what philosophy is or should be or could be. We intend to explore philosophy traditional reluctance to the ordinary and its tendency to look for answers far from it explaining the reasons it has for it. Secondly we would explore the ordinary world itself, trying to characterize it and what does inhabiting it mean. And finally we would look at some philosophical problems (mainly epistemological and moral problems, but not exclusively) from the perspective that gives a philosophy that finds itself comfortable in the ordinary world.

El presente trabajo nació como una reflexión posterior a la traducción del libro de Stanley Cavell Contesting Tears: The Hollywood Melodrama of the Unknown Woman. La reflexión era necesaria habida cuenta de las dudas suscitadas por la traducción del título del libro. Para ser más exacto, la reflexión giraba en torno a las lágrimas que forman parte de la primera parte del título, las lágrimas vertidas por las mujeres desconocidas que protagonizan los melodramas analizados en el libro. En mi opinión, llegar a entender la razón y la naturaleza de esas lágrimas es clave para comprender lo que Cavell nos viene contando desde hace cinco décadas. Por ello, lo que sigue intenta reunir mis propios comentarios sobre la obra de Cavell en general, con la justificación de la traducción final del título: Más allá de las lágrimas.