Richard Eldridge

These chapters describe and defend Cavell’s philosophical anthropology and critical-aesthetic practice. They situate that practice as both a response to and a furthering of an image of America as a site of futural freedom always to be achieved, and they extend Cavell’s practice into new readings of works of poetry, film, and music. In doing so, they show us how we might live with our shared modern condition more productively, through engagement with the affordances of art. Cavell’s own writing in turn both describes and re-enacts this achievement, thus itself manifesting the powers of art in response to modern life and serving as a model of ‘knowing how to go on’ within its ambit.

This essay surveys and assesses Hegel’s general account of the role of crises in the formation of a culture of lived freedom. Ultimate resolution of crisis, according to Hegel, depends on a superintending divine agency that resolves the fractures, alienation, and competitive individualism of modern Enlightenment culture – a view that cannot be supported. Hegel’s specific analysis of that culture in the Phenomenology appears in the section on “Culturally Educated Spirit,” which includes his reading of Diderot’s Rameau’s Nephew. Following Alasdair MacIntyre, I argue that there is no straightforward general way for human agents to avoid succumbing at least in part to Lui’s self-professed mercenary individualism. The result is a culture of generalized alienation and dissatisfaction, in which crises of opposition are all at once universal, irresolvable, and insignificant in playing no role in the achievement of meaningful freedom. Modern self-making is important, but its polymorphic and mutually opaque varieties threaten to overwhelm any possibilities of involvement in joint, meaningful activity. (In Sartre’s terms, hell is other people.) Despite this bleak diagnosis, however, I gesture, drawing on Stanley Cavell’s Pursuits of Happiness, to possibilities of developing the skill of mutual appreciation, as an immanent teleology makes itself locally manifest within a relationship, surprisingly and in the face of crises of misunderstanding rooted in competitive-acquisitive individualism.

The essays in this 1996 volume explore the ways in which traditional philosophical problems about self-knowledge, self-identity, and value have migrated into literature since the Romantic and Idealist periods. How do so-called literary works take up these problems in a new way? What conception of the subject is involved in this literary practice? How are the lines of demarcation between philosophy and literature problematised? The contributors examine these issues with reference both to Romantic and Idealist writers and to some of their literary and philosophical inheritors and revisers. Their essays offer a philosophical understanding of the roots and nature of contemporary literary and philosophical practice, and elaborate, powerful and influential, but rarely decisively articulated, conceptions of the human subject and of value.

BY THE middle of the nineteenth century, serious difficulties in carrying out the Cartesian project of explaining through attention to our ideas how we may know things as they really are had become evident. A satisfactory account of the connection between occurrences of ideas in us and the properties of things apart from our ideas of them, an account promised by Descartes in the Meditations, had not been forthcoming. Descartes' claim that God's omnipotence guarantees that the members of some recognizable class of our ideas, the class of clear and distinct perceptions, represent things as they really are became clearly unsatisfactory as part of a realist theory of knowledge as soon as Hume and Kant had shown the unsoundness of Descartes' proofs of the existence of God. Whether or not God's omnipotence guarantees that we can know things as they are, it had become evident that we lack adequate grounds for claiming to know that this is the case. Consequently, there developed by the middle of the nineteenth century a consensus that we lacked a satisfactory account of how our ideas enable us to know things.

Recent revisionists about Frege have suggested that, contrary to Dummett's monumental work, Frege is to be understood as primarily an epistemologist, not a theorist of meaning. Currie's book is a valuable contribution to this new way of looking at Frege. Where Sluga, for example, focuses on the historical context of Frege's work and other writers are concerned with special topics such as naming and proof theory, Currie surveys the whole of Frege's career, highlighting his fundamental interest in the nature of mathematical knowledge.

Developing work in the theories of action and explanation, Eldridge argues that moral and political philosophers require accounts of what is historically possible, while historians require rough philosophical understandings of ideals that merit reasonable endorsement. Both Immanuel Kant and Walter Benjamin recognize this fact. Each sees a special place for religious consciousness and critical practice in the articulation and revision of ideals that are to have cultural effect, but they differ sharply in the forms of religious-philosophical understanding, cultural criticism, and political practice that they favor. Kant defends a liberal, reformist, Protestant stance, emphasizing the importance of liberty, individual rights, and democratic institutions. His fullest picture of movement toward a moral culture appears in Religion within the Bounds of Mere Reason, where he describes conjecturally the emergence of an ethical commonwealth.Benjamin defends a politics of improvisatory alertness and consciousness-raising that is suspicious of progress and liberal reform. He practices a form of modernist, materialist criticism that is strongly rooted in his encounters with Kant, Hölderlin, and Goethe. His fullest, finished picture of this critical practice appears in One-Way Street, where he traces the continuing force of unsatisfied desires.By drawing on both Kant and Benjamin, Eldridge hopes to avoid both moralism and waywardness. And in doing so, he seeks to make better sense of the commitment-forming, commitment-revising, anxious, reflective and sometimes grownup acculturated human subjects we are.

In this provocative new study, Richard Eldridge presents a highly original and compelling account of Wittgenstein's _Philosophical Investigations_, one of the most enduring yet enigmatic works of the twentieth century. He does so by reading the text as a dramatization of what is perhaps life's central motivating struggle—the inescapable human need to pursue an ideal of expressive freedom within the difficult terms set by culture. Eldridge sees Wittgenstein as a Romantic protagonist, engaged in an ongoing internal dialogue over the nature of intentional consciousness, ranging over ethics, aesthetics, and philosophy of mind. The picture of the human mind that emerges through this dialogue unsettles behaviorism, cognitivism, and all other scientifically oriented orthodoxies. Leading a human life becomes a creative act, akin to writing a poem, of continuously seeking to overcome both complacency and skepticism. Eldridge's careful reconstruction of the central motive of Wittgenstein's work will influence all subsequent scholarship on it.

Stanley Cavell’s writing about movies, from the more theoretical and general The World Viewed (1971) to the later works on specific genres (Pursuits of Happiness, Contesting Tears), has a unifying theme: some movies as (successful) art investigate conditions of accomplished selfhood and interest in experience in medium-specific ways. This claim is explained and defended by explicating the details of the medium-specificity of the moving photographic image (and its history of uses) and by focusing on Michael Verhoeven’s film The Nasty Girl (1990). Though the very ideas of accomplished selfhood and interest in experience naturally prompt some suspicion in a commercialized, pluralistic society, our responses to some movies show that we continue to aspire to a life that embodies them

Certain metaphysical and epistemological presuppositions are shown to play a role in the defense of Davidson's claims that an empirically constructed theory of truth provides an adequate theory of meaning for any natural language. Dadivson puts forward demonstrative arguments in favor of these presuppositions in On the Very Idea of a Conceptual Scheme, Thought and Talk, and The Method of Truth in Metaphysics. These arguments are examined and found to include controversial and dubitable assumptions as premises. It is then suggested that both these controversial assumptions and Davidson's metaphysical and epistemological presuppositions can be partially defended, however, by dialectical, interpretive, and historical arguments that elucidate the nature of persons.