Tim Gould

The goal of this essay is to begin a reassessment of Kant's aesthetics and specifically his account of the sublime. This reassessment is intended to demonstrate its indebtedness to some recent feminist critics of philosophy and literature. Somewhat artificially, I will characterize the criticism in question as containing two categories or directions of investigation. The first sort is aimed at the unmasking of gender prejudice and ideology in the standpoint or conceptual framework of writers such as Burke and Kant. the second sort of criticism is less familiar and harder to characterize, but it can be located among the works of literary critics who make use of recent poststruturalist philosophy and psychoanalysis. . . principally the work of Eve Kosofsky Sedgwick, along with that of Neil Hertz, Frances Ferguson, Joshua Wilner, and Naomi Schor.

I want to acknowledge Paul Guyer’s accomplishment in his essay “Examples of Perfectionism,” which opens this volume, impressive in its scope and detail and at the same time pioneering in its treatment of Stanley Cavell. Among other useful features of his account, Guyer takes notice of the fact that the writing of Cities of Words, a principal text of Cavell’s perfectionism, began as lectures. This reminds us that the exchanges between reader and writer begin as exchanges between living persons. At least in the hands of certain writers, these exchanges remain representative of precisely such other exchanges. Without the possibility of such exchanges, nothing like a perfectionist education, and, indeed, nothing like..

What does philosophy have to do with the human voice? Has contemporary philosophy banished the "voice" from the field of legitimate investigation? Timothy Gould examines these questions through the philosopher most responsible for formulating them, Stanley Cavell. _Hearing Things_ is the first work to treat systematically the relation between Cavell's pervasive authorial voice and his equally powerful, though less discernible, impulse to produce a set of usable philosophical methods. Gould argues that a tension between voice and method unites Cavell's broad and often perplexing range of interests. From Wittgenstein to Thoreau, from Shakespeare to the movies, and from opera to Freud, Gould reveals the connection between the voice _within_ Cavell's writing and the voices Cavell appeals to through the methods of ordinary language philosophy. Within Cavell's extraordinary productivity lies a new sense of philosophical method based on elements of the act of reading. _Hearing Things_ is both an important study of Cavell's work and a major contribution to the construction of American philosophy.