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Cities of Words: Pedagogical Letters on a Register of the Moral Life
 
 
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Cities of Words: Pedagogical Letters on a Register of the Moral Life [Englisch] [Taschenbuch]

Stanley Cavell

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What does it mean to live a moral life? In his typically provocative fashion, Cavell answers this question by juxtaposing various philosophical responses with particular films that illuminate those responses...Cavell's 'letters' offer a ready and heady departure from the usual conversation on moral life, and his inventive use of film helps bring the philosophers he discusses to life. -- Henry I. Carrigan Jr. Library Journal 20040501 A sober examination of an ethics of 'self-reliance,' Cavell's cinematic criticism is as entertaining as it is enlightening and exemplifies, once again, his uncanny ability to recover the deepest insights of modern life within the language of the ordinary. Publishers Weekly 20040426 In Cities of Words, a knotty and enlightening book, chapters about philosophers are paired with chapters about films: Emerson and The Philadelphia Story, Locke and Adam's Rib, Nietzsche and Now, Voyager, Aristotle and The Awful Truth...Cavell shows that the spirit of moral quest has an unusual power, even in the restricted world of these films. For all their artifice, they suggest that characters really can change themselves, that they can form ideals of justice, while keeping in mind how much failure and imperfection will be met along the way. That's not a bad democratic vision, and it remains as potent now as it was when Katharine Hepburn rediscovered her love for Cary Grant. -- Edward Rothstein New York Times 20040529 In the big parade of American writing about film, Stanley Cavell occupies a strange, outsider position. A Harvard professor of philosophy, he is not, by his own admission, either a film critic or a film scholar; yet he has written with persistent trenchancy and brilliance about movies...Now Cavell, in his late seventies, has given us a volume that synthesizes his life's work in philosophy and film, while adding a third leg to the triangle: teaching. Cities of Words is based on a celebrated course of lectures he gave several times before he retired from the classroom, which alternated discussions of philosophical or literary texts and films...In The World Viewed, Cavell wrote: 'It is generally true of the writing about film which has meant something to me that it has the power of the missing companion. Agee and Robert Warshow and Andre Bazin manage that mode of conversation all the time; and I have found it in, among others, Manny Farber, Pauline Kael, Parker Tyler, Andrew Sarris.' Alongside these names so companionable to film buffs, I would happily add another: Stanley Cavell. -- Phillip Lopate Film Comment 20040701 Without genre or parallel, this book continues the interior dialogue of Cavell on the traditions of and prospects for moral perfectionism. -- D. W. Sullivan Choice 20041101 In Cities of Words, Cavell once again reminds us of the practical importance of philosophy. He not only offers insightful commentaries on the giants of moral philosophy but also prompts us to engage in the much-needed conversation about the good life. -- Mariana Ortega Times Higher Education Supplement 20050408 This is a political book, not simply because of Cavell's readings of political philosophy, which intersperse his discussion of the films and are, as usual, probing and original, but because of its overt pedagogical aim: to educate his readers and to show us how we educate each other. -- Katerina Deligiorgi Philosophers' Magazine 20050401

Kurzbeschreibung

Since Socrates and his circle first tried to frame the Just City in words, discussion of a perfect communal life - a life of justice, reflection, and mutual respect - has had to come to terms with the distance between that idea and reality. This book - which presents a course of enormously popular lectures Cavell presented several times toward the end of his teaching career at Harvard - links masterpieces of moral philosophy and classic Hollywood comedies to fashion a new way of looking at our lives and learning to live with ourselves.

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Perfectionism--Love it or Live it 27. August 2004
Von Robert E. Livingston - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
No one should mistake City of Words for a book about film, though it comments on a number of movies. Nor is it exactly a book on moral philosophy, if you're looking for thorough accounts of differing views of the good or the right. Those who know Cavell's other writings will find familiar ground here, as he keeps returning to old favorites: Emerson, of course, screwball comedy, Shakespeare and melodrama (new to me are some thoughts on Eric Rohmer, Henry James and Max Ophuls).

What the book does deliver is a set of virtuoso variations on the "register of the moral life" that Cavell calls "perfectionism"--the sense of disappointment with the world as it is and the (in principle endless) aspiration to a transformed, better, more desirable state. He finds perfectionist themes all over the philosophical tradition, but he's more interested in the philosophical life than the tradition. For Cavell, the pleasure of the films lies in the way they embody--and invite, or provoke--conversation, the mutual exploration and testing of human souls, and their dramatization of the various ways conversation can go wrong and correct itself.

The book is a summa of sorts: "city of words" is how Cavell describes Plato's Republic and Kant's "kingdom of ends"--that is, the heaven of the philosophers--and to enjoy this, you'll have to be willing to find the entertaining of possibilities to be entertainment enough. As incentive, Cavell offers wonderful scene-by-scene synopses of the films he discusses (although you'll want to watch them for yourself). Mostly, though, it offers an occasion to be in the company of a thoughtful and humane mind--at times, surprisingly enough, your own.

The book is based on a course in Moral Reasoning that Cavell taught for years at Harvard.
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The Missing Link 25. Juni 2004
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe|Von Amazon bestätigter Kauf
This is the third book by Dr. Cavell that I have read in the last few months. I am a fan of the cinema of the Great Depression era, and an article about this book in the New York Times' Arts section drew my interest to them. This is not a book for fans of movies of that era. I will say that the book sleeve and other promos, at least for this volume, do not mislead. This is a book for the learned, for the erudite, and scholarly who have a desire to integrate classical philosophy into their own value system and who have a strong background and familiarity with Great Western philosophers.

Dr. Cavell uses the screenplay as a framework to structure his discussion. More about this later. It should also be mentioned that some of his earlier works in this style (philosophy and movies) and the critiques of them by his peers once again are discussed, defended where necessary, and otherwise explained. The writing although difficult to follow at times, has been edited more thoroughly than that in his previous books. One cannot but marvel at the breadth and depth of his knowledge.

One must accept, as a willing suspension of disbelief, that viewers of the film at the time of its release during the Great Depression had the wherewithal to understand links to any of the great philosophers of Western Civilization as Dr. Cavell does. They just wanted to escape the dreariness of life in the Great Depression by going to the movies. Think of Cecilia in "The Purple Rose of Cairo" contemplating the meaning of life while peeling potatoes. On one viewing, as Dr. Cavell has pointed out, one is not likely to contemplate deep philosophical meanings on the way home from the show.

Second, Dr. Cavell accepts and dissects the rendition of the screen play by the actors and directors in describing the story and its philosophical ramifications. In this book and his two previous works in this style. What is not discussed is the link, the filtration if you will, between the writers of the original manuscript and the effect of the screenwriters' adaptation and interpretation of that story. Without knowledge of that confounder, one realizes the artificiality of this construct and the richness of Dr. Cavell's imagination.


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