auch der amerikanischen Philosophie eine Tradition neben Dewey und James zu schaffen. Für europäi... more auch der amerikanischen Philosophie eine Tradition neben Dewey und James zu schaffen. Für europäische Leser dürfte diese Seite von Cavells philosophischen Bemühungen weniger interessant sein. In der dem Gesamtband vorangestellten Einführung von Sparti und Hammer wird gezeigt, inwiefern Cavells Beschäftigung mit Literatur, Film, Oper und Psychoanalyse zu seinen philosophischen Ausführungen und Vorstellungen passt. Diese Einleitung und die den einzelnen Kapiteln vorangestellten Einführungen gehören zu dem Besten, was es derzeit über Cavells Philosophie zu lesen gibt. Bei der Auswahl für den vorliegenden Band hat man sich auf drei Aspekte beschränkt: Der erste Abschnitt wird dem in Cavells Philosophie zentralen Begriff der Anerkennung gewidmet, der zweite Abschnitt dem für ein Cavell-Verständnis zentralen Schwerpunkt der Philosophie des Theaters und des Films, und der dritte Abschnitt Wittgensteins Sprachphilosophie. Dieser Aufbau ist insofern folgerichtig, als der Begriff der Anerkennung Cavells Arbeiten zu Theater und Film und seine sprachphilosophischen Arbeiten verbindet. Es wird allerdings nur eine kleine Auswahl von sechs Texten vorgestellt. Bei dem vorliegenden Band handelt es sich um eine Ausgabe, die in dieser Form und Zusammenstellung bisher ausschließlich auf Deutsch erschienen ist. Es bleibt anzumerken, dass die Übersetzung von Martin Hartmann sehr gut lesbar, zuverlässig und werkgetreu ist.
... In dieser Zeit etabliert sie sich als philosophische Kritik des Geschmacks, und es ist daher ... more ... In dieser Zeit etabliert sie sich als philosophische Kritik des Geschmacks, und es ist daher ganz treffend, mit Luc Ferry von der »Erfindung des Geschmacks im Zeitalter der Demokratie« zu sprechen.'' Ferry zeichnet in drei Schritten, von Platon über Kant zu Nietzsche, eine fort ...
In this text, I am guided by an interest in cinema as a well-understood emotion machine which cre... more In this text, I am guided by an interest in cinema as a well-understood emotion machine which creates a common sense. From this perspective, I approach the subject matter of heroism, using the emotions linked to vengeance as a connection between heroism and the cinematic production of common sense. In so doing, I put forward several theses for discussion: that film-like art in general-is a medium which founds community; that such a founding of community essentially occurs via the dimensions of emotion, in our case the dimension of a specific aesthetic emotion; that the hero is a figure emerging from the founding of community; and, finally, that feelings of vengeance-like figures of heroism-are made present in cinema in an exemplary manner. One of the problems characteristic for my generation "Born in the 50s" (The Police) focuses on the concept of "culture industry". As is generally known, Max Horkheimer and Theodor W. Adorno coined this concept at the beginning of the 1940s in their US-American exile, faced with a culture not geared to the paradigm of the autonomous work of art, but to industrial standards of mass production. Popular music, radio, television and, above all, film 'made in Hollywood' stand for this culture, which therefore appears as unculture. People like us did not have to learn this by making an effort to appropriate texts from Critical Theory, but it was evident-particularly being a young critical contemporary-through one's own experience. Those born into the Schlager, the German "hit song" or music purely for entertainment, and the Heimatfilm, did not have to go to the Frankfurt School in order to realize c
Zenodo (CERN European Organization for Nuclear Research), Dec 31, 2020
The thesis of the article is that, following Stanley Cavell, within the framework of Western cult... more The thesis of the article is that, following Stanley Cavell, within the framework of Western culture, the cinematic comedy again and again can be seen as an aesthetic form where passions for democracy take their way. Cavell defines, first, philosophy as a matter of the 'human voice' which is, in reference to Kant's third Critique, a 'universal voice'. An aesthetic judgement insofar is a model of philosophical judgement. But beyond this, secondly, it is also a model of democratic judgement. For Kant, arguing about aesthetic matters means facilitating the communitarisation of confrontation. 'Common sense' (sensus communis) is the political term Kant offers for this. Since this term, thirdly, has recently again been appropriated by populist semantics, it is important to stress a radically democratic meaning, with Cavell: a romantic conception of democracy, and to this conception, fourth, the art form of comedy corresponds. Comedy and democracy both centre around 'the common, the familiar, the low', and in laughter give this human-social sphere both an anarchic-democratic level of meaning and a certain, humorous selfreflection. The movie Adam's Rib finally works as an example for this. To say that philosophy is fundamentally dismissive of the ordinary is surely a cliché. Even Socrates, that ancient founder of Western philosophy, famously involved ordinary people in conversations about everyday topics in order to draw additional theoretical conclusions, especially with regard to practical ethics. The most conspicuous examples of this in the Modern Age are David Hume, Friedrich Nietzsche and John Dewey. However, no philosophical tradition has taken the ordinary so seriously and spelled out its
auch der amerikanischen Philosophie eine Tradition neben Dewey und James zu schaffen. Für europäi... more auch der amerikanischen Philosophie eine Tradition neben Dewey und James zu schaffen. Für europäische Leser dürfte diese Seite von Cavells philosophischen Bemühungen weniger interessant sein. In der dem Gesamtband vorangestellten Einführung von Sparti und Hammer wird gezeigt, inwiefern Cavells Beschäftigung mit Literatur, Film, Oper und Psychoanalyse zu seinen philosophischen Ausführungen und Vorstellungen passt. Diese Einleitung und die den einzelnen Kapiteln vorangestellten Einführungen gehören zu dem Besten, was es derzeit über Cavells Philosophie zu lesen gibt. Bei der Auswahl für den vorliegenden Band hat man sich auf drei Aspekte beschränkt: Der erste Abschnitt wird dem in Cavells Philosophie zentralen Begriff der Anerkennung gewidmet, der zweite Abschnitt dem für ein Cavell-Verständnis zentralen Schwerpunkt der Philosophie des Theaters und des Films, und der dritte Abschnitt Wittgensteins Sprachphilosophie. Dieser Aufbau ist insofern folgerichtig, als der Begriff der Anerkennung Cavells Arbeiten zu Theater und Film und seine sprachphilosophischen Arbeiten verbindet. Es wird allerdings nur eine kleine Auswahl von sechs Texten vorgestellt. Bei dem vorliegenden Band handelt es sich um eine Ausgabe, die in dieser Form und Zusammenstellung bisher ausschließlich auf Deutsch erschienen ist. Es bleibt anzumerken, dass die Übersetzung von Martin Hartmann sehr gut lesbar, zuverlässig und werkgetreu ist.
... In dieser Zeit etabliert sie sich als philosophische Kritik des Geschmacks, und es ist daher ... more ... In dieser Zeit etabliert sie sich als philosophische Kritik des Geschmacks, und es ist daher ganz treffend, mit Luc Ferry von der »Erfindung des Geschmacks im Zeitalter der Demokratie« zu sprechen.'' Ferry zeichnet in drei Schritten, von Platon über Kant zu Nietzsche, eine fort ...
In this text, I am guided by an interest in cinema as a well-understood emotion machine which cre... more In this text, I am guided by an interest in cinema as a well-understood emotion machine which creates a common sense. From this perspective, I approach the subject matter of heroism, using the emotions linked to vengeance as a connection between heroism and the cinematic production of common sense. In so doing, I put forward several theses for discussion: that film-like art in general-is a medium which founds community; that such a founding of community essentially occurs via the dimensions of emotion, in our case the dimension of a specific aesthetic emotion; that the hero is a figure emerging from the founding of community; and, finally, that feelings of vengeance-like figures of heroism-are made present in cinema in an exemplary manner. One of the problems characteristic for my generation "Born in the 50s" (The Police) focuses on the concept of "culture industry". As is generally known, Max Horkheimer and Theodor W. Adorno coined this concept at the beginning of the 1940s in their US-American exile, faced with a culture not geared to the paradigm of the autonomous work of art, but to industrial standards of mass production. Popular music, radio, television and, above all, film 'made in Hollywood' stand for this culture, which therefore appears as unculture. People like us did not have to learn this by making an effort to appropriate texts from Critical Theory, but it was evident-particularly being a young critical contemporary-through one's own experience. Those born into the Schlager, the German "hit song" or music purely for entertainment, and the Heimatfilm, did not have to go to the Frankfurt School in order to realize c
Zenodo (CERN European Organization for Nuclear Research), Dec 31, 2020
The thesis of the article is that, following Stanley Cavell, within the framework of Western cult... more The thesis of the article is that, following Stanley Cavell, within the framework of Western culture, the cinematic comedy again and again can be seen as an aesthetic form where passions for democracy take their way. Cavell defines, first, philosophy as a matter of the 'human voice' which is, in reference to Kant's third Critique, a 'universal voice'. An aesthetic judgement insofar is a model of philosophical judgement. But beyond this, secondly, it is also a model of democratic judgement. For Kant, arguing about aesthetic matters means facilitating the communitarisation of confrontation. 'Common sense' (sensus communis) is the political term Kant offers for this. Since this term, thirdly, has recently again been appropriated by populist semantics, it is important to stress a radically democratic meaning, with Cavell: a romantic conception of democracy, and to this conception, fourth, the art form of comedy corresponds. Comedy and democracy both centre around 'the common, the familiar, the low', and in laughter give this human-social sphere both an anarchic-democratic level of meaning and a certain, humorous selfreflection. The movie Adam's Rib finally works as an example for this. To say that philosophy is fundamentally dismissive of the ordinary is surely a cliché. Even Socrates, that ancient founder of Western philosophy, famously involved ordinary people in conversations about everyday topics in order to draw additional theoretical conclusions, especially with regard to practical ethics. The most conspicuous examples of this in the Modern Age are David Hume, Friedrich Nietzsche and John Dewey. However, no philosophical tradition has taken the ordinary so seriously and spelled out its
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