Manual The Adventures of Christine vol. 3: Christine Expands her Adventure

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For me, then, the question of literature and philosophy really is a question of reading, or, more broadly, of criticism. How can we read philosophically without reducing the text to a witting or unwitting illustration of a pre-existing theory? How can we read literature with philosophy in ways that suggest that the writer may actually have something to tell the philosopher?

Moreover, more radically: Is there a way to read philosophically without having recourse to a given philosophy at all? Can criticism itself be philosophy? As I formulate these questions, I realise that I probably would not have expressed them in just this way if I had never read anything by Stanley Cavell. Even the most deeply felt ideas are inspired by others. To deepen my sense of what it might mean to read philosophically, therefore, I shall turn to Cavell's own reflections on literature and philosophy.

How does he conceive of the question? What can someone interested in reading literature learn from the way he connects the two fields? Certainly not so long as philosophy continues, as it has from the first, to demand the banishment of poetry from its republic. Perhaps it could if it could itself become literature. But can philosophy become literature and still know itself? One way to take this question is to say that Cavell wonders whether Shakespeare, and Othello and Desdemona, could ever be recognised as philosophers by other philosophers.

For someone who believes that a work of art can have philosophical insights this is a natural question. After all, if philosophy is taking place in works of art, philosophers ought to be able to recognise it as philosophy. This raises the question of what Cavell thinks philosophy is: [P]hilosophy, as I understand it, is indeed outrageous, inherently so.

It seeks to disquiet the foundations of our lives and to offer us in recompense nothing better than itself — and this on the basis of no expert knowledge, of nothing closed to the ordinary human being, once, that is to say, that being lets himself or herself be informed by the process and the ambition of philosophy. The question, therefore, is not just whether philosophy can acknowledge literature, but whether it can acknowledge that criticism —the work of reading, thinking and writing about literature and other art forms—can be a part of philosophy.

Thinking about Othello , Cavell pushes his own understanding of scepticism further than he could have done otherwise. In a dense passage from , written in a moment when he looked back on his work, Cavell connects self-expression and self-exploration to the question of literature and film and philosophy: Only in stages have I come to see that each of my ventures in and from philosophy bears on ways of understanding the extent to which my relation to myself is figured in my relation to my words.

This establishes from the beginning my sense that in appealing from philosophy to, for example, literature, I am not seeking illustrations for truths philosophy already knows, but illumination of philosophical pertinence that philosophy alone has not surely grasped — as though an essential part of its task must work behind its back.

What I say or write will reveal my blindness and my callousness, my insights and my generosity, my failures and my achievements. Cavell wants to make a place for literature within philosophy, both because he thinks literature contains illuminations of value to philosophy, and because he thinks that the question of expression and experience lie at the very heart of philosophy.

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Good criticism requires a wide range of skills and knowledge. It exposes our judgment to the potential ridicule of the world. Surely this is another reason why we are so quick to hide behind the authority of acknowledged master thinkers in our readings and viewings.

There are four tasks here: to be willing to have the experience in the sense of paying attention to it , to judge it important enough to be expressed, to find words for it and to claim authority for it. I am struck by the parallels between this view and the work going on in feminist consciousness-raising groups in the s and s.

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The purpose of these groups was to encourage women to take an interest in their own experience, to be willing to voice them and to claim authority for them. The result was revolutionary. For Cavell, aesthetic experience is not divorced from ordinary experience: to find out what it means entails the same difficulties and joys as the investigations of ordinary experiences. In the s, many feminists made the mistake of considering experience to be infallible.

The moral of this practice is to educate your experience sufficiently so that it is worthy of trust.


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PoH Sometimes a book will completely transform our understanding of a phenomenon or a problem. Films and plays and books can help us overcome, or undo, our existing beliefs. Just like other experiences, the experience of film, theatre, literature has the power to change us. My original question was how to read philosophically in a way that avoids imposing my pre-existing theory on the work of art.

Cavell is not interested in laying down requirements for how to read. But how are we to do that? The only hint Cavell provides is to say that we usually have no trouble letting a work of theory or philosophy teach us how to read it. I think this means that the right sort of reading would emerge if we simply read literature or watch films in much the same way as we read philosophy. What does this sort of reading look like? Well, we often begin by trying to get at least a general idea of what the work is about, what its major concerns and concepts are.

At first, we may only form a hazy idea of the whole. To get a clearer view, we zoom in on key concepts, study the examples, circle back to passages that illuminate them, look for the arguments, the contradictions and the exceptions. In the end, we come out with a workable understanding of the book's concerns.

If it really fascinates us, we may engage with it again, maybe revise some of our initial impressions, try to get clear on why it strikes us as important and reflect on what we can use it for in our own work.


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Why do we imagine that it is always much harder to let a novel or a play teach us how to read it than it is for a theoretical essay to do so? Why do we so quickly reach for the philosophy or theory and try to make the work fit its concepts, rather than trying to figure out what the work's own concepts and preoccupations might be?

Maybe because we lack practice. In addition, we may fear that a reading emerging from such a process might not look all that impressive. After all, it would have to be built on concepts supplied by the work itself, rather than concepts supplied by a specific philosophy. This may or may not give rise to philosophically interesting readings. To be willing to learn from the work requires a critic capable of a certain degree of humility.

Cavell raises the question of literature and philosophy from the point of view of the philosopher, in the sense that he begins by wondering whether a philosopher can find philosophy in literature and other arts. I have shown that his answer makes criticism a potential place for philosophy, and also addresses the literary critic's question about how to read philosophically.

Missing so far is the writer's perspective. At this point, Simone de Beauvoir's reflections on philosophy and literature strike me as particularly relevant. Wil Smith and Karen Zulauf Deeper Africa They take walking safaris seriously, pairing you up with leading researchers, game wardens, antipoaching teams, and guides for itineraries in Kenya, Tanzania, Uganda, and beyond.


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