Ordinary Literature Philosophy

This radically original book argues for the power of ordinary language philosophy—a tradition inaugurated by Ludwig Wittgenstein and J. L. Austin, and extended by Stanley Cavell—to transform literary studies. In engaging and lucid prose, Toril Moi demonstrates this philosophy’s unique ability to lay bare the connections between words and the world, dispel the notion of literature as a monolithic concept, and teach readers how to learn from a literary text. Moi first introduces Wittgenstein’s vision of language and theory, which refuses to reduce language to a matter of naming or representation, considers theory’s desire for generality doomed to failure, and brings out the philosophical power of the particular case. Contrasting ordinary language philosophy with dominant strands of Saussurean and post-Saussurean thought, she highlights the former’s originality, critical power, and potential for creative use. Finally, she challenges the belief that good critics always read below the surface, proposing instead an innovative view of texts as expression and action, and of reading as an act of acknowledgment. Intervening in cutting-edge debates while bringing Wittgenstein, Austin, and Cavell to new readers, Revolution of the Ordinary will appeal beyond literary studies to anyone looking for a philosophically serious account of why words matter.

The first extended Lacanian reading of J. L. Austin's ordinary language philosophy, this book examines how it has been received in the continental tradition by Jacques Derrida and Judith Butler, Jacques Rancière and Oswald Ducrot. This is a tradition that neglects Austin's general speech act theory on behalf of his special theory of the performative, whilst bringing a new attention to the literary and the aesthetic. The book charts each of these theoretical interactions with a Lacanian reading of the thinker through a case study. Austin, Derrida and Butler are respectively read with a Hollywood blockbuster, a Shakespearean bestseller and a globally influential May '68 poster – texts preoccupied with the problem of subjectivity in early, high and postmodernity. Hence Austin's constatives (nonperformative statements) are explored with Dead Poets Society; Derridean naming with Romeo and Juliet; and Butlerian aesthetic re-enactment with We Are all German Jews. Finally, Rancière and Ducrot enable a return to Austin beyond his continental reception. Austin is valorised with a theory as attractive, and as irreducible, to the continental tradition as his own thought, namely Jacques Lacan's theory of the signifier. Drawing together some of the giants of language theory, psychoanalysis and poststructuralist thought, Habjan offers a new materialist reading of the 'ordinary' status of literary language and a vital contribution to current debates within literary studies and contemporary philosophy.

What is philosophy about and what are its methods? Philosophy and Ordinary Language is a defence of the view that philosophy is largely about questions of language, which to a large extent means ordinary language. Some people argue that if philosophy is about ordinary language, then it is necessarily less deep and difficult than it is usually taken to be but Oswald Hanfling shows us that this isn't true. Hanfling, a leading expert in the development of analytic philosophy, covers a wide range of topics, including scepticism and the definition of knowledge, free will, empiricism, folk psychology, ordinary versus artificial logic, and philosophy versus science. Drawing on philosophers such as Austin, Wittgenstein, and Quine, this book explores the nature of ordinary language in philosophy.

Cutting across literature, film, art, and philosophy, Art of the Ordinary is a trailblazing, cross-disciplinary engagement with the ordinary and the everyday. Because, writes Richard Deming, the ordinary is always at hand, it is, in fact, too familiar for us to perceive it and become fully aware of it. The ordinary he argues, is what most needs to be discovered and yet is something that can never be approached, since to do so is to immediately change it. Art of the Ordinary explores how philosophical questions can be revealed in surprising places—as in a stand-up comic’s routine, for instance, or a Brillo box, or a Hollywood movie. From negotiations with the primary materials of culture and community, ways of reading "self" and "other" are made available, deepening one’s ability to respond to ethical, social, and political dilemmas. Deming picks out key figures, such as the philosophers Stanley Cavell, Arthur Danto, and Richard Wollheim; poet John Ashbery; artist Andy Warhol; and comedian Steven Wright, to showcase the foundational concepts of language, ethics, and society. Deming interrogates how acts of the imagination by these people, and others, become the means for transforming the alienated ordinary into a presence of the everyday that constantly and continually creates opportunities of investment in its calls on interpretive faculties. In Art of the Ordinary, Deming brings together the arts, philosophy, and psychology in new and compelling ways so as to offer generative, provocative insights into how we think and represent the world to others as well as to ourselves.

Now in paperback, Sandra Laugier's reconsideration of analytic philosophy and ordinary language. Sandra Laugier has long been a key liaison between American and European philosophical thought, responsible for bringing American philosophers such as Ralph Waldo Emerson, Henry David Thoreau, and Stanley Cavell to French readers—but until now her books have never been published in English. Why We Need Ordinary Language Philosophy rights that wrong with a topic perfect for English-language readers: the idea of analytic philosophy. Focused on clarity and logical argument, analytic philosophy has dominated the discipline in the United States, Australia, and Britain over the past one hundred years, and it is often seen as a unified, coherent, and inevitable advancement. Laugier questions this assumption, rethinking the very grounds that drove analytic philosophy to develop and uncovering its inherent tensions and confusions. Drawing on J. L. Austin and the later works of Ludwig Wittgenstein, she argues for the solution provided by ordinary language philosophy—a philosophy that trusts and utilizes the everyday use of language and the clarity of meaning it provides—and in doing so offers a major contribution to the philosophy of language and twentieth- and twenty-first-century philosophy as a whole.

Randy Ramal argues that philosophy’s main responsibility lies in providing intelligibility to the ordinary language of everyday life while dispelling unwarranted skepticism. Philosophers need to go the hard way to fulfill this responsibility because of the constant and dangerous temptation to turn philosophy into a normative discipline rather than keep it as a descriptively hermeneutical enterprise. In On Philosophy, Intelligibility, and the Ordinary: Going the Bloody Hard Way, the philosophy of Alfred North Whitehead is central to Ramal’s endeavor to demonstrate the need to separate the hermeneutical responsibility of philosophy from the normative aspects of responsibility. While showing the futility of labeling Whitehead as a purely disinterested philosopher who abandons the idea that ordinariness is relevant to good philosophical thinking, Ramal frames this discussion within a larger, in-depth engagement with a vast number of thinkers, philosophers, and literary figures whose works touch on the question of the ordinary.

These lectures by one of the most influential and original philosophers of the twentieth century constitute a sustained argument for the philosophical basis of romanticism, particularly in its American rendering. Through his examination of such authors as Emerson, Thoreau, Poe, Wordsworth, and Coleridge, Stanley Cavell shows that romanticism and American transcendentalism represent a serious philosophical response to the challenge of skepticism that underlies the writings of Wittgenstein and Austin on ordinary language.

Approaching the study of literature as a unique form of the philosophy of language and mind--as a study of how we produce nonsense and imagine it as sense--this is a book about our human ways of making and losing meaning. Brett Bourbon asserts that our complex and variable relation with language defines a domain of meaning and being that is misconstrued and missed in philosophy, in literary studies, and in our ordinary understanding of what we are and how things make sense. Accordingly, his book seeks to demonstrate how the study of literature gives us the means to understand this relationship. The book itself is framed by the literary and philosophical challenges presented by Joyce's Finnegan's Wake and Wittgenstein's Philosophical Investigations. With reference to these books and the problems of interpretation and meaning that they pose, Bourbon makes a case for the fundamental philosophical character of the study of literature, and for its dependence on theories of meaning disguised as theories of mind. Within this context, he provides original accounts of what sentences, fictions, non-fictions, and poems are; produces a new account of the logical form of fiction and of the limits of interpretation that follow from it; and delineates a new and fruitful domain of inquiry in which literature, philosophy, and science intersect. Table of Contents: Preface Note on Abbreviations Introduction: What Are We When We Are Not? Part I The Surface of Language and the Absence of Meaning 1. From Soul-Making to Person-Making 2. The Logical Form of Fiction 3. The Emptiness of Literary Interpretation 4. To Be But Not To Mean 5. How Do Oracles Mean? Part II Senses and Nonsenses: Joyce's Finnegans Wake and Wittgenstein's Philosophical Investigations 6. A Twitterlitter of Nonsense: Askesis at Finnegans Wake 7. The Analogy between Persons and Words 8. "The Human Body Is the Best Picture of the Human Soul" 9. The Senses of Time 10. Being Something and Meaning Something Bibliography Acknowledgments Index This is an adventurous and unusual book. Bourbon moves back and forth between literary and philosophical contexts with ease, showing in multifarious ways how the one can, often in unexpected ways, illuminate the other. Throughout these wide-ranging explorations Bourbon uncovers a good deal about both the nature of literary meaning and our distinctive -- if tellingly irreducible -- relations to literary texts. --Garry L. Hagberg, author of Art as Language: Wittgenstein, Meaning, and Aesthetic Theory and Meaning and Interpretation: Wittgenstein, Henry James, and Literary Knowledge