“... was just an adolescent schoolboy and, in my parents’ probably loving description, a ‘weirdo’.Stanley Cavell wrote that his memories of movies seemed so closely tied to memories of his life that he was no more likely to write a book about film than to write an autobiography (he ended up doing both). I could say the same. On the night of Tony ...”

“... such a big jump? From the start the modernist arts were widely viewed as a con, and in our time Stanley Cavell has argued that the potential ‘fraudulence’ of any avant-garde is the necessary risk of our passionate ‘conviction’ in it. Of course, Dada invited outrage – its primary aim was to shock people out of aesthetic complacency – and to ...”

“... and forms of art in the traditional sense of ‘dominance’: but they have not yet achieved what Stanley Cavell calls the ‘modernist’ condition, in which the medium has to be reinvented with each new achievement. We may hear people leaving the movies saying, ‘That was weird’ (or ‘different’, or ‘original’), but we don’t hear them ...”

“... stupid. Northrop Frye once observed that all conventions, as conventions, are more or less insane; Stanley Cavell once pointed out that the conventions of cinema are just as arbitrary as those of opera. Both those observations are brought to mind by video games, which are full, overfull, of exactly that kind of arbitrary convention. Many of these ...”

“... marriage plot’. As she says, the play works against the common Hollywood model characterised by Stanley Cavell as the ‘comedy of remarriage’. There is the quarrelsome bickering associated with the form, but no reconciliation. After Ruth is killed in a car accident intended by Elvira, who tampered with the car, to kill Charles, the two women form an ...”

“... will ‘veer’ from ‘biographical-psychological’ interpretation. Instead he means to follow Stanley Cavell in demonstrating that these films, like many others produced in the studio era, ‘can be understood to unfold like reasoned arguments about subjects of real concern. That is to say, they can be read’ – literally so, in fact, since we’ve ...”

“... preoccupation with property allows her to find a way between the psychoanalytic involution of Stanley Cavell, who argues that Lear puts love up for sale because he is ashamed of the excess of his feelings, and the sharp-edged view of Margreta de Grazia that by giving away his kingdom Lear is collapsing his own identity. A sweep through Holinshed and ...”

“... as platitude and otherwise invisible. With an important exception I will get to in a moment, Stanley Cavell seems to me right on target when he says in In Quest of the Ordinary that ‘I take it for granted that their thinking’ – he is referring also to Thoreau – ‘is unknown to the culture whose thinking they worked to found (I mean ...”

“... becomes the logical extension of the time-travel narrative in that paradoxical sense in which, as Stanley Cavell so memorably put it, the world is viewed without myself. This is, then, how the structural/poststructural search for the decentred subject ended up, not with some impossible ‘death of the subject’, but rather in film theory, with the ...”

“... principles of the institution were being disregarded? I imagined the kind of moral discussion, as Stanley Cavell describes it, in which the protagonists not only disclose and defend their positions to others, but most of all to themselves. We need help to see the implications of our conduct and our commitments. Angry and troubled GIDS staff would have ...”

“... positions of Austin, Moore, Kant, Carnap and Quine, as well as in the diagnoses of its sources in Stanley Cavell and Thompson Clark. One could easily take issue with a number of Stroud’s specific claims. But the book is engaging because it is unusual to find a philosopher who is not so concerned with offering the final word on a problem, and who is ...”

“... in these terms; absurd to insist that all we see and hear is singers playing their parts. As Stanley Cavell said in reply to a parallel suggestion about film: ‘You might as well tell me that I do not see myself in the mirror but merely see a mirror image of myself.’ It is this sense of being present at the events enacted on stage, not merely at ...”

“... la différence’ means. There is a brilliant commentary on this scene (and much else) in Stanley Cavell’s Pursuits of Happiness, and somewhere among these thoughts about the goddess playing human is an answer to one of Cavell’s worries. ‘I sometimes feel Katharine Hepburn to lack a certain humour about ...”