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. Measuring this distance step by practical step is the philosophical project that Stanley Cavell has pursued on his exploratory path. Situated at the intersection of two of his longstanding interests--Emersonian philosophy and the Hollywood comedy of remarriage--Cavell's new work marks a significant advance in this project. The book--which presents a course of 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.

This book offers philosophy in the key of life. Beginning with a rereading of Emerson's "Self-Reliance," Cavell traces the idea of perfectionism through works by Plato, Aristotle, Locke, Kant, Mill, Nietzsche, and Rawls, and by such artists as Henry James, George Bernard Shaw, and Shakespeare. Cities of Wordsshows that this ever-evolving idea, brought to dramatic life in movies such as It Happened One Night, The Awful Truth, The Philadelphia Story, and The Lady Eve, has the power to reorient the perception of Western philosophy.

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.

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.

Perhaps more than any living philosopher in the English language Cavell has consistently and almost obsessively been at pains to carve out his own path. He is genuinely original. But more than this his life-long commitment to this project has been undertaken with a philosophical seriousness that is increasingly unusual. City of Words will, then, not only illuminate previous publications on Hollywood film of the 1930s and 1940s, but also enable careful readers to begin to understand how recurrent themes - the import and impact of skepticism and the necessity that we understand its challenge; the strangeness and richness of attending to the everyday; the interfaces between moral, theological and psychoanalytic thought; the common strands in ordinary language philosophy's articulation of key questions in the philosophy of mind and of language and those same questions in the European philosophical school, most especially in the work of Wittgenstein and Heidegger - link together and stretch across readings of the western philosophical tradition. Cities of Words will, then, help the considerable Cavellian oeuvre begin to make sense in a far more substantial, and perhaps unusual way than it has heretofore. It shows us how Cavell ticks.

Without genre or parallel, this book continues the interior dialogue of Cavell on the traditions of and prospects for moral perfectionism.

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.

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 Wordsis 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 AndrBazin 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.

This book--which presents a course of lectures Cavell presented severaltimes toward the end of his teaching career at Harvard--links masterpieces of moral philosophyand classic Hollywood comedies to fashion a new way of looking at our lives and learning to livewith ourselves.

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."[A] dazzling, rambling 500-page intellectual excursion." — A. O. Scott, New York Times"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." — Phillip Lopate, Film Comment

Stanley Cavellis Walter M. Cabot ProfessorEmeritus of Aesthetics and the General Theory of Value, Harvard University.

Preface

Introduction

1. Emerson

2. The Philadelphia Story

3. Locke

4. Adam's Rib

5. John Stuart Mill

6. Gaslight

7. Kant

8. It Happened One Night

9. Rawls

10. Mr. Deeds Goes to Town

11. Nietzsche

12. Now, Voyager

13. Ibsen

14. Stella Dallas

15. Freud

16. The Lady Eve

17. Plato

18. His Girl Friday

19. Aristotle

20. The Awful Truth

21. Henry James and Max Ophuls

22. G. B. Shaw: Pygmalion and Pygmalion

23. Shakespeare and Rohmer: Two Tales of Winter

Themes of Moral Perfectionism

Bibliography

Acknowledgments

Index