To Not Understand, but Not Misunderstand: Wittgenstein on Shakespeare

Wittgenstein's lack of sympathy for Shakespeare's works has been well noted by George Steiner and Harold Bloom among others. Wittgenstein writes in 1950, for instance: "It seems to me as though his pieces are, as it were, enormous sketches, not paintings; as though they were dashed off by someone who could permit himself anything, so to speak. And I understand how someone may admire this & call it supreme art, but I don't like it." Of course, the animosity of one great mind for another has its own interest. But the interest here is increased by two factors: (1) Wittgenstein's brief but specific critique of Shakespeare's similes, of interest particularly since he identifies his own philosophical strength half-deprecatingly but still seriously as one of crafting beautiful similes; and (2) Wittgenstein's and Shakespeare's shared concern, as revealed in Stanley Cavell's writings, with the human impulse to skepticism. The present paper considers the importance of these two factors in weighing Wittgenstein's judgment. It suggests that Wittgenstein's frequent charge that Shakespeare is "completely unrealistic" is not a misunderstanding of the Bard (Wittgenstein distinguishes his "failure to understand" from others' willingness to misunderstand Shakespeare) but rather an expression of Wittgenstein's anxiety over Shakespeare's wholly original use of language to represent the sound of the raw motives to skepticism

Jazz Improvisation, the Body, and the Ordinary

What is one doing when one improvises music, as one does in jazz? There are two sorts of account prominent in jazz literature. The traditional answer is that one is organizing sound materials in the only way they can be organized if they are to be musical. This implies that jazz solos are to be interpreted with the procedures of written music in mind. A second, more controversial answer is offered in David Sudnow's pioneering account of the phenomenology of improvisation, Ways of the Hand. Sudnow claims that learning to improvise at the piano is concerned centrally with copying the bodily ways of one's mentors and finding how one's instructable hands and the keyboard come to answer to one another, so that "to define jazz ... is to describe the body's ways." But despite its greater sensitivity over the traditional account, Sudnow's account is flawed both as a description of how improvisatory skill is acquired and as a model for describing the interest of jazz. My critique of Sudnow compares his account to Augustine's account of learning language, and finds that Wittgenstein's criticisms of Augustine extend to Sudnow. I offer a third approach to understanding improvised music, one which treats the procedures of improvisation as derived from, and importantly at play in, our everyday actions

The Aesthetic Dimension of Wittgenstein's Later Writings

In this essay I argue the extent to which meaning and judgment in aesthetics figures in Wittgenstein’s later conception of language, particularly in his conception of how philosophy might go about explaining the ordinary functioning of language. Following a review of some biographical and textual matters concerning Wittgenstein’s life with music, I outline the connection among (1) Wittgenstein’s discussions of philosophical clarity or perspicuity, (2) our attempts to give clarity to our aesthetic experiences by wording them, and (3) the clarifying experience of the dawning of an aspect, which Wittgenstein pictures as the perception of an internal relation. By examining Wittgenstein’s use of “internal relation” from the Tractatus to his later writings, I come to challenge the still prevalent understanding of Wittgenstein’s appeals to grammar as an appeal to something given (e.g., to a set of grammatical rules). Instead, as I argue, Wittgensteinian appeals to grammatical criteria should be understood as modeled by the form of justification found in our conversations about art

A Soteriology of Reading: Cavell's Excerpts from Memory

"William Day is . . . concerned to explore the dynamics of what Cavell calls 'a theology of reading' through a careful examination of a fragment of the philosopher's autobiography first published as 'Excerpts from Memory' (2006) and subsequently revised for Little Did I Know (2010). If, as Cavell suggests, 'the underlying subject' of both criticism and philosophy is 'the subject of examples', in which our interest lies in their emblematic aptness or richness as exemplars, exemplarity becomes central to the aim of our reading. . . . Day considers how autobiography as a genre is preoccupied with the question of the author's exemplarity (Augustine or Rousseau), and in Cavell's retelling in 'Excerpts from Memory' he discusses how an event that Cavell would have us read allegorically - his move at the age of seven to a new apartment, his coming upon a familiar bowl containing nonpareils, his remark upon this to his father and his father's violent reaction - recasts a scene of paternal hatred as the child's offer of communion. Day suggests that this retelling proves to be redemptive: first, of the incident itself, and second, of the reader's own experience. Seeing how to read this autobiographical life as exemplary helps us to transfigure our own moments of deprivation into so many possibilities for freedom." --James Loxley and Andrew Taylor, introductory chapter to Stanley Cavell: Philosophy, Literature and Criticism, 15-16

The Ecstasy of Time Travel in Werner Herzog's Cave of Forgotten Dreams

Documentary film is that genre of filmmaking that lays bare the fact of all film, which is that it presents "a world past" (Cavell, The World Viewed). This fact of film seems to point to a paradox of time in our experience of movies: we are present at something that has happened, something that is over. But what if we were to take this fact to show that film has the power to place us outside our ordinary, unreflective relation to time? In this essay I examine three pre-cinematic descriptions of relations to time – in Emerson, Thoreau, and Weil – that anticipate the paradox of time inherent in film. I then put that examination to use in a reading of Werner Herzog's Cave of Forgotten Dreams, a film ostensibly about prehistoric cave paintings but whose achievement is its declaration, not to document some past time, but to liberate the present moment

Preserving Social Media: the Problem of Access

As the applications and services made possible through Web 2.0 continue to proliferate and influence the way individuals exchange information, the landscape of social science research, as well as research in the humanities and the arts, has the potential to change dramatically and to be enriched by a wealth of new, user-generated data. In response to this phenomenon, the UK Data Service have commissioned the Digital Preservation Coalition to undertake a 12-month study into the preservation of social media as part of the ‘Big Data Network’ programme funded by the Economic and Social Research Council (ESRC). The larger study focuses on the potential uses and accompanying challenges of data generated by social networking applications. This paper, ‘Preserving Social Media: the Problem of Access’, comprises an excerpt of that longer study, allowing the authors a space to explore in closer detail the issue of making social media archives accessible to researchers and students now and in the future. To do this, the paper addresses use cases that demonstrate the potential value of social media to academic social science. Furthermore, it examines how researchers and collecting institutions acquire and preserve social media data within a context of curatorial and legislative restrictions that may prove an even greater obstacle to access than any technical restrictions. Based on analysis of these obstacles, it will examine existing methods of curating and preserving social media archives, and second, make some recommendations for how collecting institutions might approach the long-term preservation of social media in a way that protects the individuals represented in the data and complies with the conditions of third party platforms. With the understanding that web-based communication technologies will continue to evolve, this paper will focus on the overarching properties of social media, analysing and comparing current methods of curation and preservation that provide sustainable solutions

Examining the motivations for social entrepreneurship using Max Weber's typology of rationality

PURPOSE: This paper aims to utilize a framework from classic sociology – Max Weber’s Typology of Rationality – to understand the motivations for social entrepreneurship in responsible tourism in India. The critical role of the social entrepreneur in effecting the phenomenon of social entrepreneurship has been largely under-recognized. The authors seek to explore, develop and enhance Weber’s theoretical arguments in the context of the tourism industry. Design/methodology/approach The authors used a constructivism paradigm and Seidman’s (2006) Three Interview Series technique to obtain the narratives of two social entrepreneurs in India. Data were analyzed using a hybrid thematic coding procedure. FINDINGS: Findings indicate that there exists a dynamic interplay between the formal and substantive rationalities that underlie the behavior of social entrepreneurs. The authors also discuss how entrepreneurs draw upon their formal and substantive repertoires to create their identities through the simultaneous processes of apposition (“Me”) and opposition (“Not Me”). PRACTICAL IMPLICATIONS: The findings provide an important recognition of the impact of formal and substantive rationalities on the conceptualization, implementation and manifestation of social enterprise for a variety of stakeholders. ORIGINALITY/VALUE: This paper makes a significant contribution to understanding the why and the how of social entrepreneurship in responsible tourism. It provides a framework that can be widely applied to develop and enhance Weberian theory and further the understanding of the fundamental nature of human behavioral phenomena in tourism and beyond

Words Fail Me. (Stanley Cavell's Life out of Music)

Stanley Cavell isn't the first to arrive at philosophy through a life with music. Nor is he the first whose philosophical practice bears the marks of that life. Much of Cavell's life with music is confirmed for the world in his philosophical autobiography Little Did I Know. A central moment in that book is Cavell's describing the realization that he was to leave his musical career behind – for what exactly, he did not yet know. He connects the memory-shock of this leaving with "the work of mourning." How does such a life out of music inform Cavell's philosophical sensibility? The thought I follow in this essay is that Cavell's distinctive orientation in philosophy – call this his lifelong coming to terms with his abandoning a life in music – is guided in part by an interest in those moments in experience where words seem to run out, or veer toward nonsense, leaving in their wake touchstones of ecstasy. I explore this idea by summarizing my exchange with Stanley Cavell years ago when I asked him whether certain passages from his essay "Music Discomposed" are depictions of the unsayable. Cavell's response is elaborated, or qualified, by considering a pair of moments in Little Did I Know where words appear to run out. I conclude by discussing culminating thoughts on the burden borne by words and their failure that appear in Cavell's late essay on music, "Impressions of Revolution.

The different shades of responsibility: examining domestic and international travelers' motivations for responsible tourism in India

To address the scarcity of research concerning the demand side of responsible tourism, the present study examines the motivations of domestic and international travelers in India. Data were collected using an Internet survey distributed via e-mail and Facebook to the clients of five responsible tourism operators in India. Using Dann's push–pull typology, factor analysis uncovered nine underlying motivations for responsible tourism, with significant differences between domestic and international travelers for these factors. Cluster analysis revealed three distinct segments of travelers – Responsibles, Novelty Seekers, and Socializers – that differ in their core underlying motivations for responsible tourism and in their socio-demographic characteristics. The study contributes one responsibility-specific push and one pull factor to the literature about travel motivation. Also the findings suggest that operators and destination marketers must develop their products and marketing communications to address the heterogeneity of motivations underlying responsible tourism.Accepted manuscrip

More bounds for eigenvalues

AbstractA method introduced by Leighton [J. Math. Anal. Appl. 35, 381–388 (1971)] for bounding eigenvalues has been extended to include problems of the form −y″ + p(x) y = λy, when p(x) ⩾ 0 on [0, 1]. The boundary conditions are the general homogeneous conditions y(0) − ay′(0) = 0 = y(1) + by′(1), where 0 ⩽ a, b ⩽ ∞. Upper and lower bounds for the eigenvalues of these problems are obtained, and these bounds may be made as close together as desired, thereby allowing λ to be estimated precisely