Seeking for philosophy the same spirit and assurance conveyed by artists like Fred Astaire, Cavell presents essays exploring the meaning of grace and gesture in film and on stage, in language and in life. Critical to the renaissance in American thought Cavell hopes to provoke is the recognition of the centrality of the "ordinary" to American life.

Seeking for philosophy the same spirit and assurance conveyed by artists like Fred Astaire, Cavell presents essays exploring the meaning of grace and gesture in film and on stage, in language and in life. Critical to the renaissance in American thought Cavell hopes to provoke is the recognition of the centrality of the “ordinary” to American life.

Humanity is moving ever towards its final destination without knowing why, when, where: teloi, multiple paths, leading towards God’s eschaton. These essays examine the movement towards this day of reckoning, and how such eschatological events are projected back into time. Towards the Day after Tomorrow, or the one after that, or months, decades—centuries—away, often we behave as though the end is upon us. These essays start with the beginning of the end: the incarnation. We examine the origins of Karl Barth’s realized eschatology in Expressionism. We consider death and judgment, as usurped by humanity, an eschaton without God’s forgiving judgment: multiple Holocausts. War ushers in the eschaton, but how do Christians handle conflict in the light of a redefined just war theory? We analyze the eschatological insights into humanity’s end in The Simpsons—post mortem. Consider the issue of atheistic human authorities usurping God’s judgment. Finally crisis and judgment are glimpsed in the mindset of people who suffer seizures—postlapsarian exile, the sufferance of salvation: how God blesses us despite the chaos of our human-generated teloi, in preparation for the end. As the end approaches, events become darker, chaotic, confusion reigns: “Judas immediately went out. And it was night.”

A groundbreaking examination of Michel Foucault's history of truth. Many blame Michel Foucault for our post-truth and conspiracy-laden society. In this provocative work, Daniele Lorenzini argues that such criticism fundamentally misunderstands the philosopher’s project. Foucault did not question truth itself but what Lorenzini calls “the force of truth,” or how some truth claims are given the power to govern our conduct while others are not. This interest, Lorenzini shows, drove Foucault to articulate a new ethics and politics of truth-telling precisely in order to evade the threat of relativism. The Force of Truth explores this neglected dimension of Foucault’s project by putting his writings on regimes of truth and parrhesia in conversation with early analytic philosophy and by drawing out the “possibilizing” elements of Foucault’s genealogies that remain vital for practicing critique today.

Stanley Cavell looks closely at America's most popular art and our perceptions of it. His explorations of Hollywood's stars, directors, and most famous films—as well as his fresh look at Godard, Bergman, and other great European directors—will be of lasting interest to movie-viewers and intelligent people everywhere.

This book is an invitation to the life of philosophy in the United States, as Emerson once lived it and as Stanley Cavell now lives it--in all its topographical ambiguity. Cavell talks about his vocation in connection with what he calls voice--the tone of philosophy--and his right to take that tone, and to describe an anecdotal journey toward the discovery of his own voice.