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Original scientific paper

The Awful Truth: On Metonymic Rationality in Hawks and Cavell

Tatjana Jukić

Fulltext: english, pdf (481 KB) pages 99-115 downloads: 377* cite
APA 6th Edition
Jukić, T. (2015). The Awful Truth: On Metonymic Rationality in Hawks and Cavell. Studia Romanica et Anglica Zagrabiensia, 60 (-), 99-115. Retrieved from https://hrcak.srce.hr/168205
MLA 8th Edition
Jukić, Tatjana. "The Awful Truth: On Metonymic Rationality in Hawks and Cavell." Studia Romanica et Anglica Zagrabiensia, vol. 60, no. -, 2015, pp. 99-115. https://hrcak.srce.hr/168205. Accessed 1 Dec. 2020.
Chicago 17th Edition
Jukić, Tatjana. "The Awful Truth: On Metonymic Rationality in Hawks and Cavell." Studia Romanica et Anglica Zagrabiensia 60, no. - (2015): 99-115. https://hrcak.srce.hr/168205
Harvard
Jukić, T. (2015). 'The Awful Truth: On Metonymic Rationality in Hawks and Cavell', Studia Romanica et Anglica Zagrabiensia, 60(-), pp. 99-115. Available at: https://hrcak.srce.hr/168205 (Accessed 01 December 2020)
Vancouver
Jukić T. The Awful Truth: On Metonymic Rationality in Hawks and Cavell. Studia Romanica et Anglica Zagrabiensia [Internet]. 2015 [cited 2020 December 01];60(-):99-115. Available from: https://hrcak.srce.hr/168205
IEEE
T. Jukić, "The Awful Truth: On Metonymic Rationality in Hawks and Cavell", Studia Romanica et Anglica Zagrabiensia, vol.60, no. -, pp. 99-115, 2015. [Online]. Available: https://hrcak.srce.hr/168205. [Accessed: 01 December 2020]

Abstracts
When Stanley Cavell analyzes Hollywood comedies of remarriage, he mobilizes their
narratives as the platform from which to address America as a political and a philosophical
project.
This
is
also
where
Cavell
acknowledges
the
affinity
of
the
cinematic

narrative
and
psychoanalysis,
most notably
perhaps
in
his
sustained interest
in
the

Hollywood
woman
as
a
spectacle
of
crisis
and
critique.
With
this
in
mind,
I
propose
to

discuss
the Cavellian
woman, of his cinema books, who dominates the “green world”

of
the Hollywood
remarriage comedy: the
bucolic
story-space which
Cavell
associates
with
the
Emersonian
vision
of
America
and
identifies
as
definitive
to
its
critical

character.

I focus however on the comedy in which there seems to be no climactic
green world – Howard Hawks’ His Girl Friday (1940) – and argue that Hawks’ woman
mobilizes metropolitan courtrooms and the adjacent spaces in a similar fashion, as if
to suggest that the Emersonian green world is not absent from Hawks’ film but rather
metonymic to the positions America would assign to (pure) reason. Finally, I show
how this Cavellian complex corresponds to Gilles Deleuze’s philosophical fascination
with woman, film and America.

Keywords
Stanley Cavell; Howard Hawks; American cinema; philosophy of film; metonymy

Hrčak ID: 168205

URI
https://hrcak.srce.hr/168205

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