%0 Journal Article
%T The Awful Truth: On Metonymic Rationality in Hawks and Cavell
%A JukiŁż
%A Tatjana
%J -
%D 2015
%X SaŁżetak 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 Ą°green worldĄą 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 ¨C Howard HawksĄŻ His Girl Friday (1940) ¨C and argue that HawksĄŻ 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 HawksĄŻ film but rather metonymic to the positions America would assign to (pure) reason. Finally, I show how this Cavellian complex corresponds to Gilles DeleuzeĄŻs philosophical fascination with woman, film and America
%K Stanley Cavell
%K Howard Hawks
%K American cinema
%K philosophy of film
%K metonymy
%U https://hrcak.srce.hr/index.php?show=clanak&id_clanak_jezik=248221