Mid-Twentieth Century American Philosophy: Personal Statements.

1975 ◽  
Vol 36 (1) ◽  
pp. 136
Author(s):  
Lewis S. Ford ◽  
Peter A. Bertocci
Daedalus ◽  
2006 ◽  
Vol 135 (2) ◽  
pp. 116-126
Author(s):  
Dagfinn Føllesdal ◽  
Michael Friedman

2017 ◽  
Vol 14 (3) ◽  
pp. 307-318
Author(s):  
Santiago Rey

It has become all too common in discussing Rorty’s work, to distinguish the reasonable and constructive Rorty from the outrageous, destructive and irresponsible enfant terrible of twentieth century American philosophy. According to this familiar reading, one can unproblematically distinguish those rhetoric flourishes that have enraged so many of his philosophical colleagues from the substantive, and one might even say constructive, insights that are hidden in his work. However, as I will argue in this paper, this distillation process is not only hermeneutically suspicious, but actually hinders our ability to make sense of what Rorty was trying to say. Rorty’s call was to “break the crust of convention”; not for destruction’s sake but to (1) warn us against the dangers of all forms of fundamentalism and dogmatism and more importantly, (2) open up the possibilities (social, political, cultural, etc.) of a post-foundationalist, post-representationalist culture where solidarity and imagination at the service of human dignity replace the old obsession with objectivity and the quest for certainty.


Author(s):  
Henry Bugbee

The philosophy of Henry Bugbee defies traditional academic categorization. Calvin O. Schrag, Professor Emeritus of Purdue University, once lamented that Bugbee was one of the more marginalized philosophers of the twentieth century, while the late Willard van Orman Quine of Harvard University, world-renown analytic philosopher and logician, described him as the ultimate exemplar of the examined life. Bugbee’s most recognized work, The Inward Morning: A Philosophical Exploration in Journal Form, consists of sequences of journal entries. Bugbee’s writings are remarkably different than most anything written in twentieth-century American philosophy. As an undergraduate, already aware of the need to overcome the limitations of formal philosophical writing, Bugbee acknowledged: “Certainly anyone who throws his entire personality into his work must to some extent adopt an aesthetic attitude and medium.” The purpose of this book is to remove the philosophical writings of Henry Bugbee from relative obscurity, making them more accessible to the wider public. Beginning with an introductory account of Bugbee’s “experiential naturalism,” the development of his thought is traced from his student writings in Part One to some select published writings in Part Two, followed by heretofore unpublished writings in Part Three. Part Four consists of an in-depth interview conducted during the twilight years of his life. The book concludes with a rich collection of appendices that are intended to shed light upon the unique person Bugbee in fact was. The end-in-view throughout has been to allow Bugbee the opportunity to speak in his own words and, when appropriate, through the words of others: those both familiar with the man as well as his philosophy.


2011 ◽  
Vol 28 (2) ◽  
pp. 166-194
Author(s):  
Christopher Bruhn

The philosophy of William James can be useful in the interpretation of works of art, although James himself never specifically set forth an aesthetic theory. As an example, a Jamesian view of consciousness is enacted on multiple levels in Charles Ives's Piano Sonata No. 2, “Concord, Mass., 1840–60,” and the accompanying Essays before a Sonata. James's metaphor for the working of the human mind—a view widely circulated in Ives's day—as a “stream of thought,” the largely transitory movement of which James likened to a bird's flights and perchings; the value James finds in vagueness; and his treatment of the nature of truth as fundamentally mutable and provisional all find musical expression in the “Concord” Sonata. Additionally, the complex genealogy of the sonata and its connection to related works, notably the Fourth and Universe Symphonies, can be interpreted as reflecting James's cosmological vision of a pluralistic universe or “multiverse.” Reading the sonata through a Jamesian lens provides new insights into the behavior of Ives's music by relating it to turn-of-the-century thinking about the functioning of the human brain as well as early-twentieth-century American philosophy and cosmology.


2021 ◽  
pp. 1-25
Author(s):  
John Erik Hmiel

Arthur C. Danto was one of the most influential and prolific philosophers of art of the second half of the twentieth century. More particularly, his encounter with the art of Andy Warhol in 1964 became a crucial moment that would catapult his lifelong attempt to spell out the theoretical conditions of contemporary art, and the implications those conditions held for art history and criticism. In this article, however, I show that Danto was in fact primed for his encounter with Warhol by the newly emerging identity of Anglo-American analytic philosophy at mid-century. Using unpublished archival material, I show that Danto's fundamental insights in his first two major essays in the philosophy of art, “The Artworld” (1964) and “Artworks and Real Things” (1973), were in place at least two years before his chance meeting with Warhol's artwork. In making this more modest historical claim, however, I argue that Danto was part of a broader generation of philosophers who were attempting to work through some of the fundamental problems raised by the naturalist tradition of American thought since the late nineteenth century, problems that became central to the emerging identity of analytic philosophy in its early stages. Among the most pressing of these problems was how values functioned in a naturalistic universe absent theological or metaphysical grounding. Drawing from this philosophical space, Danto's account of art deeply influenced the direction of Anglo-American philosophy of art during the second half of the twentieth century. In the process, he became one of the most significant theorists of contemporary art in the English-speaking world.


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