This book is a collection of secondary essays on America's most important philosophic thinkers—statesmen, judges, writers, educators, and activists—from the colonial period to the present. Each essay is a comprehensive introduction to the thought of a noted American on the fundamental meaning of the American regime.

Marx launched a revolution in social thought that has been largely ignored. We locate this revolution in the context of two major reassessments of modern philosophy, Heidegger’s Being and Time and Donald Davidson’s new anti-subjectivism. We argue that the philosophical significance of Marx’s critique of the capitalist mode of production—his critique of the bourgeois horizon—has been overlooked. The paper exposes the bourgeois mindset that runs through political economy, “traditional” Marxism, and much of modern and postmodern philosophy. Bourgeois thinking is (...) marked by a series of “purist splits,” conceptual distinctions that are mishandled as actual separations: conceptual vs. empirical, conceptual scheme vs. thing in itself, individual vs. society, production vs. distribution, preference vs. the preferred object, and subjective vs. objective. Marx shows how capitalist social forms that produce the notion of “value added” inculcate the purist, bifurcating bourgeois horizon. (shrink)

Excerpt from The Appeal to Immediate Experience: Philosophic Method in Bradley Whitehead and Dewey The insight and guidance of Professor John Herman Randall, Jr. have made this book possible. Rather than merely acknowledge my debt to him I would like to express my gratitude here for his unfailing kindness, his penetrating criticism of my efforts, and the help he has given me in clarifying the complex problems of this subject-matter. I wish also to acknowledge the kindness of the following publishers (...) in permitting me to quote from their publications: F. H. Bradley, Appearance and Reality, by Allen and Unwin Ltd.; J. H. Randall, Jr. and J. Buchler, Philosophy: An Introduction, by Barnes Noble, Inc.; F. H. Bradley, Appearance and Reality and Essays on Truth and Reality, by Clarendon Press, Oxford; F. J. E. Woodbridge, Nature and Mind, by Columbia University Press; R. W. Church, Bradley's Dialectic, by Cornell University Press; John Dewey, The Man and His Philosophy, by Harvard University Press; J. Dewey, Logic and Influence of Darwin on Philosophy, by Henry Holt Company; R. Kagey, F. H. Bradley's Logic, by R. Kagey; J. Dewey, Nature in Experience and Whitehead's Philosophy, by Longmans, Green & Co.; A. N. Whitehead, Symbolism, Modes of Thought, Adventures of Ideas, Process and Reality, T. M. Forsyth, English Philosophy, and J. H. Muirhead, Bradley's Place in Philosophy, by the Macmillan Company; A. N. Whitehead, The Concept of Nature-and An Equiry Concerning the Principles of Natural Knowledge, by the Macmillan Company and the Cambridge University Press; H. B. Haldane, Human Experience, by John Murray Ltd.; J. Goheen, Whitehead's Theory of Value, by Northwestern University Press; J. Dewey, Experience and Nature, by Open Court Publishing Co.; G. Santayana, Realm of Essence and Scepticism and Animal Faith, by Charles Scribner's Sons; and J. Dewey, "How is Mind to be Known?" The Objectivism-Subjectivism of Modern Philosophy," M. Gross, The Philosophy of A. N. Whitehead," and M. C. Otto, The Journal of Philosophy. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

A consumer society that has embraced global capitalism while striving to preserve all the comforts and conveniences provided by technoscience is arguably fatally ill. Much support for this gloomy diagnosis is provided by, among others, Hannah Arendt, Northrop Frye, and Friedrich Nietzsche. Their reflections on the health of a human culture point up the urgency of the need to rethink the idea of good reasoning that predominates in the West. However, they also indicate that a healthier, more life-enhancing conception of (...) good reasoning will arise only when a concern for justice and wisdom displaces the traditional ideals of pure and certain knowledge or eternal truths. To this end, Nietzsche recommends that philosophy ought now to concentrate on producing `cultural physicians' who would strive to fashion a philosophy of concern. This type of philosophical therapist requires a radically nonmodern approach to philosophy that must pivot on a vitalistic metaphysics capable of overcoming pervasive nihilistic ideologies which illustrate a globally spreading mythology of unconcern. Hence an effective and lasting cultural therapy will depend on the emergence of a general will/desire to broaden the conception of good reasoning beyond the narrow perspectives established by modern science. And this will depend in turn on the education of future educators who stress above all the importance of cultivating the mythopoeic imaginations of the young. (shrink)

Modernism and the Architecture of Private Life offers a bold new assessment of the role of the domestic sphere in modernist literature, architecture, and design.

The article presents a new interpretation of Hume’s treatment of personal identity, and his later rejection of it in the “Appendix” to the Treatise. Hume’s project, on this interpretation, is to explain beliefs about persons that arise primarily within philosophical projects, not in everyday life. The belief in the identity and simplicity of the mind as a bundle of perceptions is an abstruse belief, not one held by the “vulgar” who rarely turn their minds on themselves so as to think (...) of their perceptions. The author suggests that it is this philosophical observation of the mind that creates the problems that Hume finally acknowledges in the “Appendix.” He is unable to explain why we believe that the perceptions by means of which we observe our minds while philosophizing are themselves part of our minds. This suggestion is then tested against seven criteria that any interpretation of the “Appendix” must meet. (shrink)

Technical results about the time dependence of eigenvectors of reduced density operators are considered, and the relevance of these results is discussed for modal interpretations of quantum mechanics which take the corresponding eigenprojections to represent definite properties. Continuous eigenvectors can be found if degeneracies are avoided. We show that, in finite dimensions, the space of degenerate operators has co-dimension 3 in the space of all reduced operators, suggesting that continuous eigenvectors almost surely exist. In any dimension, even when degeneracies are (...) hit, we find conditions under which a theorem due to Rellich can provide continuous eigenvectors. We use this result to formulate an extended version of the modal interpretation. We also discuss eigenvector instability which we argue poses a serious problem for the modal interpretation, even in our extended version. Many examples are given to illustrate the mathematics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 227-229 [Access article in PDF] Philip Pothen. Nietzsche and the Fate of Art. Aldershot, England: Ashgate, 2002. Pp. x + 235. Paper, $29.95. Most scholarship argues that Nietzsche grants art a position of vital importance for culture, history, and philosophy. Philip Pothen seeks to challenge this general view of Nietzsche [End Page 227] while at the same time raising new questions (...) about Nietzsche's thoughts on art and how Nietzsche's views on art relate to his philosophical concerns. He does not locate Nietzsche's "deep suspicion and at times hostility" (1) toward art in a specific period of Nietzsche's thought, but instead traces it from the notebooks of the 1870s through Nietzsche's so-called "positivist period" to the very end of his productive life. The result is an honest attempt to recognize Nietzsche's ambivalent and at times hostile attitude toward that which is often times unquestionably admired.Although the Birth of Tragedy is the central text for most scholarship about Nietzsche's thoughts on art, this scholarship does not generally look to contemporaneous unpublished private writings. By conducting a close reading of Nietzsche's first published work in juxtaposition with selections from the Nachlass, Pothen shows that even as early as the 1870s, Nietzsche was developing some of the major themes of his subsequent writings on art. Nietzsche had begun to make decisive breaks with conceptual presuppositions inherited from Schopenhauer and the Kantian philosophical framework as well as from Wagner.Nietzsche's earlier belief in a rebirth of the Dionysian through works of genius such as Wagner's was severely criticized by Nietzsche himself in his 1886 Preface to the Birth of Tragedy. The second chapter of this book looks at Nietzsche's criticism of the concept of "genius" and the recognition of the "death of art" in modern artists such as Wagner. Pothen shows that Nietzsche gives a highly naturalistic account of genius, criticizing traditional notions that elevate the genius to a higher status than the merely talented artist.According to Pothen, the decadence of modern art, the deception of the artist, and the "end of art" suggests a type of "sickness" for Nietzsche. Art "represents a suppression of the instincts of becoming" (56). Pothen claims the future of art and its possible "death" are much more severe for Nietzsche than, for instance, Hegel. The challenging conclusion is that Nietzsche, not Hegel, properly announces the "death of art" in modernity.What, however, of the "monological work of art" that Nietzsche first formulates in the Gay Science? By considering the fourth part of Thus Spoke Zarathustra as a decisive conclusion and not an inferior appendage, Pothen argues that this work "for All and None" illustrates "a radical and perhaps impossible orientation" (9) that the godless artist must take up according to Nietzsche. It is a creative position "in favor of solitude [Einsamkeit], forgetting [vergessen] and inner strength" (74).Chapter four of Pothen's book addresses the concept of the "will to power." Pothen argues that it is a "metaphysical principle" of explanation that nevertheless undermines certain other metaphysical concepts such as a unified "subject" as well as traditional aesthetic concepts such as artistic autonomy. Pothen challenges Heidegger's claim that art is the "highest expression" of the will to power for Nietzsche while utilizing Heidegger's insights into art to highlight and question previous themes in the book such as the reduction of art to physiology (117-32).Chapter five concentrates on Nietzsche's analysis of the psychology of production and his critique of the Kantian themes of "disinterestedness" and the "judgment of taste." The book ends with a look at Nietzsche's final productive year of 1888. In works such as The Case of Wagner, Nietzsche, Pothen suggests, holds decadent works such as Wagner's as representative of all art produced "in the time of the death of God and the revaluation of all values" (169). For Nietzsche, modernity's inability to understand its own time might "herald the death or the end of this art of works... (shrink)

Kierkegaard notwithstanding, Hegel's notion of the "good" and "bad" infinity was not unprecedented. On the contrary, this attempt to invest a "logical" category with ethical significances goes back to the very roots of the Western metaphysical tradition. In the Pythagorean doctrine of limit and the unlimited, limit was the arche of the good; the unlimited of evil. In the Pythagorean concept of number as an ens, limit and the unlimited attained ontological status. And since number constituted the determinate character of (...) all things, the Pythagorean peras and apeiron was a logos doctrine, the rational principle of the universe. Thereby Pythagoreanism marked a great advance over the Ionian materialisms. (shrink)

In Riches and Poverty, Donald Winch explores the implications of a fundamental and influential idea in political economy. Adam Smith's science of the legislator provided a key to studying the rich and poor in commercial societies, transformed an ancient debate on luxury and inequality, and furnished a basis for assessing the American and French revolutions. Against this background, Britain embarked on its career as the first manufacturing nation, and Malthus made his first contributions to a debate which concluded with (...) the Poor Law Amendment Act of 1834. Malthus provoked fierce opposition from the Lake poets, opening an intellectual rift that persisted throughout the nineteenth century and continues to influence our perceptions of cultural history. Donald Winch has written a compelling and consistently-argued narrative of these developments, which emphasises throughout the moral and political bearings of economic ideas. (shrink)