In lieu of an abstract, here is a brief excerpt of the content:Oberlin's First Philosopher* EDWARD H. MADDEN ASA MAHANWAS THE FroST president of Oberlin College (1835-50) and professor of moral philosophy--the usual pattern during these years of "academic orthodoxy" when Christianity was purveyed in American colleges as the philosophy.1 The orthodox professors argued philosophical points very little but rather "presented" and "illustrated" their basic truths. 2 In some ways Mahan fit the stereotype. He did not always probe deeply (...) into questions or always offer reasons for his conclusions. His books are full of phrases like "it could not be otherwise", "no one, it is presumed, will deny that", "it is intuitively evident", "everyone cannot but know", and so on. And he frequently cited other philosophers, as well as the Scriptures, as "authorities." He even cited lengthy passages from Jonathan Edwards whenever he could, even though he differed with Edwards on almost every major point f In more important ways Mahan, however, does not fit the stereotype. Unlike Francis Wayland and most of the other academic orthodoxy before 1850, he had read, and been influenced by, German and French philosophers as well as the Scottish realists. Mahan was particularly influenced by Kant and Cousin. An astute contemporary reviewer remarked that Mahan, like Cousin, was an eclectic. "His eclecticism degenerates sometimes into the merely aggressive, and he delights occasionally in strange and incongruous combinations of Kant, Coleridge, Cousin and himself, but showing here and there great vigor and acuteness, and very considerable philosophical ability." a The aggressiveness of Mahan also sets him apart from the rest of the orthodoxy. He was too fiery by temperament to pass up polemics and hence got to the heart of some basic philosophical problems. He attacked the Edwardian doctrine of determinism and was led, by the vigor of his attack, into what many nineteenth-century Christians considered heresy3 He attacked utilitarianism in all its forms, including Paley's, in a far more consistent and thorough fashion than Francis Wayland and the other followers of Scottish realism and English intuitionism. And first and foremost he vigorously attacked the moral philosophy of his colleague Charles Grandison Finney, famous evangelist, professor of theology, and president-to-be of Oberlin. The spiritedness of his criticisms frequently aroused the ire of his Oberlin colleagues, but the spirited- *Research for some of the material in this paper was made possible by a grant from the Penrose Fund of the AmericanPhilosophicalSociety. ~Cf. Herbert W. Schneider, A History o] American Philosophy (2nd ed.; New York: Columbia University Press, 1963),pp. 195-220; and Joseph L. Blau, Men and Movements in American Philosophy (New York: Prentice-Hall, Inc., 1952). 2Cf. E. H. Madden, "Francis Wayland and the Limits of Moral Responsibility," Proceedings o] the American Philosophical Bociety, Vol. 106 (1962),pp. 348-359. *Quoted by R. S. Fletcher in his History o] Oberlin College (Oberlin, Ohio, 1943),II, 701. 4Fletcher, I, 223-231. [57] 58 HISTORY OF PHILOSOPHY hess fortunately was accompanied by a "considerable philosophical ability" that merits close attention. I Mahan's critique of Edwards appears in his Doctrine o] the Will, first published in 1844. According to Mahan, "Edwards stands convicted of a fundamental error in philosophy, an error which gives form and character to his whole workmthe confounding of the Will with the Sensibility, and thus confounding the characteristics of the phenomena of the former faculty with those of the phenomena of the latter." 5 The trouble is that the whole of Edwards' work "is constructed without an appeal to Consciousness, the only proper and authoritative tribunal of appeal in the case." 8 If we attend carefully to consciousness, said Mahan, we can distinguish volition from the strongest desire and hence must distinguish between the separate faculties of will as personal activity and sensation as mere passive impression. The latter does not "act," it merely "suffers." The will is the moving force in life and unless it can be shown that there is some necessary connection between will and sensation--which, in fact, cannot be done--then it follows that the will is free, that is, the source of "personal activity." Mahan's rejection of universal determinism, of course, entailed the rejection of the Calvinistic doctrine of election... (shrink)

A biographical account of Herbert Read's aesthetics. An excellent introduction to Read's work, it reveals a hidden order and presents a context which would have been familiar to Read's original readership but which is often indistinct today.

Described by one contemporary as the 'sweet singer of The Temple', George Herbert has long been recognised as a lover of music. Nevertheless, Herbert's own participation in seventeenth-century musical culture has yet to be examined in detail. This is the first extended critical study to situate Herbert's roles as priest, poet and musician in the context of the musico-poetic activities of members of his extended family, from the song culture surrounding William Herbert and Mary Sidney to (...) the philosophy of his eldest brother Edward Herbert of Cherbury. It examines the secular visual music of the Stuart court masque as well as the sacred songs of the church. Arguing that Herbert's reading of Augustine helped to shape his musical thought, it explores the tension between the abstract ideal of music and its practical performance to articulate the distinctive theological insights Herbert derived from the musical culture of his time. (shrink)

For people to contribute to discourse, they must do more than utter the right sentence at the right time. The basic requirement is that they add to their common ground in an orderly way. To do this, we argue, they try to establish for each utterance the mutual belief that the addressees have understood what the speaker meant well enough for current purposes. This is accomplished by the collective actions of the current contributor and his or her partners, and these (...) result in units of conversation called contributions. We present a model of contributions and show how it accounts for a variety of features of everyday conversations. (shrink)

With this work, the author terminates his trilogy on nationally prominent philosophers in Germany, France, and the United States, respectively. In all three works a deliberate attempt is made to counter the current trend towards linguistic analysis and deal with philosophy in its classical meaning as a body of general truths about the universe as a whole, which the author believes leads to some important consequences of present day relevance. The style of the work, to say the least, is unusual (...) in that it is cast in the form of a series of letters, fourteen in number, of a father to his daughter. Since he admits there are no German, French, or American "philosophies," properly speaking, each letter deals with a particular North American philosopher, beginning with Jonathan Edwards, Benjamin Franklin, and Thomas Paine in Revolutionary days, continuing with Ralph Waldo Emerson, William James, Charles Sanders Peirce, Josiah Royce, John Dewey, and George Herbert Mead as 19th century representatives, and Whitehead, Santayana, and Carnap for the first half of the twentieth. The work concludes with Hans Kelsen and Marcuse, who like Carnap, came to the United States as the result of Hitler’s antisemitism. The tenor of the work lays stress on problems of cultural and political life and, thereby, on the ties of this sort that bind the United States and Europe. The work reads well, and although its tone is more biographical than philosophical, more expository than critical, it could well serve as supplementary reading for a seminar on American philosophy.—A.B.W. (shrink)

From the sex-free paradise of the Shakers to the worker's paradise of Marx, utopian ideas seem to have two things in common--they all are wonderfully plausible at the start and they all end up as disasters. In Visions of Utopia, three leading cultural critics--Edward Rothstein, Martin Marty, and Herbert Muschamp--look at the history of utopian thinking, exploring why they fail and why they are still worth pursuing. Edward Rothstein, New York Times cultural critic, contends that every utopia (...) is really a dystopia--a disaster in the making--one that overlooks the nature of humanity and the impossibilities of paradise. He traces the ideal in politics and technology and suggests that only in art--and especially in music--does the desire for utopia find satisfaction. Martin Marty examines several models of utopia--from Thomas More's to a 1960s experimental city that he helped to plan--to show that, even though utopias can never be realized, we should not be too quick to condemn them. They can express dimensions of the human spirit that might otherwise be stifled and can plant ideas that may germinate in more realistic and practical soil. And Herbert Muschamp, the New York Times architectural critic, looks at Utopianism as exemplified in two different ways: the Buddhist tradition and the work of visionary Viennese architect Adolph Loos. Utopian thinking embodies humanity's noblest impulses, yet it can lead to horrors such as Nazi Germany and the Soviet Regime. In Visions of Utopia, these leading thinkers offer an intriguing look at the paradoxes of paradise. (shrink)

First Published in 1990. Information about individual operas and other types of musical theater is scattered throughout the enormous literature of music. This book is an effort to bring that data together by comprehensively indexing plots and descriptions of individual operatic background, criticism and analysis, musical themes and bibliographical references. The principal audience for this general reference guide will be for the non-specialist, but its hoped that persons specialising in opera would also find it useful.

This is one of those rare books whose influence will grow rather than diminish with the years. Icon and Idea is destined to take its place beside Ernst Cassirer's massive and difficult The Philosophy of Symbolic Forms as a basic work on the original, creative power of the human spirit as it is enacted as culture -- in myth, religion, science, art. Sir Herbert Read's book is neither massive nor difficult. It was first delivered as the Charles Eliot (...) Norton Lectures 1953-1954, at Harvard. Text and pictures together illustrate the intellectual courage of a great art critic, aesthetician and intellectual theorist, as well as poet and novelist. Advancing beyond Cassirer's theory of the irreducible autonomy of culture, Read develops his theory that "the image always precedes the idea in the development of human consciousness." Having established this major thesis, Read goes on to elaborate it in a way that will interest not only students of art history and the social sciences but any reader interested in the right basis for education. In arguing the primacy of art work in human development, Read gives the reader a fine general education in the history and psychology of art. (shrink)

In this collection of fourteen essays, first published in 1943, Herbert Read extends and amplifies the points of view expressed in his successful pamphlet To Hell with Culture , which has been reprinted here. The ‘politics of the unpolitical’ are the politics of those who strive for human values and not for national or sectional interests. Herbert Read defines these values and demands their recognition as a solvent of social and cultural crises’, and looks forward to (...) the future with constructive vision. This book will be of interest to students of politics, history, and philosophy. (shrink)

This book, first published in 1957, is a collection of Herbert Read's essays on various topics. The essays explore many different subjects and themes, including art, literature, religion and philosophy. This title will be of interest to a variety of readers.

This is a new release of the original 1953 edition.

Education for peace.--Education in things.--Culture and education in a world order.--The moral significance of aesthetic education.--The education of free men.

This is a new release of the original 1960 edition.

In nine essays the author explores the meaning of artistic symbols from prehistory to the present day.