In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 151-163 [Access article in PDF] Defining "Poetry" Robert B. Pierce SINCE TERMS ARE THE TOOLS of literary study, it is important to keep these tools in good condition, above all by having clear and functional meanings for them. Notoriously, many critical arguments about texts are in fact differences about terminology, and many confused arguments are built on vague or arbitrarily used terms. (...) Few have been the subject of more critical worrying and infighting than "poetry," 1 and few are more disparately defined. Definitions that are fuzzy or tendentious confuse many a discussion of poetry, and in particular they often narrow our response to the rich variety of the texts in front of us by silently imposing a view of what poetry ought to be. I would like to suggest that a Wittgensteinian approach to meaning can cut through a lot of the difficulty that surrounds the term. The refined understanding of the term "poetry" will result in a certain demystification, but it will dissipate only a false mystery based on confusion, not the real mystery of depth and richness that poetry can offer.What does it mean to approach this issue as a Wittgensteinian? The main principle is that the meaning of a term is its use, the way people deploy it in their speaking and writing, the work that it does. 2 A word does not have an essential core of meaning of which the various social uses are approximations; rather those social uses are the meaning. Thus meaning is a social phenomenon, and the way to determine it is to [End Page 151] look outward at how people use a term, not inward for some presumed mental essence that the term designates. Meaning is conventionally divided into reference and sense. What the term "poetry" refers to is a group of publicly visible things in the social world that we call poems, but there is no distillation in the mind that is the essence of poetry, the sense of the term. Of course we have a sense of the term that controls its range of reference. That sense is made up of our bases for calling one thing poetry and not another: the qualities that incline us to see a text as a poem. Wittgenstein would call these defining qualities criteria. The crucial fact is that they are determined by social processes and so are available to public inspection, not hidden away to be discovered only by introspection.Another observation about what it is to assign meaning to a term is important here. If someone asserts that "poetry" means X, he or she can appropriately be asserting that in fact the offered definition describes how people use the term, or else he or she can be suggesting how the term should or will be used in a specific discourse, that is, offering a definition proposal or stipulative definition. In the latter case the proposer needs to show the utility of the change from ordinary speech for his or her purposes. That is of course what literary critics do when they specify meanings for a term like "tragedy" or "irony" that are different from common usage. It is not that Wayne Booth's way of talking about irony uses the real meaning (both his and the ordinary senses are perfectly real since both are socially used), but that his is more useful for literary criticism than the general usage because it is more precise and nuanced. 3Thus it would make sense to begin defining "poetry" by looking at how people use the term and in particular how it is used in literary discourse. However, though I will pay some attention to what critics actually say and write, I would like primarily to offer certain proposals for refining our use of the term so as to avoid confusion and vagueness. It is not that this investigation will be approaching the real meaning of "poetry," which I have suggested is an imaginary goal, but that it will propose a use of the term constituting a vehicle for talking and writing about poetry that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 151-163 [Access article in PDF] Defining "Poetry" Robert B. Pierce SINCE TERMS ARE THE TOOLS of literary study, it is important to keep these tools in good condition, above all by having clear and functional meanings for them. Notoriously, many critical arguments about texts are in fact differences about terminology, and many confused arguments are built on vague or arbitrarily used terms. (...) Few have been the subject of more critical worrying and infighting than "poetry," 1 and few are more disparately defined. Definitions that are fuzzy or tendentious confuse many a discussion of poetry, and in particular they often narrow our response to the rich variety of the texts in front of us by silently imposing a view of what poetry ought to be. I would like to suggest that a Wittgensteinian approach to meaning can cut through a lot of the difficulty that surrounds the term. The refined understanding of the term "poetry" will result in a certain demystification, but it will dissipate only a false mystery based on confusion, not the real mystery of depth and richness that poetry can offer.What does it mean to approach this issue as a Wittgensteinian? The main principle is that the meaning of a term is its use, the way people deploy it in their speaking and writing, the work that it does. 2 A word does not have an essential core of meaning of which the various social uses are approximations; rather those social uses are the meaning. Thus meaning is a social phenomenon, and the way to determine it is to [End Page 151] look outward at how people use a term, not inward for some presumed mental essence that the term designates. Meaning is conventionally divided into reference and sense. What the term "poetry" refers to is a group of publicly visible things in the social world that we call poems, but there is no distillation in the mind that is the essence of poetry, the sense of the term. Of course we have a sense of the term that controls its range of reference. That sense is made up of our bases for calling one thing poetry and not another: the qualities that incline us to see a text as a poem. Wittgenstein would call these defining qualities criteria. The crucial fact is that they are determined by social processes and so are available to public inspection, not hidden away to be discovered only by introspection.Another observation about what it is to assign meaning to a term is important here. If someone asserts that "poetry" means X, he or she can appropriately be asserting that in fact the offered definition describes how people use the term, or else he or she can be suggesting how the term should or will be used in a specific discourse, that is, offering a definition proposal or stipulative definition. In the latter case the proposer needs to show the utility of the change from ordinary speech for his or her purposes. That is of course what literary critics do when they specify meanings for a term like "tragedy" or "irony" that are different from common usage. It is not that Wayne Booth's way of talking about irony uses the real meaning (both his and the ordinary senses are perfectly real since both are socially used), but that his is more useful for literary criticism than the general usage because it is more precise and nuanced. 3Thus it would make sense to begin defining "poetry" by looking at how people use the term and in particular how it is used in literary discourse. However, though I will pay some attention to what critics actually say and write, I would like primarily to offer certain proposals for refining our use of the term so as to avoid confusion and vagueness. It is not that this investigation will be approaching the real meaning of "poetry," which I have suggested is an imaginary goal, but that it will propose a use of the term constituting a vehicle for talking and writing about poetry that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading Paradise Regained EthicallyRobert B. PierceMuch modern criticism follows a long tradition by attending to the presumed effect of literature on our personal and political lives. Feminists, cultural materialists, new historicists, and postcolonialists frequently remind us that texts are "not innocent," and such analysts seek to make explicit the values and judgments that literary texts encourage in their readers. Whether in the vein of unmasking or of celebrating, we (...) critics often attribute great ethical and political significance to the works we study, but we are inclined to be vague about the mechanisms by which these effects occur. Given that I share this presumption that the texts we love to study matter to our lives, I would like to look more closely at how the process occurs, taking Milton's Paradise Regained as a test case.Does our reading of literary texts affect us ethically, and should it?1 An ancient and powerful critical tradition has taken for granted that the answer to both questions is yes. At the very least, good literature read properly is seen as one among the shaping forces of our education. But, beginning in the late eighteenth century, the theoretical movement to separate esthetics from ethics rendered this assumption problematic. Perhaps the beautiful is a value quite separate from the good. Later the literary school of estheticism brashly proclaimed the triumph of beauty over goodness under the banner of art for art's sake, [End Page 208] and Auden more modestly noted in "In Memory of W. B. Yeats" that "poetry makes nothing happen,"2 presumably including in the denial the moral betterment of its readers. The idea that literature is good for us has been almost embarrassing for the past century or so. On the other hand, many feminists and cultural critics have recently argued in effect that literature is often bad for us, that it is implicated in the ethical and political life of the time when it is produced and also in the time when it is received or consumed, so that it may tend to reinforce the ideology of one period or the other. In their assumption that literature is ethically significant they agree with most ordinary people and with the cultural right, especially in concern about its influence.What does this recent set of contentions entail? The term "implicated" that is characteristically used in such analysis claims at a minimum that the literary text in question has been shaped in production, consumption, or both by larger cultural forces, shaped in such a way as to incorporate certain values. Most such analyses go further to assert or suggest that the text under study helps to reinforce those values in the original audience or in later consumers (sometimes by attacking opposed values).3 The characteristic rhetorical stance in such readings is an implied warning to the reader against the insidious effect of the text lest it instill some fallacious, unethical, or politically harmful attitude or idea. Often the reader is rhetorically invited to share a position of intellectual superiority along with the critic, both of them above the corruption that afflicts an unspecified gullible audience. Thus many modern critics identify a romanticizing of war and the military hero in Shakespeare's Henry V, though they differ among themselves in that some locate both poison and cure in the text itself (suggesting, for example, that Shakespeare subverts the official ideology that he portrays), while some offer a "reading against the text," a cure administered by the critic against the wholly poisonous work.Such critics frequently manifest a reasonable caution about their own ethical and political stance. In an age of widespread pluralism and cultural relativism, we have learned to suspect self-confident proclamations of the ethical and political truth by critics as well as by literary authors, and in particular we are suspicious of official codes of conduct, including our own. Also we are (often at least) less confident than our forebears in purporting to state the meaning of a text. We have learned to heed the ambiguities and self-undermining elements in texts that complicate the capacity of any simple critical statement to reflect adequately what the text means. We no... (shrink)

Abstract:Can I (and you) talk sensibly about William Shakespeare's works? Some historicists see insuperable barriers in trying to understand utterances from different times and cultures, and some skeptics see such barriers in trying to read other minds. In Ludwig Wittgenstein's famous utterance about not understanding a talking lion, is the early modern Englishman Shakespeare one of those lions? Or can a magic key see past such barriers in one of the critical systems that we are offered? I argue that the (...) answer to both questions is no. (shrink)

Is King Lear against the blind? Must enlightened moderns find the play ethically objectionable? The portrayal of Gloucester in his blindness certainly relies on stereotyped attitudes that modern disability studies have made visible for us. Gloucester’s blindness is the physical equivalent of Lear’s madness, both representing the destruction of what would seem central to a satisfying human existence. Both are crucial to the structure of the play and its tragic impact, but, because Shakespeare gets right how various human beings respond (...) to Gloucester’s blindness, twenty-first-century readers and audiences can find both meaning and power in Shakespeare’s portrayal. (shrink)

What sort of thing is judgment?1 Looking at the sense of "judgment" as a human capacity as opposed to the result of exercising that capacity, whether in ordinary behavior or in some legal or political framework, I intend to offer a definition proposal for the term and then to discuss how judgment so defined operates in human behavior, what constitutes good judgment, whether it can be cultivated, and, if so, how. The example I will focus on is drawn from Shakespeare's (...) character Benedick in Much Ado About Nothing as he decides to fall in love with Beatrice. Postulating that Shakespeare is a shrewd analyst of human psychology, I hope to show that his portrayal will illuminate the concept of judgment and, conversely... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 151-163 [Access article in PDF] Defining "Poetry" Robert B. Pierce SINCE TERMS ARE THE TOOLS of literary study, it is important to keep these tools in good condition, above all by having clear and functional meanings for them. Notoriously, many critical arguments about texts are in fact differences about terminology, and many confused arguments are built on vague or arbitrarily used terms. (...) Few have been the subject of more critical worrying and infighting than "poetry," 1 and few are more disparately defined. Definitions that are fuzzy or tendentious confuse many a discussion of poetry, and in particular they often narrow our response to the rich variety of the texts in front of us by silently imposing a view of what poetry ought to be. I would like to suggest that a Wittgensteinian approach to meaning can cut through a lot of the difficulty that surrounds the term. The refined understanding of the term "poetry" will result in a certain demystification, but it will dissipate only a false mystery based on confusion, not the real mystery of depth and richness that poetry can offer.What does it mean to approach this issue as a Wittgensteinian? The main principle is that the meaning of a term is its use, the way people deploy it in their speaking and writing, the work that it does. 2 A word does not have an essential core of meaning of which the various social uses are approximations; rather those social uses are the meaning. Thus meaning is a social phenomenon, and the way to determine it is to [End Page 151] look outward at how people use a term, not inward for some presumed mental essence that the term designates. Meaning is conventionally divided into reference and sense. What the term "poetry" refers to is a group of publicly visible things in the social world that we call poems, but there is no distillation in the mind that is the essence of poetry, the sense of the term. Of course we have a sense of the term that controls its range of reference. That sense is made up of our bases for calling one thing poetry and not another: the qualities that incline us to see a text as a poem. Wittgenstein would call these defining qualities criteria. The crucial fact is that they are determined by social processes and so are available to public inspection, not hidden away to be discovered only by introspection.Another observation about what it is to assign meaning to a term is important here. If someone asserts that "poetry" means X, he or she can appropriately be asserting that in fact the offered definition describes how people use the term, or else he or she can be suggesting how the term should or will be used in a specific discourse, that is, offering a definition proposal or stipulative definition. In the latter case the proposer needs to show the utility of the change from ordinary speech for his or her purposes. That is of course what literary critics do when they specify meanings for a term like "tragedy" or "irony" that are different from common usage. It is not that Wayne Booth's way of talking about irony uses the real meaning (both his and the ordinary senses are perfectly real since both are socially used), but that his is more useful for literary criticism than the general usage because it is more precise and nuanced. 3Thus it would make sense to begin defining "poetry" by looking at how people use the term and in particular how it is used in literary discourse. However, though I will pay some attention to what critics actually say and write, I would like primarily to offer certain proposals for refining our use of the term so as to avoid confusion and vagueness. It is not that this investigation will be approaching the real meaning of "poetry," which I have suggested is an imaginary goal, but that it will propose a use of the term constituting a vehicle for talking and writing about poetry that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading Paradise Regained EthicallyRobert B. PierceMuch modern criticism follows a long tradition by attending to the presumed effect of literature on our personal and political lives. Feminists, cultural materialists, new historicists, and postcolonialists frequently remind us that texts are "not innocent," and such analysts seek to make explicit the values and judgments that literary texts encourage in their readers. Whether in the vein of unmasking or of celebrating, we (...) critics often attribute great ethical and political significance to the works we study, but we are inclined to be vague about the mechanisms by which these effects occur. Given that I share this presumption that the texts we love to study matter to our lives, I would like to look more closely at how the process occurs, taking Milton's Paradise Regained as a test case.Does our reading of literary texts affect us ethically, and should it?1 An ancient and powerful critical tradition has taken for granted that the answer to both questions is yes. At the very least, good literature read properly is seen as one among the shaping forces of our education. But, beginning in the late eighteenth century, the theoretical movement to separate esthetics from ethics rendered this assumption problematic. Perhaps the beautiful is a value quite separate from the good. Later the literary school of estheticism brashly proclaimed the triumph of beauty over goodness under the banner of art for art's sake, [End Page 208] and Auden more modestly noted in "In Memory of W. B. Yeats" that "poetry makes nothing happen,"2 presumably including in the denial the moral betterment of its readers. The idea that literature is good for us has been almost embarrassing for the past century or so. On the other hand, many feminists and cultural critics have recently argued in effect that literature is often bad for us, that it is implicated in the ethical and political life of the time when it is produced and also in the time when it is received or consumed, so that it may tend to reinforce the ideology of one period or the other. In their assumption that literature is ethically significant they agree with most ordinary people and with the cultural right, especially in concern about its influence.What does this recent set of contentions entail? The term "implicated" that is characteristically used in such analysis claims at a minimum that the literary text in question has been shaped in production, consumption, or both by larger cultural forces, shaped in such a way as to incorporate certain values. Most such analyses go further to assert or suggest that the text under study helps to reinforce those values in the original audience or in later consumers (sometimes by attacking opposed values).3 The characteristic rhetorical stance in such readings is an implied warning to the reader against the insidious effect of the text lest it instill some fallacious, unethical, or politically harmful attitude or idea. Often the reader is rhetorically invited to share a position of intellectual superiority along with the critic, both of them above the corruption that afflicts an unspecified gullible audience. Thus many modern critics identify a romanticizing of war and the military hero in Shakespeare's Henry V, though they differ among themselves in that some locate both poison and cure in the text itself (suggesting, for example, that Shakespeare subverts the official ideology that he portrays), while some offer a "reading against the text," a cure administered by the critic against the wholly poisonous work.Such critics frequently manifest a reasonable caution about their own ethical and political stance. In an age of widespread pluralism and cultural relativism, we have learned to suspect self-confident proclamations of the ethical and political truth by critics as well as by literary authors, and in particular we are suspicious of official codes of conduct, including our own. Also we are (often at least) less confident than our forebears in purporting to state the meaning of a text. We have learned to heed the ambiguities and self-undermining elements in texts that complicate the capacity of any simple critical statement to reflect adequately what the text means. We no... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Being a Moral Agent in Shakespeare's ViennaRobert B. PierceIn one sense we are all moral agents because we make decisions that in some degree take account of what we think we should do and what sorts of selves we want to be. But the problem of moral agency as more than just a theoretical set of philosophical issues, as the lived experience of acting morally in a contingent world, (...) is especially acute for those who set out deliberately to try to uphold some moral ideal, for the idealist in that popular sense of the term. In describing moral agency, philosophers may tend to exaggerate the importance of reflective rationality in the human task of being moral, elevating their own habits of mind into the apex of human striving, but at least the experience of the intellectual idealist is of a special kind, and as such it is an endlessly fascinating subject for artistic contemplation in fiction and drama. That interest raises the issue of what kind of text a philosophical play or novel is. Does it constitute a kind of argument for some set of ideas? Does it show how those ideas play out in lived experience? Or are there other possible ways for a text to count as philosophical?One may also ask why Shakespeare is a good subject for such an enquiry. He is not first and foremost a dramatist of ideas. Bernard Shaw and Tom Stoppard, for example, are far more likely to dramatize the encounter of ideas than he; but for a few years after 1599 or so, beginning with the creation of Brutus, Shakespeare seems to have devoted considerable attention to portraying how ideas impinge on the human experience, and especially to studying moral idealists. Leonato may doubt the importance of philosophical moralizing when he protests that "there was never yet philosopher / That could endure the toothache patiently" (Much Ado 5.1.35–36),1 but in Julius Caesar Brutus is determined to cure the toothaches of the Roman political world by the power [End Page 267] of thought and to govern his own life by the precepts of Stoicism. A group of Shakespeare's plays over the next few years are unusually idea-centered for him and are especially concerned with characters who try to apply moral ideas in the world. Hamlet with its intellectual protagonist comes to mind of course, but perhaps the most systematic exploration of idealists trying to live by their ideas is Measure for Measure. Angelo, Isabella, and the Duke set out on that project in a world that the play analytically divides into four environments for their moral testing: the court, the convent, the tavern-brothel, and the prison.The dramatic richness of this topic of practical ethics lies in how terribly difficult it is to live by a morality worthy of respect. Most of us share the admiration for Brutus's idealism in Antony's tribute, "This was the noblest Roman of them all" (5.5.68), but we may also share the irony, even contempt, in the sarcastic catchphrase of his oration, "Brutus is an honorable man" (3.2.84 and following). The tragedy of Brutus's fate emerges from the difficulties of living out any idealism in our tangled and terribly imperfect world. First, moral principles like the categorical imperative and the Golden Rule, admired character traits like constancy and benevolence, even intuitions (or, as it may be, divine inspirations) about duty do not apply themselves automatically and unambiguously to a decision how to act in a specific situation.2 What does treating human beings as ends, not means entail in your quotidian dealings with your wife, your boss, the dealer who sells you a newspaper? Second, rival values may conflict with a good you are trying to uphold. How can you devote yourself to your work and also give your family the love and attention they need? Third, the demands of the ideal may extend past the limits of your will power or even attention. How many teachers are as patient and understanding of the eightieth student paper as of the first? And, finally, living up to an ideal can be painful... (shrink)

In Overdoing Democracy, Robert B. Talisse turns the popular adage "the cure for democracy's ills is more democracy" on its head. Indeed, he argues, the widely recognized, crisis-level polarization within contemporary democracy stems from the tendency among citizens to overdo democracy. When we make everything--even where we shop, the teams we cheer for, and the coffee we drink--about our politics, we weaken our bonds to one another, and work against the fundamental goals of democracy. Talisse advocates civic friendship built (...) around shared endeavors that we must undertake with fellow citizens who do not necessarily share our political affinities as the best way we can obtain a healthier, more sustainable democracy. (shrink)

Among moral attributes true virtue alone is sublime. … [I]t is only by means of this idea [of virtue] that any judgment as to moral worth or its opposite is possible. … Everything good that is not based on a morally good disposition … is nothing but pretence and glittering misery. 1.

Why democracy? Most often this question is met with an appeal to some decidedly moral value, such as equality, liberty, dignity or even peace. But in contemporary democratic societies, there is deep disagreement and conflict about the precise nature and relative worth of these values. And when democracy votes, some of those who lose will see the prevailing outcome as not merely disappointing, but morally intolerable. How should citizens react when confronted with a democratic result that they regard as intolerable? (...) Should they revolt, or instead pursue democratic means of social change? In this book, Robert Talisse argues that each of us has reasons to uphold democracy - even when it makes serious moral errors - and that these reasons are rooted in our most fundamental epistemic commitments. His original and compelling study will be of interest to a wide range of readers in political philosophy and political theory. (shrink)

" In Democratic Hope, Robert B. Westbrook examines the varieties of classical pragmatist thought in the work of John Dewey, William James, and Charles Peirce, ...

In Kant's Human Being, Robert B. Louden continues and deepens avenues of research first initiated in his highly acclaimed book, Kant's Impure Ethics.

This fresh and original book argues that the central questions in Hegel's practical philosophy are the central questions in modern accounts of freedom: What is freedom, or what would it be to act freely? Is it possible so to act? And how important is leading a free life? Robert Pippin argues that the core of Hegel's answers is a social theory of agency, the view that agency is not exclusively a matter of the self-relation and self-determination of an individual (...) but requires the right sort of engagement with and recognition by others. Using a detailed analysis of key Hegelian texts, he develops this interpretation to reveal the bearing of Hegel's claims on many contemporary issues, including much-discussed core problems in the liberal democratic tradition. His important study will be valuable for all readers who are interested in Hegel's philosophy and in the modern problems of agency and freedom. (shrink)

An outstanding question for Hybrid dual process models of reasoning is whether both basic and more complex forms of conditional inference result...

This is the first book-length study in any language to examine in detail and critically assess the second part of Kant's ethics- -an empirical, impure part, which determines how best to apply pure principles to the human situation. Drawing attention to Kant's under-explored impure ethics, this revealing investigation refutes the common and long-standing misperception that Kants ethics advocates empty formalism. Making detailed use of a variety of Kantian texts never before translated into English, author Robert B. Louden reassesses the (...) strengths and weaknesses of Kantian ethics as a whole, once the second part is re-admitted to its rightful place within Kant's practical philosophy. (shrink)

Friedrich Nietzsche is one of the most elusive thinkers in the philosophical tradition. His highly unusual style and insistence on what remains hidden or unsaid in his writing make pinning him to a particular position tricky. Nonetheless, certain readings of his work have become standard and influential. In this major new interpretation of Nietzsche’s work, Robert B. Pippin challenges various traditional views of Nietzsche, taking him at his word when he says that his writing can best be understood as (...) a kind of psychology. Pippin traces this idea of Nietzsche as a psychologist to his admiration for the French moralists: La Rochefoucauld, Pascal, Stendhal, and especially Montaigne. In distinction from philosophers, Pippin shows, these writers avoided grand metaphysical theories in favor of reflections on life as lived and experienced. Aligning himself with this project, Nietzsche sought to make psychology “the queen of the sciences” and the “path to the fundamental problems.” Pippin contends that Nietzsche’s singular prose was an essential part of this goal, and so he organizes the book around four of Nietzsche’s most important images and metaphors: that truth could be a woman, that a science could be gay, that God could have died, and that an agent is as much one with his act as lightning is with its flash. Expanded from a series of lectures Pippin delivered at the Collège de France, _Nietzsche, Psychology, and First Philosophy_ offers a brilliant, novel, and accessible reading of this seminal thinker. (shrink)

Over a career spanning American history from the 1880s to the 1950s, John Dewey sought not only to forge a persuasive argument for his conviction that "democracy is freedom" but also to realize his democratic ideals through political activism. Widely considered modern America's most important philosopher, Dewey made his views known both through his writings and through such controversial episodes as his leadership of educational reform at the turn of the century; his support of American intervention in World War I (...) and his leading role in the Outlawry of War movement after the war; and his participation in both radical and anti-communist politics in the 1930s and 40s. Robert B. Westbrook reconstructs the evolution of Dewey's thought and practice in this masterful intellectual biography, combining readings of his major works with an engaging account of key chapters in his activism. Westbrook pays particular attention to the impact upon Dewey of conversations and debates with contemporaries from William James and Reinhold Niebuhr to Jane Addams and Leon Trotsky. Countering prevailing interpretations of Dewey's contribution to the ideology of American liberalism, he discovers a more unorthodox Dewey—a deviant within the liberal community who was steadily radicalized by his profound faith in participatory democracy. Anyone concerned with the nature of democracy and the future of liberalism in America—including educators, moral and social philosophers, social scientists, political theorists, and intellectual and cultural historians—will find John Dewey and American Democracy indispensable reading. (shrink)

In Kant's Human Being, Robert B. Louden continues and deepens avenues of research first initiated in his highly acclaimed book, Kant's Impure Ethics.

With the rise of review sites and social media, films today, as soon as they are shown, immediately become the topic of debates on their merits not only as entertainment, but also as serious forms of artistic expression. Philosopher Robert B. Pippin, however, wants us to consider a more radical proposition: film as thought, as a reflective form. Pippin explores this idea through a series of perceptive analyses of cinematic masterpieces, revealing how films can illuminate, in a concrete manner, (...) core features and problems of shared human life. Filmed Thought examines questions of morality in Almodóvar’s Talk to Her, goodness and naïveté in Hitchcock’s Shadow of a Doubt, love and fantasy in Sirk’s All That Heaven Allows, politics and society in Polanski’s Chinatown and Malick’s The Thin Red Line, and self-understanding and understanding others in Nicholas Ray’s In a Lonely Place and in the Dardennes brothers' oeuvre. In each reading, Pippin pays close attention to what makes these films exceptional as technical works of art and as intellectual and philosophical achievements. Throughout, he shows how films offer a view of basic problems of human agency from the inside and allow viewers to think with and through them. Captivating and insightful, Filmed Thought shows us what it means to take cinema seriously not just as art, but as thought, and how this medium provides a singular form of reflection on what it is to be human. (shrink)

Some Pragmatist Themes in Hegel’s Idealism:Negotiation and Administration in Hegel’sAccount of the Structure and Content ofConceptual NormsRobert B. BrandomThis paper could equally well have been titled ‘Some Idealist Themes in Hegel’sPragmatism’. Both idealism and pragmatism are capacious concepts, encompassingmany distinguishable theses. I will focus on one pragmatist thesis and one ideal-ist thesis (though we will come within sight of some others). The pragmatistthesis (what I will call ‘the semantic pragmatist thesis’) is that the use of conceptsdetermines their content, that is, (...) that concepts can have no content apart from thatconferred on them by their use. The idealist thesis is that the structure and unityof the concept is the same as the structure and unity of the self. The semantic prag-matist thesis is a commonplace of our Wittgensteinean philosophical world. Theidealist thesis is, to say the least, not. I don’t believe there is any serious contem-porary semantic thinker who is pursuing the thought that concepts might best beunderstood by modelling them on selves. Indeed, from the point of view ofcontemporary semantics it is hard to know even what one could mean by such athought: what relatively unproblematic features of selves are supposed to illumi-nate what relatively problematic features of concepts? Why should we think thatunderstanding something about, say, personal identity would help us under-stand issues concerning the identity and individuation of concepts? From acontemporary point of view, the idealist semantic thesis is bound to appearinitially as something between unpromising and crazy.My interpretive claim here will be that the idealist thesis is Hegel’s way of makingthe pragmatist thesis workable, in the context of several other commitments andinsights. My philosophical claim here will be that we actually have a lot to learn fromthis strategy about contemporary semantic issues that we by no means see our wayto the bottom of otherwise. In the space of this essay, I cannot properly justify thefirst claim textually, nor the second argumentatively. I will confine myself of neces-sity to sketching the outlines and motivations for the complex, sophisticated, andinteresting view on the topic I find Hegel putting forward. (shrink)

A brief synopsis of Overdoing Democracy: Why We Must Put Politics in its Place (Oxford University Press, 2019), which introduces the book.

The origins of pragmatism -- Pragmatism and epistemology -- Pragmatism and truth -- Pragmatism and metaphysics -- Pragmatism and ethics -- Pragmatism and politics -- Pragmatism and environmental ethics.

Democracy is not only a form of government. It is also the moral aspiration for a society of self-governing political equals who disagree about politics. Citizens are called on to be active democratic participants, but they must also acknowledge one another's political equality. Democracy thus involves an ethic of civility among opposed citizens. Upholding this ethic is more difficult than it may look. When the political stakes are high, the opposition seems to us tobe advocating injustice. Sustaining Democracy poses the (...) question: why should we uphold democratic relations with those whose politics we despise? (shrink)

This is the most important book on Hegel to have appeared in the past ten years. Robert Pippin offers a completely new interpretation of Hegel's idealism, which focuses on Hegel's appropriation and development of kant's theoretical project. Hegel is presented neither as a precritical metaphysician nor as a social theorist, but as a critical philosopher whose disagreements with Kant, especially on the issue of intuitions, enrich the idealist arguments against empiricism, realism and naturalism. In the face of the dismissal (...) of absolute idealism as either unintelligible or implausible, Pippin explains and defends an original account of the philosophical basis for Hegel's claims about the historical and social nature of selfconsciousness, and so of knowledge itself. (shrink)

Hegel frequently claimed that the heart of his entire system was a book widely regarded as among the most difficult in the history of philosophy, The Science of Logic. This is the book that presents his metaphysics, an enterprise that he insists can only be properly understood as a “logic,” or a “science of pure thinking.” Since he also wrote that the proper object of any such logic is pure thinking itself, it has always been unclear in just what sense (...) such a science could be a “metaphysics.” -/- Robert B. Pippin offers here a bold, original interpretation of Hegel’s claim that only now, after Kant’s critical breakthrough in philosophy, can we understand how logic can be a metaphysics. Pippin addresses Hegel’s deep, constant reliance on Aristotle’s conception of metaphysics, the difference between Hegel’s project and modern rationalist metaphysics, and the links between the “logic as metaphysics” claim and modern developments in the philosophy of logic. Pippin goes on to explore many other facets of Hegel’s thought, including the significance for a philosophical logic of the self-conscious character of thought, the dynamism of reason in Kant and Hegel, life as a logical category, and what Hegel might mean by the unity of the idea of the true and the idea of the good in the “Absolute Idea.” The culmination of Pippin’s work on Hegel and German idealism, no Hegel scholar or historian of philosophy will want to miss this book. (shrink)

Pragmatism's ambiguous legacy -- Can democracy be a way of life? -- Peirce, inquiry, and politics -- Pluralism and the Peircean view -- Posner's pragmatic realism -- The case of Sidney Hook -- Epilogue : the eclipse narrative revisited.

This article presents the case of an HIV-positive client who reported having sexual relations with an unknowing partner. The issue raised is whether the therapist was required to warn the unknowing partner, similar to the Tarasoff mandate that is imposed on therapists. The case is analyzed from an ethical framework similar to that presented by Beauchamp and Childress. Two opinions are presented, each leading to different conclusions about whether the therapist should inform the unknowing partner. It is concluded that although (...) such analysis is valuable in aiding the therapist in his or her decision-making process, no clear professional standard for the management of the problem is evident. (shrink)

Republicans hold that freedom is non-domination rather than non-interference. This entails that any instance of interference that does not involve domination is not freedom-lessening. The case for thinking of freedom as non-domination proceeds mostly by way of a handful of highly compelling cases in which it seems intuitive to say of some person that he or she is unfree despite being in fact free from interference. In this essay, I call attention to a kind of case which directs attention to (...) what seems to me to be a highly counterintuitive element of the republican conception of freedom. (shrink)

In a recent article, Iris Marion Young raises several challenges to deliberative democracy on behalf of political activists. In this paper, the author defends a version of deliberative democracy against the activist challenges raised by Young and devises challenges to activism on behalf of the deliberative democrat. Key Words: activism • deliberative democracy • Discourse • Ideology • public sphere • I. M. Young.

Rawls ‘s political liberalism abandons the traditional political‐theory objective of providing a philosophical account of liberal democracy. However, Rawls also aims for a liberal political order endorsed by citizens on grounds deeper than what he calls a “modus vivendi” compromise; he contends that a liberal political order based upon a modus vivendi is unstable. The aspiration for a pluralist and “freestanding” liberalism is at odds with the goal of a liberalism endorsed as something deeper than a modus vivendi compromise among (...) competing comprehensive doctrines. A liberalism that is supported “for its own sake” rather than as a compromise must necessarily be based on some conception of the good, of the sort that political liberalism eschews. (shrink)

This brief text assists students in understanding Rawls' philosophy and thinking so they can more fully engage in useful, intelligent class dialogue and improve their understanding of course content. Part of the Wadsworth Notes Series,, ON RAWLS is written by a philosopher deeply versed in the philosophy of this key thinker. Like other books in the series, this concise book offers sufficient insight into the thinking of a notable philosopher, better enabling students to engage in reading and to discuss the (...) material in class and on paper. (shrink)

ABSTRACTThis essay covers two criticisms of Brennan’s Against Democracy. The first charges that the public political ignorance findings upon which Brennan relies are not epistemically nuanced to th...

The relationship between philosophy and aesthetic criticism has occupied Robert Pippin throughout his illustrious career. Whether discussing film, literature, or modern and contemporary art, Pippin's claim is that we cannot understand aesthetic objects unless we reckon with the fact that some distinct philosophical issue is integral to their meaning. In his latest offering, Philosophy by Other Means, we are treated to a collection of essays that builds on this larger project, offering profound ruminations on philosophical issues in aesthetics along (...) with revelatory readings of Henry James, Marcel Proust, and J. M. Coetzee. (shrink)

The Pragmatism Reader is the essential anthology of this important philosophical movement. Each selection featured here is a key writing by a leading pragmatist thinker, and represents a distinctively pragmatist approach to a core philosophical problem. The collection includes work by pragmatism's founders, Charles Peirce, William James, and John Dewey, as well as seminal writings by mid-twentieth-century pragmatists such as Sidney Hook, C. I. Lewis, Nelson Goodman, Rudolf Carnap, Wilfrid Sellars, and W.V.O. Quine. This reader also includes the most important (...) work in contemporary pragmatism by philosophers like Susan Haack, Cornel West, Hilary Putnam, Richard Rorty, Cheryl Misak, and Robert Brandom. Each selection is a stand-alone piece--not an excerpt or book chapter--and each is presented fully unabridged. The Pragmatism Reader challenges the notion that pragmatism fell into a midcentury decline and was dormant until the advent of "neopragmatism" in the 1980s. This comprehensive anthology reveals a rich and highly influential tradition running unbroken through twentieth-century philosophy and continuing today. It shows how American pragmatist philosophers have contributed to leading philosophical debates about truth, meaning, knowledge, experience, belief, existence, justification, and freedom. Covers pragmatist philosophy from its origins to today Features key writings by the leading pragmatist thinkers Demonstrates the continuity and enduring influence of pragmatism Challenges prevailing notions about pragmatism Includes only stand-alone pieces, completely unabridged Reflects the full range of pragmatist themes, arguments, concerns, and commitments. (shrink)

This essay surveys three prominent trends in current pragmatist political philosophy: Deweyan Democratic Perfectionism, Rortyan Ironism, and Pragmatist Epistemic Deliberativism. After articulating the main commitments of each view, the author raises philosophical problems each must confront. The essay closes with the more general criticism that pragmatist political theory has been nearly exclusively focused on democracy, but needs to address additional topics.

In recent work, Cheryl Misak has developed a novel justification of deliberative democracy rooted in Peircean epistemology. In this article, the author expands Misak's arguments to show that not only does Peircean pragmatism provide a justification for deliberative democracy that is more compelling than the justifications offered by competing liberal and discursivist views, but also fixes a specific conception of deliberative politics that is perfectionist rather than neutralist. The article concludes with a discussion of whether the `epistemic perfectionism' implied by (...) the pragmatist argument could be endorsed by liberal democrats. Key Words: deliberative democracy • epistemology • liberalism • Cheryl Misak • Charles Peirce • perfectionism • pragmatism • truth. (shrink)