This account of one man’s search for truth bears witness to defection and apostasy and, in the end, to the humility of deeply lived experience. Eliseo Vivas, distinguished teacher, lit­erary critic, and philosopher, relates the search by his alter ego, Alonzo Quijano, for a philosophy to live by as well as one to think well by. His intellectual odys­sey is marked by defection from com­munism and apostasy from the philoso­phy of John Dewey. Vivas provides throughout this ac­count (...) of Alonzo’s rupture with his com­mitments an analysis of the ideas of the major philosophic thinkers of the West­ern world, an analysis which first moves toward partial acceptance but which ends with their rejection. He devotes the final chapters to the views on politics and moral, theological, and aesthetic subjects at which Alonzo arrived follow­ing his apostasy and defection. Alonzo claims at the end that his philosophical quest was not a failure, for he now “knows that he does not know much.” Hence the two roads to ignorance. Eliseo Vivas has taught at Wisconsin, Chicago, Ohio State, and Northwestern. He has also edited journals, published widely, and has been a participant and, indeed, a major force in most of the in­tellectual discussions of his time. His examination of his contemporaries’ be­liefs and detailed analysis of the views he rejects are therefore especially valu­able. Those peace-loving minds who find Alonzo’s adventures relevant to an understanding of their age will be fasci­nated by this unique and important book. (shrink)

Jordan holds that art is constitutive of culture. The doctrine has thus, obviously, its roots in idealistic philosophy. Audacious, perhaps foolhardy as it may seem to some, and absurd and even perverse as it will seem to others, Jordan seeks to demonstrate that poetry "is literally the creator and legislator for the real world".

This paper attempts to explore some of the implications of the distinction between having or enjoying and knowing, between “experiencing” and science, for these implications have not always been adequately realized by those for whom the distinction is fundamental.

This classic work in the field was originally published by Regnery Gateway in 1983. 'This is a serious, learned, and searching exploration of some of the most difficult questions which have ever concerned the human mind. It is also toughminded in the sense that it recognizes all the difficulties, begs no questions, offers no easy solutions and, unlike conventional protests against modern scepticism, makes no plea for a leap in the dark to an unexamined faith.') Joseph Wood Krutch, from the (...) Introduction. (shrink)

This classic work in the field was originally published by Regnery Gateway in 1983. 'This is a serious, learned, and searching exploration of some of the most difficult questions which have ever concerned the human mind. It is also toughminded in the sense that it recognizes all the difficulties, begs no questions, offers no easy solutions and, unlike conventional protests against modern scepticism, makes no plea for a leap in the dark to an unexamined faith.') Joseph Wood Krutch, from the (...) Introduction. (shrink)

In order to answer our question, "What is the object of the poem?" we must consider two stages of the coming to be of the poem. This is what unqualified organicists forget. The first stage discloses what is called by A. C. Bradley the "subject matter of the poem." It shows the subject matter to consist of the objects of non-aesthetic experience, with whatever structure they may inherently possess as appropriate to their natures, which the poet employs in the making (...) of his poem. These objects can be classified by the philosopher of culture into four main categories: the cognitive, the aesthetic, the moral, and the religious. The reason for including aesthetic objects as possible stuff which makes up the subject matter of the poem is the fact that the artist sometime uses finished poems in the same way in which he uses the rest of his experience, as when a Shakespeare, a Goethe, or a Marlowe employs old poetry to make new. (shrink)

There can be no possible quarrel with the assertion that the phenomena of value are amenable to scientific treatment if the statement is taken in an obvious sense, for the act of valuation is a fact of human experience, empirically observable in the same way as any other fact. There is therefore no reason why we should not deal with certain aspects of the phenomena of value as we deal with other empirical phenomena. To deny this would be to deny (...) scientific status to sociology, anthropology, and psychology. Sometimes one encounters such denials, but they need not be taken seriously, for they are obviously grounded on a very arbitrary and narrow definition of science. (shrink)

2. The equal status mentioned in Thesis 2 need not mean, "equally concrete" or "inclusive," but only, "equally real," where "real" means having a character of its own with reference to which opinions can be true or false. But becoming or process is alone fully concrete or inclusive, since if A is without becoming, and B becomes, then the togetherness of AB also becomes. A new constituent means a new totality. In this sense, becoming is the ultimate principle.