Foreword, by S. Ratner.--Freedom and education, by H. M. Kallen.--Dewey's theory of the nature and function of philosophy, by A. E. Murphy.--Dewey's reconstruction of logical theory, by E. Nagel.--Method in aesthetics, by A. C. Barnes.--The religion of shared experience, by J. H. Randall, Jr.--A Deweyesque mosaic, by W. Hamilton.--Pragmatism as a philosophy of law, by E. W. Patterson.--The political philosophy of instrumentalism, by S. Hu.--Creative democracy, the task before us, by J. Dewey.

Pragmatist aesthetics has not yet reached its full potential. This is primarily due to the legacy of John Dewey’s aesthetics. In order to confront the shortcomings and insufficiencies of his aesthetics, pragmatist aestheticians ought to establish a dialogue with continental aesthetics. The attempt to clarify what pragmatist aesthetics can learn from Theodor W. Adorno’s materialist aesthetics is still a desideratum. This essay focuses on two aspects. First, it shows that pragmatist aestheticians can use Adorno’s modern aesthetics in order to gain (...) a deeper and more complex understanding of the social nature or register of form (of what might be termed “die Gesellschaftlichkeit der Form”). Second, the essay demonstrates that Adorno, in contrast to Dewey, is valuable for the endeavor to grasp the significance of the dialectics of harmony and dissonance or organicity and fragmentation when analyzing modern art and literature. (shrink)

Linking specific nursing actions to outcomes in the healthcare setting is challenging. Patient outcomes are varied and influenced by a myriad of factors, and always involve a wider team than any one nurse. It is difficult to control for a single action or set of actions of a particular nurse. Furthermore, practice is seldom about any ‘one’ action, for one thing leads to another, all within a complex interplay of influencing factors. In this article, we outline a research method which (...) combined Dewey's pragmatism with Gadamer's hermeneutics to explore the consequences of the nurse's use of advanced assessment skills in the acute care setting of medical and surgical wards. This pragmatic hermeneutic methodological approach allowed the complex interplay of influences to be revealed in the unfolding story. Reflection of the nurse brought insights that may otherwise have been passed over. The philosophical notions of Dewey drew attention to the play of ‘means’ and ‘ends’. A hermeneutic approach that calls for ‘thinking’ extends understanding and raises insights that can inform education and practice. (shrink)

This monograph examines the past, present, and potential relationship between American pragmatism and communication research. The contributors provide a bridge between communication studies and philosophy, subjects often developed somewhat in isolation from each other. Addressing topics, such as qualitative and quantitative research, ethics, media research, and feminist studies, the chapters in this volume: *discuss how a pragmatic, Darwinian approach to inquiry has guided and might further guide communication research; *advocate a functional view of communication, based on Dewey's mature notion (...) of transaction; *articulate a pragmatist's aesthetics and connect it to Deweyan democracy; *discuss the similarities and differences between Dewey's notion of inquiry and the philosophical hermeneutics of Hans-Georg Gadamer; *apply accommodation theory, linked to symbolic interactionism and more generally to the social behaviorism of George H. Mead and his followers, to media research; *interpret media-effects evidence in light of pragmatist ideas about inquiry; and *argue that pragmatism theorizes about despair and life's sense of the tragic. This book is written to be readily accessible to students and professional academics within and outside the field of communication studies without extensive training in specialized areas of communication study. (shrink)

In addition to being one of the greatest technical philosophers of the twentieth century, John Dewey was an educational innovator, a Progressive Era reformer, and one of America’s last great public intellectuals. Dewey’s insights into the problems of public education, immigration, the prospects for democratic government, and the relation of religious faith to science are as fresh today as when they were first published. His penetrating treatments of the nature and function of philosophy, the ethical and aesthetic dimensions of life, (...) and the role of inquiry in human experience are of increasing relevance at the turn of the 21st century. Based on the award-winning 37-volume critical edition of Dewey’s work, The Essential Dewey presents for the first time a collection of Dewey’s writings that is both manageable and comprehensive. The volume includes essays and book chapters that exhibit Dewey’s intellectual development over time; the selection represents his mature thinking on every major issue to which he turned his attention. Eleven part divisions cover: Dewey in Context; Reconstructing Philosophy; Evolutionary Naturalism; Pragmatic Metaphysics; Habit, Conduct, and Language; Meaning, Truth, and Inquiry; Valuation and Ethics; The Aims of Education; The Individual, the Community, and Democracy; Pragmatism and Culture: Science and Technology, Art and Religion; and Interpretations and Critiques. Taken as a whole, this collection provides unique access to Dewey’s understanding of the problems and prospects of human existence and of the philosophical enterprise. (shrink)

In his attack on the notion of immediate experience, Hans-Georg Gadamer argues that aesthetic experience should be absorbed into hermeneutics because alone it cannot account for the historical nature of experience ; predicated on an ontological theory of art, the unfathomable, therefore, is the sense we have of these infinite hermeneutic depths. I argue that this account is methodologically and existentially unacceptable: methodologically because it is overly speculative, and existentially because it betrays authentic existence. I critique Gadamer from the perspective (...) of William James’ Pragmatism and argue, inverting Gadamer’s main thesis, that hermeneutics should be reduced to aesthetic experience. The meaning that emerges in aesthetic experience does not ‘rise up’ from the depths but is immanent in what James calls ‘pure experience’. The unfathomable, therefore, is not a glimpse into the metaphysical abyss but a phenomenological insight into the immanent structure of experience. (shrink)

Everyday Aesthetics, radicalizing Dewey’s notion of the continuity between art and experience, aims to find aesthetic qualities in ordinary experience. The problem is that it reduces the aesthetic significance that Dewey attributed to artistic production. Analyzing Dewey’s work and its interpreters, I will demonstrate that the continuity of ordinary experience and art is what lends art its vital and distinctive character. The work of art contributes to developing other ways of seeing and acting in the world, reinforcing life in common, (...) the basis of democracy. (shrink)

Either beauty is the beholding of a fixed and final aesthetic essence discontinuous with the rest of nature, or it is an intuitive grasp and encompassing feel of a consummated movement of natural energies and elements through their inner relations into a single, qualitative unity, whose pervasive tonality is a situational emergent from the biologically active, temporally continuous, and reciprocally constituting-constituted transactional dialectic between a human creature and the world. If aesthetic-mystical experience is indeed something “eternalized” out of all connection (...) with ordinary experience and the flood of moving fact, then what is immediately entailed is a phenomenological profile conceived as.. (shrink)

"Examines the relationship between art and morality discussed in the writings of American pragmatist John Dewey.

Relativism and Intentionalism in Interpretation: Davidson, Hermeneutics, and Pragmatism applies a rich philosophical perspective to questions central to the interpretation of art. Puolakka uses discussions of the relativity of interpretations to demonstrate that the pluralistic attitude towards art that characterizes pragmatism and hermeneutics can be combined with a view stressing the role of authorial intentions. Academics concerned with the philosophy of art and aesthetics will find unique and worthwhile contributions to the study here.

The overriding question Stroud confronts in John Dewey and the Artful Life is how to render more of life’s experiences, including the ensuing benefits, as aesthetic or artful as possible. The answer to this question is challenging and complex. The claim most aesthetic theories make is that an object, activity, or experience is artful if and only if it has intrinsic value. Although what constitutes intrinsic value is widely contested, having value in and of itself is a necessary and sufficient (...) condition for an object to be art or an experience aesthetic. This value gives art and aesthetic experience their unique quality and separates them from everyday objects, activities and experiences with only instrumental... (shrink)

During his long career, John Dewey produced an almost endless number of pages of dense philosophical prose, giving those interested in his work plenty to do. Even scholars of rhetoric have found a host of reasons to return to Dewey’s corpus, despite the fact that Dewey himself seemed, at best, uninterested in rhetoric. Two recent works—Robert Danisch’s Pragmatism, Democracy, and the Necessity of Rhetoric and Nathan Crick’s Democracy and Rhetoric: John Dewey on the Arts of Becoming—have already fruitfully mined (...) Dewey’s writings for insights on how pragmatist philosophy intersects with the rhetorical tradition. Now comes Scott Stroud’s John Dewey and the Artful Life. Like Danisch and Crick, Stroud explores the nexus .. (shrink)

Philosophers have been quite often portrayed as farcical figures who claim to possess knowledge that is salient to all human beings yet are at the same time completely out of touch with this world, and, for that reason, clumsy, naïve, and basically of no use to anyone, including their own miserable selves. This image is not only quite common—it is also as old as philosophy itself. Just recall the familiar passage from Plato’s Theaetetus that has Thales fall into a well (...) because he is so busy gazing at the stars that he simply fails to pay any attention to the ground he treads on . “How can you expect to know about all the heavens, when you cannot even see what is just beneath your feet?”1—asks a Thracian .. (shrink)

While examining the important role of imagination in making moral judgments, John Dewey and Moral Imagination focuses new attention on the relationship between American pragmatism and ethics. Steven Fesmire takes up threads of Dewey's thought that have been largely unexplored and elaborates pragmatism's distinctive contribution to understandings of moral experience, inquiry, and judgment. Building on two Deweyan notions—that moral character, belief, and reasoning are part of a social and historical context and that moral deliberation is an imaginative, dramatic (...) rehearsal of possibilities—Fesmire shows that moral imagination can be conceived as a process of aesthetic perception and artistic creativity. Fesmire's original readings of Dewey shed new light on the imaginative process, human emotional make-up and expression, and the nature of moral judgment. This original book presents a robust and distinctly pragmatic approach to ethics, politics, moral education, and moral conduct. [The downloadable sample is Chapter Seven, "The Moral Artist."]. (shrink)

In the present paper an interpretation of the political dimension of pragmatic aesthetic reflection is proposed. The interconnection between politics and aesthetics in three classic American pragmatists: William James (1842–1910), John Dewey (1859–1952), and George Herbert Mead (1863–1931) is evoked. The author claims that by emphasizing the role of democratic values in philosophy and life, the classic American pragmatists encroach upon the field of the arts and aesthetics. Their emphasis put upon individual activity, free expression of thoughts, plurality of the (...) forms of expression, and acceptance of criticism as a tool helping create better solutions in human cooperation can easily be converted into the postulates about the character of the artistic principles and of the nature of the aesthetic norms and values. (shrink)

Pragmatism is experiencing a powerful revival. But the new pragmatism has not yet expressed itself in a new aesthetic, and not since Dewey's Art as Experience has there been a comprehensive pragmatist treatment of this field. Shusterman's bold and lively book fills the gap by proposing a pragmatist aesthetics for our current postmodern condition. Pragmatist Aesthetics treats the traditionally central topics of aesthetics: the definition of art, aesthetic experience and value, form and unity, interpretation, and the cognitive and (...) moral worth of art. But it also directs philosophical aesthetics towards a much wider and more socially pertinent agenda by considering such contemporary issues as the institutionalization and cultural oppression of art, the aesthetic legitimacy of popular culture, and the ethical art of living beauty through the stylization of conduct and the aesthetic construction of the self. Gracefully but vigorously argued, Pragmatist Aesthetics is an important book which breaks new ground and liberates new areas and directions for philosophical inquiry. Its wide-ranging breadth and accessible style will appeal to all readers with an interest in contemporary philosophy, aesthetics and cultural studies. (shrink)

Although the first ‘pragmatist aesthetics’ was devised by John Dewey in his Art as Experience, Richard Shusterman has been the only scholar to use the notion of “pragmatist aesthetics” in his Pragmatist Aesthetics. In this paper, I show that Dewey already refuses the gap between the practices of the ‘artworld’ and that of everyday life. In Art as Experience, he criticizes the ‘museum conception’ of art to argue that some aesthetic experiences in our daily life have the same essential structure (...) as the experience of art. While Rorty has revised Dewey’s basic premises, Shusterman has rather restated them. Since the end of the 1980s, he has started developing his own philosophical project, named ‘somaesthetics’. Shusterman’s somaesthetics does not simply incorporate many Deweyan views, but also develops them further. Accepting a Deweyan framework, Shusterman rejects the sharp dualism of the so-called “lower and higher levels of art”. What is more, he considers philosophy as an art of the living, embracing in somaesthetics the ancient Greek and Asian traditions. (shrink)

Richard Rorty’s writings have long frustrated scholars of classical American philosophy. Robert Brandom’s recent engagements with the history of pragmatism have been met with similar disdain. This essay draws on Larry A. Hickman’s theory of technology and tool-use to find a productive framework for thinking through these interpretations. Foregrounding the purposes that guide their readings, we may find value where many readers have seen only ignorance. This strategy does not embrace interpretive relativism, nor does it preclude all scholarly criticism, (...) but it instead promises a living and engaged approach to working with the history of philosophy. (shrink)

This book explores the writings of philosopher and educator John Dewey in order to develop an expansive vision of aesthetic education and everyday poetics of living. Robert Pirsig's best-selling book, Zen and the Art of Motorcycle Maintenance, provides concrete examples of this compelling yet unconventional vision.

John Dewey’s philosophical pragmatism offers a reformatory approach to the arduous relationship between natural sciences and humanities. The crucial issue, which Dewey sets himself to resolve, is the pre-Darwinian influence of classical philosophy upon various scholarly practices. Ancient background assumptions still today permeate a considerable proportion of academic research and argumentation on both sides of the debate. Even evolutionary accounts appear to be affected. In order to avoid the often implicit, but nonetheless problematic, consequences that ensue from such archaic (...) premises, I examine Dewey’s reappraisal of the concepts of art, science and knowledge. An analysis of these key concepts renders it possible to understand the proper function of aesthetic experience. In this paper, natural constitution of an aesthetic experience, which carries one of the intrinsic relations between art and science, comprises the core of the proposed solution. Furthermore, establishment of an integral aesthetic connection forms a fruitful basis for further bridging of the gap between hard sciences and humanities. (shrink)

Philosophical hermeneutics is underrepresented in the literature on music performance. Given the shift from Cartesian subjectivism to anti-subjectivism in the contemporary literature on improvised musical performance, it is somewhat surprising that hermeneutics does not figure more prominently. Since hermeneutics is characterized by a dialectical to-and-fro—the hermeneutical conversation—between interpreter and subject matter, it would appear to offer a strong foundation for an anti-subjectivist account of improvised musical performance. The aim of this essay is to offer such an account. Drawing primarily on (...) the work of Hans-Georg Gadamer and Luigi Pareyson, this essay works through ideas related to the performer’s interpretation of pre-composed musical works, the context and content of the performance event, and the relational character of musical performance. It is argued that improvised musical performance necessarily relies upon a certain hermeneutic relationality. (shrink)

Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

Abstract: For most people, mobile phones and various forms of personal information technology (PIT) have become standard equipment for everyday life. Recent theorists such as Sherry Turkle raise psychological and philosophical questions about the impact of such technologies and practices, but deeper further philosophical work is needed. This paper takes a pragmatic approach to examining the effects of PIT practices upon experience. After reviewing several main issues with technology raised by Communication theorists, the paper looks more deeply at Turkle’s analysis (...) of technology's impacts upon solitude and conversation. Because Turkle only raises but doesn’t pursue the philosophical dimensions of these issues, the work on experience of John Dewey, William James, and John J. McDermott is utilized to provide concepts and methods by which PIT’s effects might be judged. Finally, pragmatist aesthetics is introduced and consulted as a source of constructive ideals which might guide future amelioration of PIT’s more significant drawbacks. (shrink)

Pragmatist Aesthetics was published in 1992, by now twenty years ago. Through his book Richard Shusterman was able to revitalize a debate in the aesthetic field, which tended to stagnate. But its claims, implications and consequences went beyond the narrow limits of aesthetics, understood as philosophy of art according to a traditional modern approach. His reinterpretation of pragmatist aesthetics, expressly derived from Dewey’s work, was able to show not only that those defining anxieties ch...

A resolute defense of philosophy and hermeneutics against the threats of dogmatism and relativism.

In this essay I discuss the relationship between naturalism and culture by drawing on the aesthetic notions of two leading pragmatists, John Dewey and Richard Rorty. Rorty’s view of the cultural significance of metaphor, which is based on Donald Davidson’s theory of metaphor, centers on the distinction between a naturalistic and an idealistic view of the cognitive value of metaphor. I then discuss the development from idealism to naturalism in Dewey’s view of the imagination and the parallels that may be (...) drawn between Dewey’s and Rorty’s views, particularly regarding the latter’s critique of idealism and its failure to provide a credible philosophical understanding of culture. In the final section I outline a naturalistic view of the emergence of culture based on Dewey’s notions of rhythm and rite as presented in his classic work Art as Experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dewey and the Aesthetic Unconscious: The Vital Depths of Experience by Bethany HenningPentti MäättänenBethany Henning Dewey and the Aesthetic Unconscious: The Vital Depths of Experience London: Lexington Books, 2022. 182 pp. incl. indexBethany Henning examines Dewey's conception of aesthetic experience by looking for connections to several trends and traditions. Henning relates pragmatism to Freudian psychoanalysis, feminism, wisdom from esoteric sources, erotic drive, and religion. "In the American (...) thought that we have surveyed thus far, the aesthetic, the religious, and the ethical stand as completions and realizations of one another" (p. 25). This variety of viewpoints is no doubt interesting and potentially fruitful, but there is a danger that the result may remain somewhat sporadic.One of the traditional problems and tasks in philosophy is to explain how the world is experienced as an organized, bounded whole. How are the various sensations and ideas of them related to each other? On what ground can we experience these relations between ideas? Henning refers to William James and says that these relations are directly experienced, we feel them (p. 46). According to Henning there is a unique force responsible for this, and it "can only be a kind of noncognitive, preverbal awareness, and for Dewey, it can only be the qualitative immediacy that is known to us only in aesthetic experience" (p. 25). How can we experience these relations? Here Henning appeals to Jonathan Edwards (1703–1758) who provided his own view of habits, which account for "the relations between ideas by relating them through their spatiotemporal contiguity, causality, or through resemblances" (p. 21; italics in the original). This is how the American mind was firmly set on a theoretical path that distinguishes it from "the European conception" (ibid.).This is a surprising claim, indeed. Here is what David Hume has to say about the connexion or association of ideas: "The qualities, from [End Page 369] which this association arises, and by which the mind is after this manner convey'd from one idea to another, are three, viz. RESEMBLANCE, CONTIGUITY in time or place, and CAUSE and EFFECT."1 It is quite inconceivable how this simple relabeling of Hume's principles of association as habits might have any effect on any theoretical path, especially on the emergence of pragmatism. Edwards wrote decades before Charles Peirce entered the scene. Edwards' habit is just a new name for old European ideas. It is obvious that Hume's principles of association, which deal with internal mental processes, have not much to do with Peircean habits of action, which are about overt bodily action in the world where we meet also hard facts involving brute force, muscular effort, and resistance.The starting point of Henning's analysis is immediate qualitative experience, affective sensual awareness, which also prefigures and is the ground of signification (p. 107). Qualitative immediacy is felt, had, and undergone. There is a need to experience the world as meaningful, to move from that world as had and undergone to the world as known. Knowledge about this immediate experience becomes possible with the emergence of mind, when "situations, in their qualitative tone, are also socially significant so that interactions are aided by the mediation of symbols" (p. 88). We can give names to qualitatively different feelings. This knowledge is different from qualitative immediacy in that it is discursive, cognitive, and syntactical (p. 38). But how does this kind of knowledge emerge? What is the origin of names and symbols? What is the notion of meaning applied here? According to Henning, meaning "must be felt, had and undergone, in a way that is primarily qualitative rather than primarily cognitive" (p. 107). There is also "erotic need for meaningful connection" (p. 113). Further, Henning appeals to Julia Kristeva's semiotic theory, but Peirce's semiotics is not mentioned. An explicit definition of meaning would be in place here, especially as Peirce and Dewey have one to offer.According to Peirce, "what a thing means is simply what habits it involves" (CP 5.400).2 Note that there are no restrictions on this. If it is a linguistic expression, then we have Ludwig Wittgenstein's language games... (shrink)

A classical Deweyan look at the philosophy of C.S. Peirce--written before the availability of the Harvard edition of Peirce's writings.

In this essay I review John Dewey’s pragmatism from the perspective of environmental social theory. Dewey’s clarification of aesthetics, values, experience, and the natural world are useful to contemporary environmentalism. His work represents a precedent for critical, anti-dualistic social philosophy in the U. S., and usefully clarifies the relationship of humans to the “material world.” Dewey’s conception ofvalues, politics, and experience suggests that these elements may be combined in ways congenial to environmental thought.

This is the first collection in English devoted exclusively to pragmatist aesthetics. Its main aim is to employ the resources of that rich and exciting tradition in studying artistic phenomena such as film, sculpture, bio-art, poetry, the novel, cuisine, and various body arts. But it also attempts to provide a wider background for such studies by sketching the history of pragmatist reflection on the aesthetic and by discussing some of the main positions that this history has produced: the aesthetic conceptions (...) of C.S. Peirce, William James, John Dewey, Joseph Margolis, Richard Shusterman (somaesthetics in particular), and others. (shrink)

This is the first collection in English devoted exclusively to pragmatist aesthetics. Its main aim is to employ the resources of that rich and exciting tradition in studying artistic phenomena such as film, sculpture, bio-art, poetry, the novel, cuisine, and various body arts. But it also attempts to provide a wider background for such studies by sketching the history of pragmatist reflection on the aesthetic and by discussing some of the main positions that this history has produced: the aesthetic conceptions (...) of C.S. Peirce, William James, John Dewey, Joseph Margolis, Richard Shusterman (somaesthetics in particular), and others. (shrink)

This article aims to contribute to the recognition of Jane Addams' aesthetic reflections. Her reflections extended pragmatism by anticipating some themes of Dewey’s aesthetics and some of its current aesthetic derivations. Addams broke down the barriers that separated art and life with the practices at Hull House in which immigrants of different ethnicities and women had an active and leading part. She thus expanded the social meaning of some of the avant-garde art movements that influenced her, such as the (...) Art and Crafts Movement, by trying to make aesthetic sensibility a part of the everyday life of Hull House’s neighbors. In this way, she anticipated current everyday aesthetics, but without diluting the artistic specificity. Art transfigures events through poetics, allowing us to transform our lives through the values that are the common heritage of humanity. In Addams, we find a social aesthetic that sheds light on some of the problems of contemporary theories, expands the considerations of the artistic movements of her time, and contributes to reflections on the vital importance of aesthetics. (shrink)

In this essay I review John Dewey’s pragmatism from the perspective of environmental social theory. Dewey’s clarification of aesthetics, values, experience, and the natural world are useful to contemporary environmentalism. His work represents a precedent for critical, anti-dualistic social philosophy in the U. S., and usefully clarifies the relationship of humans to the “material world.” Dewey’s conception ofvalues, politics, and experience suggests that these elements may be combined in ways congenial to environmental thought.