ISBN 0-7914-3529-6 (hard : alk. paper). — ISBN 0-7914-3530-X (pbk. : alk. paper ) 1. Dewey, John, 1854-1952. I. Title. II. Series: SUNY series in philosophy of education. B945.D4B65 1997 191— dc 21 96-52291 CIP 10 987654321 For Jayne ...

Whitehead's response to the epistemological challenges of Hume and Kant, written in a style devoid of the metaphysical intricacies of his later works, Symbolism makes accessible his theory of perception and his more general insights into the function of symbols in culture and society.

Raymond Boisvert's very Aristotelian look at John Dewey's metaphysics.

A key theme in Michael Pollan's first two books dealing with food, The Botany of Desire and The Omnivore's Dilemma, is the notion of "co-evolution." The first book deals with it somewhat humorously, suggesting that we are manipulated by our plants. These, the claim goes, have gotten us to co-evolve so that we will take good care of them. All they need to do in return is sort of relax and throw us bits of nutrition or beauty now and then. (...) In The Omnivore's Dilemma, a more mitigated tone prevails. This one lays out how important, for a vibrant farm, are all of the components that must function together. The book even highlights a plant whose relationship to humans is one great example of co-evolution: corn. Corn .. (shrink)

The Ancient Mariner’s killing of the albatross is described by Coleridge as a great act of “inhospitality.” The central virtue dealt with in The Odyssey is hospitality.Religious traditions and cultures throughout the world prize hospitality as a major virtue. Philosophy, for some reason, has proven the exception. Hospitalityis missing from just about any philosopher’s list of virtues. Few discussions of ethics pay attention to it. This essay explores why hospitality has been so prominent in literature but ignored in philosophy. What (...) Santayana called the “sedentary city mind,” typical of Modern thought, which replaced the medieval “pilgrim mind,”is seen as a key move leading philosophers to marginalize hospitality. The move to rehabilitate hospitality, I claim, can draw inspiration and sustenance from asurprising source: Jacques Derrida. (shrink)

The Ancient Mariner’s killing of the albatross is described by Coleridge as a great act of “inhospitality.” The central virtue dealt with in The Odyssey is hospitality.Religious traditions and cultures throughout the world prize hospitality as a major virtue. Philosophy, for some reason, has proven the exception. Hospitalityis missing from just about any philosopher’s list of virtues. Few discussions of ethics pay attention to it. This essay explores why hospitality has been so prominent in literature but ignored in philosophy. What (...) Santayana called the “sedentary city mind,” typical of Modern thought, which replaced the medieval “pilgrim mind,”is seen as a key move leading philosophers to marginalize hospitality. The move to rehabilitate hospitality, I claim, can draw inspiration and sustenance from asurprising source: Jacques Derrida. (shrink)

early march 2020: i'm in a french village on the Mediterranean near the Spanish border. The outdoor marché, thronged, is active twice a week. The cafés are crowded. On my morning walk, I am buoyed by the sounds of schoolchildren. The village's only grocery, a small outlet of a major chain, is well-stocked.Mid-March: pandemic. "Non-essential" vendors are banned from the marché. The cafés are shuttered. The school is closed. The little store has depleted shelves. There is a mandate to stay (...) home. Anyone venturing out must carry an attestation certifying the reason for being in public.Fortunately, there is the Internet. There are books. The local wine store offers home delivery. Fortunately, also, I'm in the final... (shrink)

John Dewey's early exposure to Hegel left a "permanent deposit" on his thinking. Dewey's Hegelian side does not emerge in the usual sense of someone predicting the march of Spirit through history. Rather it is as the complete philosopher seeking, above all else, to leave nothing out. Such a philosopher criticized reified abstractions, reinstated the centrality of relations, emphasized the importance of thinking ideas together with their history, and insisted on the interpenetration of individual and social. This Hegelian inheritance, when (...) passed through the filter of praxis, identifies, for some interpreters (I plead guilty) the strength of Dewey's philosophy.Coexisting with this dimension was another .. (shrink)

I Eat, Therefore I Think: Food and Philosophy radically rethinks the nature of key philosophical concerns by approaching the subject via a crucial but often overlooked prism: the stomach. Combining stomach and mind, this book allows us to chart new pathways for dealing with ethics, aesthetics, religion, social/political questions, and our general understanding of reality and the place of humans in it.

I Eat, Therefore I Think: Food and Philosophy radically rethinks the nature of key philosophical concerns by approaching the subject via a crucial but often overlooked prism: the stomach. Combining stomach and mind, I Eat, Therefore I Think argues, allows us to chart new pathways for dealing with ethics, aesthetics, religion, social/political questions, and our general understanding of reality and the place of humans in it.

Naoko Saito has made a good case for emphasising the ‘tragic’ dimension within Dewey’s pragmatism. My response suggests ways in which Saito has not gone far enough. She does not adequately move beyond ‘procedural pragmatism’ to a ‘programmatic pragmatism’ which offers substantive articulations about the human good. In addition, her emphasis on ‘Emersonian perfectionism’ is misguided. Both the language of ‘perfectionism’ and the figure of Emerson are unsuitable for the project she intends. Speaking more concretely of a ‘tragic–comic meliorism’ allied (...) to the novelist Hawthorne, it is suggested, provides a more fruitful path. (shrink)

Naoko Saito has made a good case for emphasising the ‘tragic’ dimension within Dewey’s pragmatism. My response suggests ways in which Saito has not gone far enough. She does not adequately move beyond ‘procedural pragmatism’ to a ‘programmatic pragmatism’ which offers substantive articulations about the human good. In addition, her emphasis on ‘Emersonian perfectionism’ is misguided. Both the language of ‘perfectionism’ and the figure of Emerson are unsuitable for the project she intends. Speaking more concretely of a ‘tragic–comic meliorism’ allied (...) to the novelist Hawthorne, it is suggested, provides a more fruitful path. (shrink)

This essay reads Camus’s novel The Fall as a reductio ad absurdum for two major strands in Western intellectual culture, the hyper-Augustinian “we are all depraved” strand and, more decisively, what I call the “hyper-Sartrean” strand of existentialist humanism. Many commentators have identified Sartre as a target of Camus’s novel, but a detailed exploration of the critique is rarely undertaken. Examining Sartre’s Existentialism is a Humanism reveals an understanding of the human condition as involving a double disconnection: from nature and (...) from other people. Camus’s protagonist is just such a doubly detached individual. With little subtlety, Camus depicts his protagonist, as “Satanic,” i.e., the fallen one, the universal accuser, the friend of destruction, the enemy of connection. Such a “Fall” into self-isolation represents the all too alluring temptation against which Camus wishes to warn us. (shrink)

This essay reads Camus’s novel The Fall as a reductio ad absurdum for two major strands in Western intellectual culture, the hyper-Augustinian “we are all depraved” strand and, more decisively, what I call the “hyper-Sartrean” strand of existentialist humanism. Many commentators have identified Sartre as a target of Camus’s novel, but a detailed exploration of the critique is rarely undertaken. Examining Sartre’s Existentialism is a Humanism reveals an understanding of the human condition as involving a double disconnection: from nature and (...) from other people. Camus’s protagonist is just such a doubly detached individual. With little subtlety, Camus depicts his protagonist, as “Satanic,” i.e., the fallen one, the universal accuser, the friend of destruction, the enemy of connection. Such a “Fall” into self-isolation represents the all too alluring temptation against which Camus wishes to warn us. (shrink)