This study aims at a better understanding of Peirce’s conception of a philosophy of history. Peirce has a well defined place for historiography in his classification of the sciences, but what he has to say about history as a philosopher is not primarily referring to it as a form of historiographic knowledge, but to history as a process and a medium. As a process, history is, fundamentally, a cooperative activity of man resulting in civilization and capable of varying categoriological degrees (...) of directionality that reflect the ‘agents’ knowledge’ of history incorporated in the communicative practices of their community. As a medium, history – in the light of the cosmogonic narrative of Peirce’s evolutionary metaphysics and of his mature conception of the summum bonum – is one of two forms of expression of the Absolute. Our paper studies the development of these conceptions from the Schellingian influences on “The Place of Our Age in the History of Civilization” (1863), to “Fixation of Belief” (1877) and “Evolutionary Love” (1892). Throughout this development, Peirce remains primordially interested in the philosophy of history as a mode of normatively conceiving of history (as a medium) in a way that enables us to pragmatically project our cultural development as a process in which an increasing control over our own history is actualized. (shrink)

This study is a three-part play of musement on a few details in the potentially infinite landscape of Umberto Eco’s turn to, relations with, and adaptations of Pragmatism. This three-part guess was product of an abandoned first guess-attempt entitled: “Who’s on First(ness)?” The present title ensued naturally, and with some laughter, in recalling and using the play on words and names made famous by Abbott and Costello. Section 1 will mention two uncles of American Pragmatism. Section 2 will engage in (...) Eco’s ista ricostruzionista (with a dash of ologo) reading of “iconismo primario” (primary iconism) that raises questions regarding his Peircean rereading and assessments. Section 3 will switch to a darker voice and touch upon a few issues in Eco’s writing (or not) on the “comic,” particularly his essays “Pirandello Ridens,” and “The Comic and the Rule.”. (shrink)