One criticism of pragmatism, forcefully articulated by Stanley Cavell, is that pragmatism fails to deal with mourning, understood in the psychoanalytic sense as grief-work (Trauerarbeit). Such work would seemingly be as pertinent to philosophical investigations (especially ones conducted by pragmatists) as to psychoanalytic explorations. Finding such themes as mourning and loss in R. W. Emerson's writings, Cavell warns against assimilating Emerson's voice to that of American pragmatism, especially Dewey's instrumentalism, for such assimilation risks the loss or repression of Emerson's voice (...) in not only professional philosophy but also American culture. While granting Emerson's distinctive voice, this essay argues that the way Cavell insists on differences problematically represses recognition of the Emersonian strains in Dewey's own philosophical voice. In doing so, Cavell falsely flattens the resounding depth of Dewey's philosophical voice and narrows the expansive range of pragmatic intelligence. But Dewey all too often lends himself to such a misreading, for his writings at once repress and embody the strains of a distinctively Emersonian voice. (shrink)

Zygon®, Volume 56, Issue 4, Page 971-983, December 2021.

ABSTRACT This article is an exploration of certain central features of the affective dimension of human lives. It moves from a consideration of moods, especially as these feature into several of Emerson's essays, to a consideration of sentiments, as they are treated by Peirce, and concludes with tones. At the center of this article, there is an attempt to bring into focus some of the most important connections among moods, sentiments, and tones. The ephemeral and variable character of moods is (...) contrasted to the abiding and integrated character of sentiments in Peirce's sense. The article concludes with a discussion of tone in general and its bearing on democracy in particular. The topic of tone is first examined in light of James's “The Social Value of the College-Bred” and, then, in that of Duke Ellington's musical experiments in hitting upon the right sound, including the right tone. This is an ongoing experimental and improvisatory process in which “mistakes” are taken up and incorporated into the flow of the music or some other endeavor. “By their tone,” James insisted, “are all things human either lost or saved.” This text is dedicated to showing the contemporary relevance of James's claim. (shrink)

This essay critically engages the concept of transcendence in Charles Taylor's A Secular Age. I explore his definition of transcendence, its role in holding a modernity-inspired nihilism at bay, and how it is crucial to the Christian antihumanist argument that he makes. In the process, I show how the critical power of this analysis depends heavily and paradoxically on the Nietzschean antihumanism that he otherwise rejects. Through an account of what I describe as naturalistic Christianity, I argue that transcendence need (...) not be construed as supernatural, that all of the resources necessary for a meaningful life are immanent in the natural process, which includes the semiotic capacities of Homo sapiens. Finally, I triangulate Taylor's supernatural account of transcendence, naturalistic Christianity, and Dreyfus and Kelly's physis-based account of “going beyond” our normal normality in All Things Shining: Reading the Western Classics for Meaning in a Secular Age. (shrink)