While previous studies of Dewey's work have taken either a historical or topical focus, Shook offers an innovative, organic approach to understanding Dewey and eloquently shows that Dewey's instrumentalism grew seamlessly out of his idealism. He argues that most current scholarship operates under a mistaken impression of Dewey's early philosophical positions.

Dewey's "Art as Experience" defends the view that art and life are a y. But his version of this view exhibits an ambiguity, arising from his ency to move back and forth in the text between two usages of "art". These usages allow for two different interpretations of the theme of the unity and life: an "aesthetic" interpretation emphasizing the uniqueness of the arts as instrumentally valuable sources of aesthetic and ummatoryexperience, and an "aestheticist" interpretation emphasizing the ence of such (...) experience not only in the fine arts but throughout the trum of intelligent practice. Are these interpretations necessarily in ion, or can we read them as part of a single consistent argument about the re of art in Dewey's text? I arguethat we can, but to do so we need to dialectically, and with a glance toward a figure whose influence on Dewey nderappreciated in the recent literature: Hegel. (shrink)

The idea for this paper started with an image that is likely wholly imaginary but interesting nonetheless. It's the late 1920s in New York City. John Dewey, after a busy day of teaching and working through the notes that will eventually become Individualism Old and New, leaves his office at Columbia University. Instead of turning south toward home, he turns north and east, into Harlem. He strolls for a bit, turns up 7th Ave., and stops in front of the Regent (...) Theatre. He goes inside, takes off his coat, and catches the early showing of The Lights of New York. Fifty-seven minutes later, he leaves the Regent. He heads home, has a bite to eat with his daughter, but still feels restless. After dinner, he puts on his .. (shrink)