W. B. Gallie's words about Peirce's cosmology—"the black sheep or white elephant of his philosophical progeny" (1952, p. 216)—have often been quoted, usually as a preface to giving a better account of the animal. That he attributed the view to 'contemporary philosophers' and did not assert it himself has usually been ignored. True, Gallie did argue that the "cosmology is a failure, and an inevitable failure" (p. 236), but he also said that Peirce himself "recognized … that his work in (...) this field was imperfect and sketchy" (p. 215), and he concluded the chapter, and his book, with an extremely sympathetic account of all that is nevertheless of enduring value in that failure. After studying Peirce's writings of his.. (shrink)

Peirce remarks on several occasions in the 1790s on affinities between his evolutionary metaphysics and Schelling's Idealism, behind which, he avers, lies ‘the monstrous mysticism of the East’. What are these affinities? Why are they affinities with Schelling rather than with Hegel? And what is the mysticism in question? I argue that Schelling, like Peirce but unlike Hegel, is committed to evolution, not only across species boundaries, but also across the boundary between the inorganic and the organic. Moreover, Schelling, like (...) Peirce but unlike Hegel, embeds this account of evolution in an account of the evolution of God through love. The monstrous mysticism of the East, I argue, is Lurianic kabbalah, to which Schelling is demonstrably indebted, and which is committed to an evolutionary theism on which is based, if not an account of natural evolution, an account of reincarnation as a mechanism by which life-forms progress from inorganic to organic bodies as they develop their consciousness. Publicized by.. (shrink)

Charles Sanders Peirce, the founder of pragmatism, is a hugely important and influential thinker in the history of American philosophy. His philosophical interests were broad and he made significant contributions in several different areas of thought. Moreover, his contributions are intimately connected and his philosophy designed to form a coherent and systematic whole. Contents: 1: Life and Work; Chapter 2: Logic; Chapter 3: The Doctrine of the Categories; Chapter 4: Semiotics; Chapter 5: Philosophy of Science; Chapter 6: Pragmatism but Not (...) Practicalism; Chapter 7: A Pragmatist Theory of Truth; Chapter 8: The Perpetual Fight against Nominalism; Chapter 9: The Impact of Darwin; Chapter 10: Mathematics; Chapter 11: Mind and Self; Chapter 12 (Conclusion): The Architectonic Philosopher; Bibliography; Notes; Index. (shrink)

: Is Peirce's esthetic relevant for the philosophy of art—what is usually referred to today as aesthetics? At first glance Peirce's idiosyncratic esthetic seems quite unconcerned with issues of art. Yet a careful examination reveals that this is not the case. Thus, rather than attempt to "apply" Peirce's views to some aspect of the practice or the theory of art (e.g., creativity, historiography of art, style, genre), or even to a particular work of art, my intention is to examine how (...) art fits into Peirce's own conception of his esthetic theory. The argument is divided into two parts. In the first section I present Peirce's conception of esthetics in the context of the normative sciences. I argue that esthetics connects with various strands of Peirce's philosophy, most notably his cosmology, his agapasm and with the way that important aspects of them hang together around the principle of abduction and the corresponding notion insight. In the second section, I consider in what way art may be said to be admirable, to contribute to the summum bonum. I try to show that Peirce's esthetic suggests that what attracts us towards art is first and foremost a semeiotic quality qua quality of mind or quality of Thirdness. (shrink)