John Macmurray (1891-1976) was born in Scotland and began his philosophical education in a Scottish university. As an academic philosopher, following in the footsteps of Caird’s Scottish idealism - a reaction against the debate between Hume’s scepticism and Reid’s ‘commonsense’ – Macmurray holds that a university education in moral philosophy is essential for producing virtuous citizens. Consequently, Macmurray’s philosophy of human nature includes a ‘thick’ description of the person, which is more holistic that Cartesianism and emphasizes the (...) relation of persons. Hence, Macmurray focuses on community, but, as this chapter reveals, he is not a communitarian in the contemporary sense; rather, he shares Caird’s focus on philosophy as the means to living well. Thus, he opposes increasing specialization in university education and highlights the limits of science, which, Davie notes, is representative of the Scottish metaphysic of Macmurray’s era. Macmuray is the last in this line of the Scottish philosophical tradition. (shrink)

This article argues that Macmurray’s work on education is deserving of serious consideration, because it offers an account of the person that highlights the significance of the emotions and the arts. In particular, the article examines and teases out the areas of Macmurray’s concept of the person that are pertinent to the philosophy of education, which includes the contention that the emotions can and should be educated. Furthermore, on the basis of Macmurray’s work, this article argues that (...) emotional competency is bound up with an education in the creative arts. Consequently engagement with the arts, which is often considered to be a luxury and a hobby, becomes an essential component in the development of human nature and the ability to live well. Finally, by analysing Macmurray’s description of a work of art and bringing Macmurray into conversation with contemporary views regarding the arts and the education of the emotions, in both a critical and a supportive manner, this article concludes that education in the emotions and the arts are key aspects of human well-being. (shrink)

In this essay, I look at some extraordinary actors who never got their due—actors who had distinguished careers, but never won an Academy Award for acting. I review the work of: Joseph Cotten; Orson Welles; Edward G. Robinson; Cary Grant; James Mason; Richard Burton; Claude Rains; Alan Ladd: Robert Mitchum; and Fred MacMurray. In each case, I explore the actor’s best work, what made his acting outstanding, and offer possible explanations why he was not so honored.