In a monograph published last year, literary theorist Mark Noble notes that, in the way Deleuze understands the relationship between materialism and subjectivity, Deleuze “also sounds curiously like Santayana.” For example, the work of both philosophers “locates human value in a source at once immanent and alien.” Noble also wonders “whether the lesson of Santayana’s own negotiation with his tendency to humanize the non-human ground of experience also anticipates the thrill Deleuze chases when positing the univocity of being.” (...) In the present article, I will attempt to elaborate on this “anticipation,” the implications of which include a greater appreciation of Santayana on the part of Deleuze enthusiasts, an understanding of both philosophers as U.S.-influenced, European quasi-pragmatists, and a decision in favor of Michael Brodrick’s recent interpretation of Santayana as a “total natural event” philosopher of mind. (shrink)

Th e recent revival of Berkeley studies in the last three decades or so make it interesting to look back at George Santayana’s discussion of Berkeley. Th ough Santayana understood the latter’s arguments for immaterialism, he claimed no one could both seriously accept immaterialism, and live, as Berkeley certainly did, an embodied life. As he writes of Berkeley, “Th is idealist was no hermit” (205). Santayana claimed that without matter there was nothing (“no machinery”) for the soul (...) to work on. For a soul (mind) the machinery consists of material objects including one’s body. In this, paper, aft er some introductory comments, particularly on some aspects of early modern philosophy, e.g. the theory of ideas, which Berkeley largely accepts, and the metaphysics of indirect realism which he rejects, I look at the issue of human embodiment, and conclude, although Santayana perhaps misread important aspects of Berkeley’s discussion, he is largely correct in noting that Berkeley’s idealism/immaterialism can’t capture the special relation we have to our bodies. (shrink)

This paper examines Santayana on imagination, and related themes, chiefly as these are expressed in his early work, Interpretations of Poetry and Religion (1900). My hypothesis is that Santayana under-estimates, in this book, the force and significance of the prevalent distinction between imagination and fancy, as this was originally put forward by Coleridge and later developed in Emerson’s late essays. I will focus on some of those aspects of Santayana’s book which appear to react to or to (...) engage with Emerson’s views and aim to bring Santayana’s treatment of the theme of imagination into relation with Emerson. Understanding the differences in greater detail we stand a better chance of reasoned evaluation of alternative conceptions of imagination. I will argue that the Coleridge-Emersonian conception of the distinction between imagination and fancy is a crucial element of the background of Peircean abduction, and in this fashion, contributes to the continuity of Emerson’s writings with the pragmatist tradition. (shrink)

Although recent work has been done on the Barnes Foundation and its philosophical and pedagogical background, almost all the research effort has been focused on the friendship and intellectual link between John Dewey and Albert C. Barnes. Unfortunately, to the best of our knowledge, the impact of George Santayana’s philosophy on the Foundation has not been systematically examined. The hypothesis that we present and develop in this article is that Santayana’s thought is essential for the aesthetic theories elaborated (...) within the framework of the Barnes Foundation: Barnes’ theory of art criticism; Dewey’s aesthetic theory, and even Lawerence Buermeyer’s aesthetic theory. This article is a first approximation with the purpose of clarifying these philosophical, theoretical and historical relationship so as to start to fill the existing gap in contemporary literature on the topic. (shrink)

The ways in which Wittgenstein was directly influenced by William James (by his early psychological work as well his later philosophy) have been thoroughly explored and charted by Russell B. Goodman. In particular, Goodman has drawn attention to the pragmatist resonances of the Wittgensteinian notion of hinge propositions as developedand articulated in the posthumously edited and published work, On Certainty. This paper attempts to extend Goodman’s observation, moving beyond his focus on James (specifically, James’s Pragmatism) as his pragmatist reference point. (...) It aims to articulate the affinity between Wittgenstein’s thought on the topic of certainty and that of the neglected pragmatist thinker, George Santayana. -/- The paper draws on Duncan Pritchard’s recent reading of Wittgenstein’s On Certainty in order to articulate the concept of certainty involved in the notion of hinge propositions. It identifies two important and related points of affinity between this Wittgensteinian line of thought on certainty and the line of thought on the same topic articulated in Santayana’s Scepticism and Animal Faith. The paper argues, firstly, that, both lines of thought reflect a pragmatist concept of certainty, according to which our most fundamental certainties are not conceived as purely theoretical objects of belief or knowledge but rather as thearational presuppositions of beliefs and practical action. Secondly, it examines the way inwhich the pragmatist concept of certainty functions, for the two thinkers as a response to scepticism. It argues that although the two thinkers’ responses are very different, they are mutually compatible and, together, point towards the possibility of a distinctively pragmatist response to scepticism, which involves an anti-epistemological model of the intimate relation of the human self to the world. (shrink)

In this paper, I have argued that whatever might be said about his attack on other German philosophers, Santayana’s attack on Kant, despite its subtlety, its force and its intelligence, is fundamentally misguided. Teasing out where Santayana’s attack rests on misunderstandings of Kant’s philosophy is a useful exercise: it is useful for Kantians, for it gives us a chance to show Kant at his best; it is useful for Santayana scholars, for it reminds us that Santayana, (...) for all his brilliance, was not infallible; and it is useful more generally, for the mistakes Santayana makes about Kant are, perhaps in part because of Santayana’s well-deservedly wide influence, still prevalent today. (shrink)

In this article I pay attention to some of the reviews that Reason in Common Sense of George Santayana received from some of the most outstanding philosophers of his time: E. Albee, J. Dewey, A.W. Moore, G. E. Moore, C. S. Peirce and F. C S. Schiller. My paper is arranged in six sections: 1) Biographical circumstances of Reason in Common Sense; 2) Peirce’s reading of Santayana; 3) The reviews of John Dewey; 4) Other readers of Reason in (...) Common Sense; 5) Santayana returns on his book; and, finally, by way of conclusion, 6) Reading today Reason in Common Sense. (shrink)

American poet Ezra Pound wrote a letter on February 6, 1940, inviting American philosopher George Santayana to join poet T. S. Eliot and himself in writing “a volume . . . on the Ideal University, or The Proper Curriculum, or how it would be possible to educate and/or (mostly or) civilize the university student.” Santayana declined the invitation and claimed to have no ideas on the subject of education. Participation would have been morally impossible, he wrote, because unlike (...) Pound and Eliot, whom he regarded as “reformers, full of prophetic zeal and faith in the Advent of the Lord.” Santayana was “cynically content to let people educate or neglect themselves as they may prefer.”. (shrink)

Whereas recent commentators have suggested that consumer demand, typecasting and marketing lead performers to maintain continuities across films, I argue that cinema has historically made it difficult to subtract performers from roles, leading to relatively constant comportment, and that casting, marketing and audience preference are not only causes but also effects of this. I do so using thought experiments and empirical experiments, for example, by pondering why people say they see Jesus in paintings of him and rarely mention models, but (...) stress that they see actors when encountering photographic stills of performers portraying him. Arguably, this relates to what photographs have historically come to mean, and these meanings would make it difficult for audiences to subtract and not see the actor. Based on such thinking, along with what filmmakers have said and done, and adding to classic accounts of Cavell, Santayana and others, I build the case that cinematic media invite performers to play themselves. (shrink)

This paper draws together as many as possible of the clues and pieces of the puzzle surrounding T. S. Eliot’s “infamous” literary term “objective correlative”. Many different scholars have claimed many different sources for the term, in Pound, Whitman, Baudelaire, Washington Allston, Santayana, Husserl, Nietzsche, Newman, Walter Pater, Coleridge, Russell, Bradley, Bergson, Bosanquet, Schopenhauer and Arnold. This paper aims to rewrite this list by surveying those individuals who, in different ways, either offer the truest claim to being the source (...) of the term, or contributed the most to Eliot’s development of it: Allston, Husserl, Bradley and Bergson. What the paper will argue is that Eliot’s possible inspiration for the term is more indebted to the idealist tradition, and Bergson’s aesthetic development of it, than to the phenomenology of Husserl. (shrink)

Let me begin with a quote: “The universal organum of philosophy—the ground stone of its entire architecture—is the philosophy of art.”1 This statement, made in 1800 by the German Idealist philosopher Friedrich Schelling, is rather striking, not only because of its grandiosity, but also because it contrasts with what the majority of contemporary philosophers would be prepared to say on the subject. There is nevertheless a grain of truth in the claim that there is a peculiar connection between art and (...) philosophy and in the claim that aesthetics is a central area of philosophy. First of all, it is worth noting that, even if the philosophy of art has not played a role in the systems of all the indisputably great philosophers, or even of most of them, it has occupied an important place in the thought of quite a few, among them Plato, Aristotle, Hume, Kant, Schopenhauer, Nietzsche, Hegel and Sartre. And a good number of philosophers of lesser rank—including Croce, Collingwood, Dewey, Bergson, Santayana, Gadamer and, evidently, Schelling, also had a philosophy of art; one finds them perhaps more interested in it than in, say, ethics. Why this natural, even if not inevitable, link between philosophy and art? (shrink)

John Dewey's metaphysics of experience has been criticized by a number of philosophers-most notably, George Santayana and Richard Rorty. While mainstream Dewey scholars agree that these critical treatments fail to treat the American Pragmatist theory of what exists on its own terms, there has still been some difficulty reaching consensus on what the casual reader should take away from the pages of Experience and Nature, Deweys seminal work on naturalistic metaphysics. So, how do we unearth the significance of Dewey's (...) misunderstood metaphysics? One way is for philosophers to look to spatial and social-cultural geographers for help. To fully grasp the movement of experience, these geographers recommend that we start with an experiential activity, such as touring. The activity of sea kayak touring, I contend, discloses the general movement of experience in Dewey's metaphysics between its primary and secondary phases. With this illustration and a closely connected metaphor, I demonstrate that Dewey's naturalized metaphysics can not only withstand the objections of the likes of Santayana and Rorty it can also assist us in gaining a deeper appreciation of the qualitative richness of our own day-to-day practices. (shrink)

Behaviorism was a peculiarly American phenomenon. As a school of psychology it was founded by John B. Watson (1878-1958) and grew into the neobehaviorisms of the 1920s, 30s and 40s. Philosophers were involved from the start, prefiguring the movement and endeavoring to define or redefine its tenets. Behaviorism expressed the naturalistic bent in American thought, which came in response to the prevailing philosophical idealism and was inspired by developments in natural science itself. There were several versions of naturalism in American (...) philosophy, and also several behaviorisms. Most behaviorists paid homage to Darwinian functionalism; all forswore introspection and made learned changes in behavior the primary subject matter and explanatory domain of psychology. They differed in their descriptions of behavior, modes of explanation, and attitudes toward mentalistic concepts. Watson was a strict materialist who wanted to eliminate all mentalistic talk from psychology. Edward Chace Tolman (1886-1959) regarded mind as a biological function of the organism. He permitted mentalistic terms such as 'purpose' in behavioral description, and posited intervening processes that included 'representations' of the environment, while requiring such processes be studied only as expressed in behavior. Clark L. Hull (1884-1952) developed a hypothetical-deductive version of behaviorism, akin to Tolman's functionalism in positing intervening variables but without his cognitivist constructs. B. F. Skinner (1904-90) rejected intervening variables and developed his own account of the behavior of the whole organism, based on the laws of operant conditioning. The naturalism in American philosophy of the early twentieth century showed respect for the natural sciences, especially biology and psychology. John Dewey (1896, 1911), George Santayana (1905, 1920), and F. J. E. Woodbridge (1909, 1913) expressed this attitude. It animated the neorealism of E. B. Holt and Ralph Barton Perry, who gave special attention to psychology, and the evolutionary naturalism and critical realism of Roy Wood Sellars. This naturalism differed from Watson's in regarding mind as part of nature from a Darwinian and functionalist perspective, and treating behavior as the product of the mental functioning. It fed Tolman's version of behaviorism. It was not materialistic or physical-reductionist. Only later, with Quine and logical empiricism, was behaviorism seen as essentially physicalistic. (shrink)

“But when you meet her again,” he observed, “in Heaven, you, too, will be changed. You will see her spiritualized, with spiritual eyes.”1Dante is not a philosopher, although George Santayana sees him as one among a very few philosophical poets.2 The Divine Comedy deals in terza rima with issues that are philosophically urgent, including the relation between reasoning well and happiness.3And as one of the few great epics in Western literature, the Comedy offers its readers the pleasures of world-class (...) poetry, fabulous beasts from classical literature, good people and sinners from Dante’s Italy, and the prolongation in verse of Thomas Aquinas’s summa Theologiae and Summa contra Gentiles. In some ways, Dante’s epic .. (shrink)

Texts from the Spanish Philosophers : Vives, Unamuno, Gracian, Guevara, Santayana...

Critics of Dewey’s metaphysics point to his dismissal of any philosophy which locates ideals in a realm beyond experience. However, Dewey’s sustained critique of dualistic philosophies is but a first step in his reconstruction and recovery of the function of the metaphysical. Detaching the discussion of values from inquiry, whether scientific, philosophical or educational, produces the same end as relegating values to a transcendent realm that is beyond ordinary human discourse. Dewey’s naturalistic metaphysics supports his progressive educational philosophy. The duty (...) of education is grounded in its service to democracy; it must help students develop the ability to express, discuss, and develop their moral reasoning through experiential and experimental learning. (shrink)

In Mary Shelley’s Frankenstein the brilliant scientist Viktor Frankenstein constructs and animates a gigantic and superhumanly powerful man. But upon animation, Frankenstein discovers he neglected beauty, and beholding his hideous creation flees in horror without even naming the man. Abandoned and alone the monster leaves society, yet secretly observing humanity learns language and philosophy and eventually discovers humanity’s self-understanding and his own self-understanding to be grounded in beauty rather than reason.