Online research in philosophy

Santayana's epiphenomenalism is best understood as part of his thinking about teleology and final causes. Santayana makes a distinction between final causes, which he rejects, and teleology, which he finds ubiquitous. Mental causation is identified with a doctrine of final causes which he argues is an absurd form of causation. Thus mental causes are rejected and Santayana embraces epiphenomenalism.

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.

While reading, and thinking about how to respond to, Willem Drees’s Religion, Science and Naturalism, I was reminded of an earlier dispute between George Santayana and John Dewey about, among other things, how to incorporate religion into a naturalistic world view. Dewey described Santayana’s naturalism as "broken backed" because of his dualistic distinction between the mechanism of nature and the life of the mind and his relegation of religion to the latter, epiphenomenal realm.

George Santayana was not only a poet but also a philosopher whose style, concerns, and even positions drew in his own time and continues to draw in ours the attention of poets and, more broadly, literary authors. He was, in short, a poet's philosopher. In so characterizing Santayana, however, there is no slight of his strictly philosophical achievement. The philosophical finesse with which he treated complex topics is, indeed, nowhere more evident than in his rigorous analysis of poetic utterance. The author of this essay explores Santayana's nuanced account of poetic utterance and, then, interprets Santayana's own literary accomplishments, including his philosophical writings, in light of this account. Given the attention which Angus Kerr-Lawson has paid to the rhetorical strategies and literary qualities of this singular philosopher, it is fitting to contribute such an essay to an issue in his honor.

I assess some of the ways in which Santayana takes philosophy to be a personal, poetic endeavor. In doing so, I also suggest that in some ways his work in the realm of spirit is more of a philosophy of the personal than much of the work of the American pragmatists.