Abstract

The overall contention of this paper, conducted through an examination of the idea of a ‘critical direct realism’ as this was developed across the twentieth century first in the thought of Roy Wood Sellars (1880–1973) and then in a different form by his son Wilfrid Sellars (1912–1989), is that such a view, in both its conceptual and sensory representational dimensions, is plausible as a form of direct realism. However, to the extent that the mediating sensory or qualitative dimension was itself conceived by both thinkers in what I characterize as strongly ‘phenomenal realist’ terms, the resulting philosophical commitments were of a kind that most current direct realists would generally not accept, even in cases where they themselves are phenomenal realists (perhaps naïve realists). The various perceiver-dependent forms of that additional, perhaps detachable commitment of most critical realists is likely responsible for the assessment of William Pepperell Montague (1873–1953) and other ‘neo-realists’ that ‘critical realism’ is not really, as advertised by Roy Wood Sellars, a version of direct realism, but ultimately a retreat to indirect realism. However, I argue that in both of its primary conceptual and sensory representational commitments, ‘critical direct realism’ remains a plausible competitor to direct acquaintance versions of direct realism.