For thirty years at least, I have designated myself as a zoologist interested in the “philosophical aspects of biology”. But I have now to admit that not until within the last two or three years have I recognized that logic, particularly in its inductive aspect, is involved in such interest.For me as a zoologist with a predilection for natural history, observation has had a place of wide application and of implicit confidence. Until recently, I had rested in the supposition that (...) after all of the devices practiced by naturalists to insure certainty of their observations, nothing further was needed so far as the information and understanding they gained was concerned. I had gone ahead with my reasoning, my logic, with no more qualms about the trustworthiness of the “inductive” than of the “deductive” side of it. I had not taken seriously the assertion, made years ago in my hearing by an eminent philosopher, that no one can be a philosopher without being skeptical and critical of the use of his senses in getting knowledge. Latterly, however, I have come to see that traditional philosophers take themselves very seriously in such assertions. This realization has been due to the discovery that the recent advances in physics and mathematics have led most of the leaders in these fields to believe that observation and the inductive side of logic may be left where they were a hundred years ago. These scientists seem to be about where John Stuart Mill was in his effort to improve Lord Bacon's effort for a better understanding of both observation and induction. (shrink)

It is proved that a system of linear equations over an arbitrary field has a solution if every finite subsystem has a solution provided that the set of variables can be well ordered.

This book presents several new ideas in the history and philosophy of science. Against the backdrop of the major events of William Harvey's times, the author provides new insights into Harvey's discovery of the blood's circulation. A major theme is how Harvey and other scientists based their work on the concept that God created the universe purposefully. The author also develops a new, historically-based pattern of scientific discovery and advance.

Philosophy & Social Criticism, Volume 48, Issue 6, Page 860-881, July 2022. This article aims to rewrite Emerson’s moral perfectionism – his anti-foundationalist pursuit of an always more perfect state of self and society – onto his moral and intellectual participation in the abolitionist movement. I argue that Cavell artificially separated Emerson’s moral perfectionism from his extensive, decades-long abolitionism. The source of Cavell’s oversight is his participation in the long-standing norm of dichotomizing Emerson’s work into the theoretical (...) ‘essays’ and the ‘anti-slavery writings’ or the philosophical and the polemical. Recent scholars of Emerson have questioned and even dismissed this dichotomy, however, while recentring Emerson’s politics in his oeuvre as a whole. They find much to praise, and also plenty to criticize, in Emerson’s abolitionist writings. I follow and extend that scholarly trend here and introduce what I call Emerson’s abolitionist perfectionism as an expansion of Cavell’s influential work on moral perfectionism. (shrink)

The story of the end of the Philosophical Society of Edinburgh in 1783, is linked with that of the founding of the Society of Antiquaries of Scotland and the Royal Society of Edinburgh , both of which were given Royal Charters sealed on 6 May 1783. It is a story which has been admirably told by Steven Shapin. He persuasively argued that the P.S.E. was a casualty of bitter quarrels rooted in local Edinburgh politics, in personal animosities and in disputes (...) about the control of cultural property and intellectual leadership. In all this he was surely correct just as he was in finding the principal actors in this controversy to be: David Erskine, 11th Earl of Buchan; the Reverend Dr John Walker, Professor of Natural History in Edinburgh University; Dr William Cullen, Professor of the Theory and Practice of Medicine and Vice-President of the P.S.E.; Mr William Smellie, Printer to the Society of Antiquaries; Henry Home, Lord Kames, S.C.J. and President of the P.S.E.; Sir George Clerk-Maxwell, Vice-President of the P.S.E.; John Robison, Professor of Natural Philosophy and Secretary to the P.S.E.; Edinburgh University's Principal, William Robertson; the Curators of the Advocates Library: Ilay Campbell, Robert Blair, Alexander Abercromby, Alexander Fraser Tytler, Professor of Public Law; Henry Dundas, Lord Advocate and M.P. for Midlothian. In a peripheral way, the Royal Colleges of Physicians and Surgeons were probably also involved; so too were Lord Buchan's brothers, Henry and Thomas Erskine, Foxite Whigs who opposed Dundas politically. Henry Erskine displaced Dundas as Lord Advocate in August 1783. After the change of ministry on 18 December 1783 he was ousted, but became Dean of the Faculty of Advocates in 1785. National as well as burgh politics touched these disputes and gave the parties of the Erskines and Dundas and his friends some leverage in London. (shrink)

This is a new release of the original 1929 edition.

The Philosophical Society of Edinburgh Throughout the years 1768–1783 looked to the outside world like a flourishing and important body. By 1771 it had sponsored the publication of five volumes of papers which had gone through several printings and translations. It had a distinguished foreign membership which assured its recognition abroad as one of the important academic bodies in the cosmopolitan Republic of Letters. From its foundation in 1737 until his death in 1768, its President had been the Earl of (...) Morton, better known as the President of the Royal Society of London and as an astronomer who had been active in the practical work of the London society. Another member, Sir John Pringle, became President of the Royal Society in 1772. It was also known abroad that among the Edinburgh philosophers were to be found the most important professors of the town's university, not only those of its distinguished medical faculty but also men like William Robertson, Adam Ferguson and later John Robison. David Hume had been at one time a Secretary of the Society and probably remained a member to the end of his life in 1776. In the British colonies, the Society could point to members in Pennsylvania, South Carolina, Jamaica and other West Indian islands and it had contacts in a far-flung network reaching from China and Siberia in the east to places less remote in Europe and America. Within Britain, the Society had members in London and in provincial towns of whom William Brownrigg was the most important. From these men and from others scattered in Scotland, the Society drew information and projected its image as a successful learned society. These appearances, however, are far clearer than the Society's record of accomplishment during its last years. It is not accidental that so little pertaining to its work survives. The Society in reality had a career far from brilliant and by 1778 hardly deserved the reputation it had acquired. During its last five years it revived but even then it probably did not reach the level of activity seen in the early and mid 1750s. (shrink)

William Rothman argues that the driving force of Hitchcock's work was his struggle to reconcile the dark vision of his favorite Oscar Wilde quote, "Each man kills the thing he loves," with the quintessentially American philosophy, articulated in Emerson's writings, that gave classical Hollywood movies of the New Deal era their extraordinary combination of popularity and artistic seriousness. A Hitchcock thriller could be a comedy of remarriage or a melodrama of an unknown woman, both Emersonian genres, except for (...) the murderous villain and godlike author, Hitchcock, who pulls the villain's strings -- and ours. Because Hitchcock believed that the camera has a murderous aspect, the question "What if anything justifies killing?," which every Hitchcock film engages, was for him a disturbing question about his own art. Tracing the trajectory of Hitchcock's career, Rothman discerns a progression in the films' meditations on murder and artistic creation. This progression culminates in _Marnie _(1964), Hitchcock's most controversial film, in which Hitchcock overcame his ambivalence and fully embraced the Emersonian worldview he had always also resisted. Reading key Emerson passages with the degree of attention he accords to Hitchcock sequences, Rothman discovers surprising affinities between Hitchcock's way of thinking cinematically and the philosophical way of thinking Emerson's essays exemplify. He finds that the terms in which Emerson thought about reality, about our "flux of moods," about what it is within us that never changes, about freedom, about America, about reading, about writing, and about thinking are remarkably pertinent to our experience of films and to thinking and writing about them. He also reflects on the implications of this discovery, not only for Hitchcock scholarship but also for film criticism in general. (shrink)

This essay presents an approach to understanding improvised music, finding in the work of certain outstanding jazz musicians an emblem of Ralph Waldo Emerson's notion of self-trust and of Stanley Cavell's notion of moral perfectionism. The essay critiques standard efforts to interpret improvised solos as though they were composed, contrasting that approach to one that treats the procedures of improvisation as derived from our everyday actions. It notes several levels of correspondence between our interest in jazz improvisations and the (...) particular demands of Emerson's writing, and ends by considering how exemplary moments of instruction in jazz are expressive of Emersonian self-trust. (shrink)

A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.

William James' 1903 address to the Emerson Centenary at Concord is a short summary of James' view of Emerson.

A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.

Documentary film is that genre of filmmaking that lays bare the fact of all film, which is that it presents "a world past" (Cavell, The World Viewed). This fact of film seems to point to a paradox of time in our experience of movies: we are present at something that has happened, something that is over. But what if we were to take this fact to show that film has the power to place us outside our ordinary, unreflective relation to (...) time? In this essay I examine three pre-cinematic descriptions of relations to time – in Emerson, Thoreau, and Weil – that anticipate the paradox of time inherent in film. I then put that examination to use in a reading of Werner Herzog's Cave of Forgotten Dreams, a film ostensibly about prehistoric cave paintings but whose achievement is its declaration, not to document some past time, but to liberate the present moment. (shrink)

Pragmatism -- From The meaning of truth -- From Psychology, briefer course -- From The will to believe and other essays in popular philosophy -- From Talks to teachers on psychology, and to students on some of life's ideals -- Address at the centenary of Ralph Waldo Emerson -- A world of pure experience -- Is radical empiricism solipsistic?

Louis Agassiz.--Address at the Emerson Centenary in Concord.--Robert Gould Shaw.--Francis Boott.--Thomas Davidson: a knight-errant of the intellectual life.--Herbert Spencer's autobiography.--Frederick Myers' services to psychology.--Final impressions of a psychical researcher.--On some mental effects of the earthquake.--The energies of men.--The moral equivalent of war.--Remarks at the peace banquet.--The social value of the college-bred.--The university and the individual: The Ph.D. octopus. The true Harvard. Stanford's ideal destiny.--A pluralistic mystic.

Presents an original, insightful, and compelling vision of the trajectory of Cavell's oeuvre, one that takes his kinship with Emerson as inextricably bound up with his ever-deepening thinking about movies.

ABSTRACT Perfectionist readings of Nietzsche have paid much attention to the positive influence of Emerson. I suggest that exploring Nietzsche's reception of Thomas Carlyle, a leading contemporary and friend of Emerson's, provides us with additional interesting insights into Nietzsche's thought. What is distinctive here is that Nietzsche strongly objects to the ethical picture that Carlyle propounds in the lecture series On Heroes, Hero-Worship and the Heroic in History. By looking at the grounds of this opposition I argue that (...) Nietzsche holds a skeptical, antiromantic perfectionism that is sensitive to the very dangers to which it gives rise. (shrink)

This lively volume explores the theme of friendship in the lives and works of Ralph Waldo Emerson and Henry David Thoreau.

White Fire challenges the critical tradition that for nearly half a century has celebrated the power of blackness in American literature. This tradition presents Herman Melville as investigating, then rejecting the optimistic vision of Ralph Waldo Emerson because he lacked a viable sense of evil. Williams digs beneath the obvious contrasts between these two great contemporaries, asking three questions about their relationship: What was Emerson actually saying at the time Melville was serving his literary apprenticeship? How much did (...) Melville know of Emerson's provocative thought? What use did Melville make of ideas and images that Emerson, more than any other contemporary, espoused? In his findings, Williams views Melville as far less the independent critic of Emerson that modern critics have described and far more the responsive artist and opportunist, absorbing images and ideas from the most readily available sources and transforming them into art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Critical Essays on Samuel Taylor ColeridgeWilliam E. CainCritical Essays on Samuel Taylor Coleridge, edited by Leonard Orr; vi & 194 pp. New York: Twayne, 1994, $42.00.“Coleridge, as you doubtless hear, is gone,” wrote Thomas Carlyle, August 12, 1834, to Ralph Waldo Emerson: “How great a Possibility, how small a realized Result.” There is now a huge Coleridge industry in the academy, engaged in producing editions of his (...) writings and examinations of his literary career. Yet Carlyle’s judgment continues to carry weight with many nonspecialist readers, who know Coleridge only as Wordsworth’s estimable friend and as the author of a handful of superb lyrics and radiant critical speculations in the Biographia Literaria (1817). These texts are indeed rich and suggestive: readers wish that there were more like them and that Coleridge’s achievement had somehow been greater, more monumental, like Wordsworth’s. Coleridge’s “misfortune,” concluded Carlyle’s friend, John Sterling, in January 1842, “was to appear at a time when there was a man’s work to do—and he did it not.”But the wish that Coleridge had been more than he was is misplaced, in large measure for the reason that it neglects the vast amount of significant work that he did accomplish—not only in poetry and criticism, but in philosophy, political journalism, social theory, and other disciplines and areas of thought. Experts in Romanticism know this work (or, at least, know of it), yet it has not [End Page 151] been excerpted in anthologies, contextualized and explained for students, or brought forward for analysis, beyond the circle of avid Coleridgeans, to extend and complicate the commonplaces about this writer that still enjoy wide circulation.In this respect, Leonard Orr, editor of Critical Essays on Samuel Taylor Coleridge, perhaps has missed an opportunity. His collection is valuable as far as it goes; it reprints eight excellent essays along with two new ones, and Orr’s own concise, informed Introduction, with footnotes packed with bibliography, provides a lucid overview of Coleridge studies. But the focus is strangely limited, the conception of the writer’s career is dated and conventional, and the selection of essays is too restricted.One is grateful for this collection’s strengths even as one regrets its gaps and omissions. John Beer gives a good account of the Coleridge/Wordsworth relationship; Stuart Peterfreund nicely shows how “Coleridge’s failed political vision of European history” is redeemed “as part of his critical vision of the imagination”; James C. McKusick, Paul Magnuson, Andrew M. Cooper, James Engell, and Anne K. Mellor explore Coleridge’s poetry—though oddly there is no essay devoted primarily to “The Rime of the Ancient Mariner”; and Kathleen M. Wheeler, Lawrence Buell, and Jerome Christensen form a helpful unit of pieces on the Biographia Literaria. But readers will not find here anything more than brief mentions of, for example, Coleridge’s writings for The Watchman and The Friend, his striking interpretations of Shakespeare, Aids to Reflection, letters, notebooks, two Lay Sermons, and On the Constitution of the Church and State.This failure to supply broader, more innovative coverage is puzzling, given that the general aim of the series in which Orr’s book appears (Critical Essays on British Literature, gen. ed. Zack Bowen) is “to develop a new overall perspective on its particular subject.” Even more, Orr himself says in his Introduction that scholarship of the past two decades has prompted us to be “less likely to ignore the prose works beyond the Biographia” and has drawn attention to Coleridge’s marginalia and notebooks. Orr displays a sharp sense of the new Coleridge, yet has designed his book in a way that reflects the old one and that will tend for many readers simply to reinforce Carlyle’s adverse judgment.William E. CainWellesley CollegeCopyright © 1995 The Johns Hopkins University Press... (shrink)

Lucius Annaeus Seneca was a Roman Stoic philosopher, dramatist, statesman, and advisor to the emperor Nero, all during the Silver Age of Latin literature. The Complete Works of Lucius Annaeus Seneca is a fresh and compelling series of new English-language translations of his works in eight accessible volumes. Edited by world-renowned classicists Elizabeth Asmis, Shadi Bartsch, and Martha C. Nussbaum, this engaging collection helps restore Seneca—whose works have been highly praised by modern authors from Desiderius Erasmus to Ralph Waldo (...) class='Hi'>Emerson—to his rightful place among the classical writers most widely studied in the humanities. _Hardship and Happiness_ collects a range of essays intended to instruct, from consolations—works that offer comfort to someone who has suffered a personal loss—to pieces on how to achieve happiness or tranquility in the face of a difficult world. Expertly translated, the essays will be read and used by undergraduate philosophy students and experienced scholars alike. (shrink)

Peter Abelard (1079–1142 ce) was the most wide‐ranging philosopher of the twelfth century. He quickly established himself as a leading teacher of logic in and near Paris shortly after 1100. After his affair with Heloise, and his subsequent castration, Abelard became a monk, but he returned to teaching in the Paris schools until 1140, when his work was condemned by a Church Council at Sens. His logical writings were based around discussion of the “Old Logic”: Porphyry's Isagoge, aristotle'S Categories and (...) On Interpretation and boethius'S textbook on topical inference. They comprise a freestanding Dialectica (“Logic”; probably c.1116), a set of commentaries (known as the Logica [Ingredientibus], c. 1119) and a later (c. 1125) commentary on the Isagoge (Logica Nostrorum Petititoni Sociorum or Glossulae). In a work Abelard called his Theologia, issued in three main versions (between 1120 and c.1134), he attempted a logical analysis of trinitarian relations and explored the philosophical problems surrounding God's claims to omnipotence and omniscience. The Collationes (“Debates,” also known as “Dialogue between a Christian, a Philosopher and a Jew”; probably c.1130) present a rational investigation into the nature of the highest good, in which the Christian and the Philosopher (who seems to be modeled on a philosopher of pagan antiquity) are remarkably in agreement. The unfinished Scito teipsum (“Know thyself,” also known as the “Ethics”; c.1138) analyses moral action. (shrink)

Christians have traditionally conceived of the moral life as an imitation of Christ, whereby followers enter into fellowship with God. The American Transcendentalists can be understood as extending rather than dispensing with this legacy. For Emerson, a person cultivates virtues by imitating those she loves and admires. Ultimately, however, the virtues enable her to innovate on received models, to excel by pressing beyond exemplars. Emerson's famous line, “imitation is suicide,” is not a contradiction but a fulfillment of the (...) imitation of Christ, understood in his terms. In his own time, John Brown was the public figure who, for Emerson, most nearly exemplified this innovative imitation of Christ. An examination of exemplarity, of this artful union of imitation and innovation in moral and spiritual formation, sheds light on how modern agents can cultivate the virtues needed to be at home in the modern world. (shrink)

This article is John Dewey's contribution to the Emerson celebrations of 1903. Reprinted in John Dewey, The Middle Works, Vol. 3, pp. 184-192.It represents Dewey's considered view of Emerson as of 1903, and a continuing influence of Emerson in Dewey's thought. See William James' essay on Emerson of the same year.

Critics in both philosophy and literary studies have rightly emphasized a “poetics of transition” relating the thought of Ralph Waldo Emerson to that of William James. However, less attention has been given to the ways that Emerson's philosophy of rhetoric correlates with James's rhetorical perspectives on psychology and philosophy. Fundamentally rhetorical interests in the contiguous circumstances and contingent reception of thinking link James to Emerson beyond matters of poetics and style. This article correlates Emerson's understanding (...) of a rhetoric of metonymy as the basis of thinking with the principle of contiguity crucial to James's philosophy of mind. This relation between rhetoric and philosophy reiterates a rhetoric of mind that both Emerson and James associate with the older liberal education of the college just at the point that this curriculum is displaced by the professional, specialized disciplines of the emerging university in late nineteenth-century America. (shrink)