EJPAP – This is going to be an informal conversation about the history of American philosophy, about yourself in the history of American Philosophy. Basically, we have four parts of the interview. When and how you encountered pragmatism and what interested you in it, if you think there is an American tradition of philosophy, and then about yourself in this tradition. And then your view about the prospect of the future, your prophecies. It is part of your profile to have (...) a clear view of the fu... (shrink)

_The Arts and the Definition of the Human_ introduces a novel theory that our selves—our thoughts, perceptions, creativity, and other qualities that make us human—are determined by our place in history, and more particularly by our culture and language. Margolis rejects the idea that any concepts or truths remain fixed and objective through the flow of history and reveals that this theory of the human being as culturally determined and changing is necessary to make sense of art. He shows (...) that a painting, sculpture, or poem cannot have a single correct interpretation because our creation and perception of art will always be mitigated by our historical and cultural contexts. Calling upon philosophers ranging from Parmenides and Plato to Kant, Hegel, and Wittgenstein, art historians from Damisch to Elkins, artists from Van Eyck to Michelangelo to Wordsworth to Duchamp, Margolis creates a philosophy of art interwoven with his philosophical anthropology which pointedly challenges prevailing views of the fine arts and the nature of personhood. (shrink)

This critical reader covers Joseph Margolis's controversial views of mind, truth, science, and reality, along with his revolutionary theories about culture, art, language, personhood, and morality.

In contemporary philosophical debates in the United States "redefining pragmatism" has become the conventional way to flag significant philosophical contests and to launch large conceptual and programmatic changes. This book analyzes the contributions of such developments in light of the classic formulations of Charles S. Peirce and John Dewey and the interaction between pragmatism and analytic philosophy. American pragmatism was revived quite unexpectedly in the 1970s by Richard Rorty's philosophical heterodoxy and his running dispute with Hilary Putnam, who, like Rorty, (...) is a professed Deweyan. Reinventing Pragmatism examines the force of the new pragmatisms, from the emergence of Rorty's and Putnam's basic disagreements of the 1970s until the turn of the century. Joseph Margolis considers the revival of a movement generally thought to have ended by the 1950s as both a surprise and a turn of great importance. The quarrel between Rorty and Putnam obliged American philosophers, and eventually Eurocentric philosophy as a whole, to reconsider the direction of American and European philosophy, for instance in terms of competing accounts of realism and naturalism. (shrink)

Joseph Margolis, known for his considerable contributions to the philosophy of art and aesthetics, pragmatism, and American philosophy, has focused primarily on the troublesome concepts of culture, history, language, agency, art, interpretation, and the human person or self. For Margolis, the signal problem has always been the same: how can we distinguish between physical nature and human culture? How do these realms relate? _The Cultural Space of the Arts and the Infelicities of Reductionism_ identifies a conceptual tendency (...) that can be drawn from the work of the twentieth century's best-known analytic philosophers of art: Arthur Danto, Richard Wollheim, Kendall Walton, Nelson Goodman, Monroe Beardsley, Noël Carroll, and Jerrold Levinson, among others. This trend threatens to impoverish our grasp and appreciation of the arts by failing to do justice to the culturally informed nature of the arts themselves. Through his analysis, Margolis sets out to retrieve an adequate picture of the essential differences between physical nature and human culture—particularly through language, history, meaning, significance, the emergence of the human self or person, and the essential features of human life—all to explain how such difference bears on our perception of paintings and literature. Clearly argued and provocatively engaging, Margolis's work reestablishes what is essential to a productive encounter with art. (shrink)

The starting point of Joseph Margolis' last philosophical effort is represented by the problem of the human "gap" in animal continuity: "There appear to be no comparable variants of animal evolution [...] effected by anything like the culturally enabled creation". While we share with other animals more or less refined forms of societal life, acquiring a natural language remains a distinctively human character: although it is grounded in the completely natural favourable changes in the human vocal apparatus and (...) brain, the merely causal emergence of language in humans reacts back into human primates by transforming them into persons or selves. The artifactuality of persons appears to be at the same time a natural and emergent phenomenon, constituting the other side of the process of language acquisition both by early hominids and by human infants. In this perspective the largely informal, mongrel and approximate functionality of ordinary language is interpreted as a good tool for the cultural animal to cope with the world, while the collective dimension of human forms of life appears as the shared context of external and internal constitution of the human selves. (shrink)

_Pragmatism Ascendent_ is the last of four volumes on the contribution of pragmatism to American philosophy and Western philosophy as a whole. It covers the period of American philosophy's greatest influence worldwide, from the second half of the 20th century through the beginning of the 21st. The book provides an account of the way pragmatism reinterprets the revolutionary contributions of Kant and Hegel, the significance of pragmatism's original vision, and the expansion of classic pragmatism to incorporate the strongest themes of (...) Hegelian and Darwinian sources. In the process, it addresses many topics either scanted or not addressed at all in most overviews of the pragmatism's relevance today. Noting the conceptual stalemate, confusion, and inertia of much of current Western philosophy, Margolis advances a new line of inquiry. He considers a fresh conception of the human agent as a hybrid artifact of enlanguaged culture, the decline of all forms of cognitive privilege, the pragmatist sense of the practical adequacy of philosophical solutions, and the possibilities for a recuperative convergence of the best resources of Western philosophy's most viable movements. (shrink)

Does thinking have a history? If there are no necessarily changeless structures to be found in things and in our inquiry into them, then what knowledge of the world and ourselves is possible? In this boldly original and elegantly written study, Joseph Margolis argues for a radically historicized view of history that treats it as both a real process and a narrative account, each a product of continual change. Developing his argument through discussions of such influential philosophers of (...) history and the natural sciences as Vico, Danto, Collingwood, Habermas, Hempel, Popper, Putnam, and Gadamer, he provides a coherent theory of flux and invariance that resolves several deep puzzles regarding human nature and understanding. While maintaining a thorough command of Anglo-American philosophy, Margolis challenges many of its most cherished assumptions and demonstrates the sense in which history and interpretation are one and the same. Exploring one of the master themes of this century, his book offers a novel theory of the human condition whose conclusions and concerns seem certain to inform philosophy in the next century as well. (shrink)

Does thinking have a history? If there are no necessarily changeless structures to be found in things and in our inquiry into them, then what knowledge of the world and ourselves is possible? In this boldly original and elegantly written study, Joseph Margolis argues for a radically historicized view of history that treats it as both a real process and a narrative account, each a product of continual change. Developing his argument through discussions of such influential philosophers of (...) history and the natural sciences as Vico, Danto, Collingwood, Habermas, Hempel, Popper, Putnam, and Gadamer, he provides a coherent theory of flux and invariance that resolves several deep puzzles regarding human nature and understanding. While maintaining a thorough command of Anglo-American philosophy, Margolis challenges many of its most cherished assumptions and demonstrates the sense in which history and interpretation are one and the same. Exploring one of the master themes of this century, his book offers a novel theory of the human condition whose conclusions and concerns seem certain to inform philosophy in the next century as well. (shrink)

With this challenging work, Joseph Margolis continues the project begun in _The Flux of History and the Flux of Science_. Tackling one of philosophy's master themes, he develops the controversial thesis that the world is a flux. Here he applies this doctrine to Western theories of history and the interpretation of cultural phenomena—offering the first sustained analysis of the logic, methodology, and metaphysics of interpretation committed to a thoroughgoing relativism and the historicized structure of cultural phenomena. Versed in (...) Anglo-American and Continental philosophy, Margolis draws on the best views of Western philosophy to investigate a topic regularly ignored in that tradition. The result is the surprising synthesis of two historically antipathetic approaches to philosophy. (shrink)

I distinguish between religions of divinity and civilizational religions within the diversity of what I call ‘mythic discourse’ and explain the difference between agentive and enabling norms applied to the life of persons treated along broadly Darwinian lines as artifactual transforms of the human primate. I consider how to view ‘truth’ in naturalistic and religious contexts relative to the distinctions mentioned.

Joseph Margolis; X*—Objectivism and Relativism, Proceedings of the Aristotelian Society, Volume 85, Issue 1, 1 June 1985, Pages 171–192, https://doi.org/10.1093.

This paper provides a straightforward argument that demonstrates the irreconcilability of pragmatism and transcendentalism, by way of Darwin’s failure to account for the emergence of the human self or person and the existential and historied import of the human invention and mastery of language. On the Darwinian issue, I examine the implications of Darwin’s having neglected the most important phase of the evolution of Homo sapiens – the invention and mastery of natural language, which account for the self-transformation of the (...) human primate into a self or person ; and which signify a novel transformation of the evolutionary process itself – the hybrid entwining of biological and cultural forces in the formation of the self. It’s a consequence of the invention of language that accounts for the historied nature of the human form of life. I treat history and historicity as existential constraints on the human form of cognition, which introduces an ineliminable but benign form of skepticism, which I show to be incompatible with Husserl’s transcendentalism and his attempt to accommodate historicity. I take pragmatism to be committed to an existential treatment of history and historicity, in the context of reviewing George Herbert Mead’s analysis of history and historical time. The two arguments converge on the incompatibility of pragmatism and transcendentalism. (shrink)

_Historied Thought, Constructed World_ offers a fresh vision: one that engages the reigning philosophies of the West, endorses the radical possibilities of historicity and flux, and reconciles the best themes of Anglo-American and continental European philosophy. Margolis sketches a program for the philosophy of the future, addressing topics such as the historical character of thinking, the intelligible world as artifact, the inseparability of theory and practice, and the reliability of a world without assured changeless structures. Through the use of (...) numbered theorems that construct an interlocking argument, Margolis carefully articulates his distinctive ideas in the context of work by Quine, Davidson, Putnam, Rorty, Derrida, Habermas, and Foucault. The discussion includes all the central topics of the philosophical tradition: from science to morality, from language to world, from persons to objects, from nature to culture, from causality to purpose, from change to history. What emerges is an argument against essentialism, one that champions the historicity of thought and cultural constructionism. (shrink)

Toward a Metaphysics of Culture provides an initial, minimal, and original analysis of the concept of uniquely enlanguaged cultures of the human world and of the distinctive metaphysical features of whatever belongs to the things of that world: preeminently, persons, language, actions, artworks, products, history, practices, institutions, and norms. Emphasis is placed on the artifactual and hybrid nature of persons, naturalistic and post-Darwinian evolutionary considerations, and the bearing of the account on a range of disputed inquiries largely centered on the (...) relationship between physical nature and human culture and between the natural and human sciences. The schema offered lays a foundation for a closer analysis of the human mind, cognition, interpretation, nomologicality, normativity, intentionality, realism, and related matters. The central thesis advances the heterodox notion, congruent with post-Darwinian studies in paleoanthropology, that the human person is a natural artifact, a functional transform of the primate members of Homo sapiens, by way of a complexly intertwined biological and encultured evolution, primarily dependent on the invention, transmission, and mastery of true language and the novel hybrid abilities that that makes possible. The emergence of persons is taken to be the obverse side of the mastery of language itself. (shrink)

The paper notices that different readings have been provided as for the connections between Wittgenstein and pragmatism, such as for example H. Putnam’s picture as opposed to R. Rorty’s description that packages Wittgenstein and Dewey together as ‘postmodern’ pragmatists. Joseph Margolis tries to broaden the discussion by including an examination of Wilfrid Sellars, Gottlob Frege, Robert Brandom, and Huw Price. His aim it to review the newer challenges of naturalism and deflationism, which, by their own instruction, should bring (...) us to the decisive contest between the ‘pragmatism’ of the Investigations and that of Brandom’s Between Saying and Doing. The larger purpose of this exercise is to assess pragmatism’s best prospects currently, in meeting the gathering challenges of the day. (shrink)

In the original publication of the article, the corresponding author used pseudonym as ‘M. Lisagor’. The correct name is given in this correction.

Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- List of Contributors -- Introduction -- 1 The Concepts of Physics: Rational Contents and Constructions in History -- 2 Theory-change and the Logic of Enquiry: New Bearings in Philosophy of Science -- 3 Science, History and Philosophy in Kant and Hegel -- 4 Historicity, Social Psychology and Change -- 5 The Reality of History -- 6 The Social Location of Scientific Practices -- 7 Kuhn, Different (...) Worlds and Science as Historical -- 8 Incommensurability Modestly Recovered -- Index. (shrink)

This article views the confrontation between pragmatism and Kant’s Critical undertaking as very possibly the single most consequential agon of contemporary philosophy, given the utter irreconcilability of their respective ways of addressing the concerns of First Philosophy, with regard to the enabling conditions of cognitive realism. Pragmatism favors an informal, fluxive, “instrumentalist” form of empiricism, impossible to complete, opposed to any and all the ontic and epistemic fixities of Kant’s Rationalism. Reason (Vernunft) cannot be more than a fiction. Kant has (...) no supporting criterion of realism. The article proposes an empirical criterion of the distinctive (given) “duality” of sensory “appearings” and “appeareds” (that is, objects) as yielding a plausible “cognitive faculty” (involving “reasoning”—inference, for instance—but not Vernunft) that, in accord with the drift of evolutionism and Aristotle, readily extends to languageless animals as well as humans. It serves as the linchpin of the paper. (shrink)

This essay is an exploratory reflection on a theme drawn from the work of Pierre Hadot and Juliusz Domański regarding “philosophy as a way of life.” I approach the matter from the naturalistic outlook of classic pragmatism and its own limitations. This approach stresses the possible improvement of the analysis of normativity by way of some neglected contributions regarding the nature of history and the evolution of Homo sapiens applied to the formation of the human self or person. I take (...) Hadot’s proposal seriously, therefore, as contributing to a mature conception of philosophy. But I deliberately restrict my own conjectures to naturalistic constraints, which begins to suggest an enlargement of pragmatism itself and an assessment of Hadot’s Greco-Roman and Christian themes. (shrink)

What does it mean to write "This is not a pipe" across a bluntly literal painting of a pipe? René Magritte's famous canvas provides the starting point for a delightful homage by the French philosopher-historian Michel Foucault. Much better known for his incisive and mordant explorations of power and social exclusion, Foucault here assumes a more playful stance. By exploring the nuances and ambiguities of Magritte's visual critique of language, he finds the painter less removed than previously thought from the (...) pioneers of modern abstraction—"confronting them and within a common system, a figure at once opposed and complementary." Foucault's brief but extraordinarily rich essay offers a startling, highly provocative view of a painter whose influence and popularity continue to grow unchecked. _This is Not a Pipe_ also throws a new, piquantly dancing light on Foucault himself. (shrink)

Were the perpetrators of the 9/11 attacks courageous "freedom fighters" or despicable terrorist murderers? These opposing characterizations reveal in extreme form the incompatibility between different moral visions that underlie many conflicts in the world today, conflicts that challenge us to consider how moral disputes may be resolved. Eschewing the resort to universal moral principles favored by traditional Anglo-American analytic philosophy, Joseph Margolis sets out to sketch an alternative approach that accepts the lack of any neutral ground or privileged (...) normative perspective for deciding moral disputes.This "second-best" morality nevertheless aspires to achieve an "objectively" valid resolution through a dialectical procedure of reasoning toward a _modus vivendi_, an accommodation of prudential interests that are rooted in the customs and practices of the societies in conflict. In working out this approach, Margolis engages with a wide range of thinkers, from Plato, Aristotle, Kant, and Hegel through Nietzsche, Heidegger, Levinas, Rawls, Habermas, MacIntyre, Rorty, and Nussbaum, and his argument is enlivened by reference to many specific moral issues, such as abortion, the control of Kashmir, and the continuing struggle between the Muslim world and the West. (shrink)

Extending his well-known investigations into the nature and logic of art and history in the cultural world, Joseph Margolis here offers a sustained account of how selves and the cultural phenomena they generate can be viewed as just as "real" as the physical nature from which they are emergent, while not being reducible to it. The book starts off with a review of prominent philosophies of art over the past half-century, focusing especially on Beardsley, Goodman, and Danto, so (...) as to highlight the need for carefully distinguishing between the metaphysical and epistemological features of physical nature and human culture. The second part of the book builds on the first part's analyses of artworks to propose a theory of selves as "self-interpreting texts." _Selves and Other Texts_ aims to develop new ways of understanding the conceptual inseparability of our analysis of physical nature and our analysis of ourselves. (shrink)

Dewey’s concept of “experience” has baffled many a reader. It is, however, assuredly the key to Dewey’s distinctive philosophical contribution. Notoriously, Rorty urges that Dewey would have been well-advised to abandon “experience: in favor of “discourse” (that is, the “linguistic method of philosophy”), which he draws largely from Davidson and Sellars. For various reasons, Rorty betrays his deep misunderstanding of Dewey’s pragmatism, the lack of any close relationship between Sellars’s notion of the “given” (as a philosophical target) and Dewey’s notion (...) of the saving discovery of what is “denoted” (in inquiry) as the “given”; and the extremely problematic (possibly even incoherent) treatment of linguistic meaning in Davidson’s most pertinent papers (which Rorty seems to regard as pragmatist in an important sense and is guided by). In any event, neither Davidson nor Rorty can be rightly supposed to extend or improve Deweyan pragmatism: Rorty, in fact, explicitly and unconditionally repudiates the “linguistic turn”; and Davidson finally subverts the very theory of language on which any reading of Rorty’s “pragmatist” account of Davidson’s theory of meaning would be at all feasible. The exposé of these disorders may contributes to a more careful formulation of the pragmatist undertaking, which lies elsewhere and depends on a measure of convergence between Dewey and Peirce. (shrink)

What we face today is the recovery of critical judgment under the condition of changing history. Aestheticizing bids us to abandon the need for legitimation by way of refocusing the public impulses of the “people” or assures us without argument that the aestheticizing impulse is reliably generous in the best democratic sense. The author finds himself unwilling to trust either tendency and believes, rather, that if there is a disciplined debate that may be mounted, we will find that we have (...) reclaimed the question of moral or ethical direction which would mean outflanking both the revelatory and the postmodernist options once again – without falling back to modernist assurances. (shrink)

The “Hobbesian turn” is an invention out of whole cloth, a device by which to oppose the usually supposed autonomy of the aesthetic, the moral, the political, and the factual; to recover the collective holism of civilizational life; to feature the existential historicity of the human career, which is incompatible with any strict universalism and all the forms of transcendentalism; hence, also, to feature the adequacy of a contingent Lebensform in collecting the affinities of creative expression and agentive commitment within (...) the terms of human solidarity; to abandon strict universality and necessary synthetic truths; and to favour the fluxive world of pragmatist construction rather than the indemonstrable fixities of rationalism and transcendentalism. The article proceeds largely by examining aspects of Picasso’s career and the history of Western politics spanning the sixteenth century to the present. (shrink)

The paradoxes of akrasia are examined in some depth with attention to a number of well-known analyses, particularly those advanced by Donald Davidson and R.M. Hare.

...I must say at once that the grammatical position of "feminist" in the expression "feminist aesthetics" is in even greater danger of generating confusion than the use of "analytic" [n the phrase, "analytic aesthetics"]. I have been utterly unable to discern in the feminist literature any homogeneous philosophical practice, substantive claim, or method of working that could, more or less disjunctively, be called feminist, that compared favorably (in the recognitional sense) with the more convergent literature of analytic aesthetics--except, of course, (...) for feminism's decisive emphasis on emancipatory themes and the uncovering of what I hope I may lump together, without explanation, as evidence of the "patriarchal" or "oppressive" structure of western cultural life. (shrink)

This chapter contains sections titled: I II III IV.