Abstract

Richard Rorty believes that the combination of ironism and poetic impulse when attached to the public/private distinction, creates an opening for a type of liberalism that satisfies both the urge for individuality and the urge for solidarity. Rorty's antirealistic pragmatism leads to a society functioning very much like our own. This Dissertation dredges out some of the very contentious underlying assumptions of what Rorty feels is a philosophy-less vision. The ironic poet is Rorty's paradigm of correct modern character. Portraying this poet clearly will bring out what a powerful and radical, yet paradoxically rigidly conservative, outlook he would have us adopt. ;The journey for the outlines of the poet's personality takes me through an investigation of Rorty's interest in Heidegger. While Heidegger's poet can be described in some way as a discoverer , Rorty's poet cannot. From these differing conceptions of the poet I jump to the is/ought distinction as characterized by Hume and reversed by Rorty. I argue that Rorty believes that a fact can only be found within an 'ought.' Utopianism becomes then the only legitimate hope for change. The poet becomes the ultimate option-creator. ;Next is examined Rorty's distinction between the private and public realms. The poet, in Rorty's conception, must speak and create within these two vastly divergent realms. Liberalism and its attendant base upon the isolated and transcendent individual becomes clearly to the forefront here as a grounding point . Habermas and Feyerabend are used to further characterize possible aspects of the poet. I characterize the ironist poet as a reluctant dadaist because of the limits the strong attachment to liberalism places upon him/her. ;Ultimately Rorty's central assumption that the public and private realms absolutely cannot be harmonized in one complete 'overlying' vision that does justice to both is critiqued and questioned. All of this leads to a portrait of a severely circumscribed poet