Creativity In American Philosophy

"The reader will find that I combine hearty enthusiasm for the philosophical traditions of my country with sharp partial disagreement with nearly all their representatives. My effort throughout my career has been to think about philosophical, that is, essentially a priori or metaphysical, issues, using the history of ideas as a primary resource. "This is the second of two volumes dealing with the history of philosophy, especially of metaphysics. The first, Insights and Oversights of Great Thinkers, discusses some thirty European philosophers, from Democritus to Wittgenstein and Merleau-Ponty. In both volumes I try to learn and teach truth about reality by arguing, in a fashion, with those who in the past have sought such truth." — Charles Hartshorne In a remarkable tour de force, Charles Hartshorne presents a lively and illuminating study of what major American philosophers have said about creativity. With a special talent for perceiving and elegantly expressing the essence of a position, Dr. Hartshorne details his reactions to friend and foe, demonstrating that philosophy at its best is dialogue. Noting that metaphysics is a major theme in the American philosophical tradition, he states that "nowhere has the topic been more persistently and searchingly investigated than in this country."

A vigorous and wide-ranging defense of Hartshorne’s “neoclassical metaphysics” of creative freedom.

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions. The Philosophy of Creativity takes up these questions and, in doing so, illustrates the value of interdisciplinary exchange.

Charles Sanders Peirce is quickly becoming the dominant figure in the history of American philosophy. The breadth and depth of his work has begun to obscure even the brightest of his contemporaries. Concerning the interpretation of his work, however, there are two distinct schools. The first holds that Peirce's work is an aggregate of important but disconnected insights. The second school argues that his work is a systematic philosophy with many pieces of the overall picture still obscure or missing. It is this second view which seems to me the most reasonable, in part because it has been convincingly defended by other scholars, but most importantly because Peirce himself described his philosophy as systematic: What I would recommend is that every person who wishes to form an opinion concerning fundamental problems should first of all make a complete survey of human knowledge, should take note of all the valuable ideas in each branch of science, should observe in just what respect each has been successful and where it has failed, in order that, in the light of the thorough acquaintance so attained of the available materials for a philosophical theory and of the nature and strength of each, he may proceed to the study of what the problem of philosophy consists in, and of the proper way of solving it (6. 9) [1].

Philosophy of Creativity is a prolegomenon in the field of philosophical studies of creativity. The book sets forth a cross and multi-cultural point of view, emphasizing points of agreement between seminal thinkers and living traditions over the whole earth. The seven chapters turn about the philosophical and spiritual notion of creativity. Creativity is presented as metaparadigm, or the philosophical way that critiques and transcends paradigms, while intrepreting them in light of this novel meta-paradigmatic perspective. This work draws important insights from major philosophical traditions in both the Orient and the Western world such as Buddhism, Taoism, Confucianism, Pragmatism, Existentialism, Phenomenology, and Process Philosophy.

This third volume of American University Publications in Philos ophy continues the tradition of presenting books in the series shaping current frontiers and new directions in phi. osophical reflection. In a period emerging from the neglect of creativity by positivism, Professors Dutton and Krausz and their eminent colleagues included in the collection challenge modern philosophy to explore the concept of creativity in both scientific inquiry and artistic production. In view of the fact that Professor Krausz served at one time as Visiting Professor of Philosophy at The American University we are especially pleased to include this volume in the series. HAROLD A. DURFEE, for the editors of American University Publications in Philosophy EDITORS' PREFACE While the literature on the psychology of creativity is substantial, surprisingly little attention has been paid to the subject by philos ophers in recent years. This fact is no doubt owed in 'part to the legacy of positivism, whose tenets have included a sharp distinction between what Hans Reichenbach called the context of discovery and the context of justification. Philosophy in this view must address itself to the logic of justifying hypotheses; little of philo sophical importance can be said about the more creative business of discovering them. That, positivism has held, is no more than a merely psychological question: since there is no logic of discovery or creation, there can be no philosophical reconstruction of it.

The Encyclopedia of American Philosophy provides coverage of the major figures, concepts, historical periods and traditions in American philosophical thought. Containing over 600 entries written by scholars who are experts in the field, this Encyclopedia is the first of its kind. It is a scholarly reference work that is accessible to the ordinary reader by explaining complex ideas in simple terms and providing ample cross-references to facilitate further study. The Encyclopedia of American Philosophy contains a thorough analytical index and will serve as a standard, comprehensive reference work for universities and colleges. Topics covered include: Great philosophers: Emerson, Dewey, James, Royce, Peirce, Santayana Subjects: Pragmatism, Progress, the Future, Knowledge, Democracy, Growth, Truth Influences on American Philosophy: Hegel, Aristotle, Plato, British Enlightenment, Reformation Self-Assessments: Joe Margolis, Donald Davidson, Susan Haack, Peter Hare, John McDermott, Stanley Cavell Ethics: Value, Pleasure, Happiness, Duty, Judgment, Growth Political Philosophy: Declaration of Independence, Democracy, Freedom, Liberalism, Community, Identity

A central concern of nearly every environmental ethic is its desire to extend the scope of direct moral concern beyond human beings to plants, nonhuman animals, and the systems of which they are a part. Although nearly all environmental philosophies have long since rejected modernity's conception of individuals as isolated and independent substances, few have replaced this worldview with an alternative that is adequate to the organic, processive world in which we find ourselves. In this context, Brian G. Henning argues that the often overlooked work of Alfred North Whitehead has the potential to make a significant contribution to environmental ethics. Additionally inspired by classical American philosophers such as William James, John Dewey and Charles Sanders Pierce and environmental philosophers such as Aldo Leopold, Peter Singer, Albert Schweitzer, and Arne Naess, Henning develops an ethical theory of which the seminal insight is called "The Ethics of Creativity." By systematically examining and developing a conception of individuality that is equally at home with the microscopic world of subatomic events and the macroscopic world of ecosystems, The Ethics of Creativity correctly emphasizes the well-being of wholes, while not losing sight of the importance of the unique centers of value that constitute these wholes. In this way, The Ethics of Creativity has the potential to be a unique voice in contemporary moral philosophy.