dewey crocce

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CO)()(Eh"'l' O~ fOREGOl NG CRITIC1Sl48

myself how it could h~ve happened. Perhaps bis thought is dominated by t.he t raditional Anlo-So..wn empiricism. Perhaps also the fonat.icism and emptinCS3 of the orthodoxy of the Ie Absolut.e wbicb he found so for bidding, no 1onger exist.s a.s sueb, but has bceomc one wlth the world, experience_, aod history; that the new philosophy has rejccted the static elements of Hcgclian ism in ordcr to preserve Md develop the dyno.mic ones. For the ncw philosophy is a. thcory of perpetua! conftict, of solutions that generat.e new problems, of a continua! cnrichment, such as pragmatism claims to be but cannot logica.lly become. However that may be, bis pbilosophical position is such as I ba.ve described ahove.

A COMMENT ON THE FOREGOING CRITICISMS

JOBN DEWEY

I fully appreciate the attention giveo Art a. E:tp

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come occupy feel a certain dissatisfaction in the scarcity or vagueness of such references in Dewey's treatise. In the Preface we read: "I aro somewhat embarrassed in an effort to acknowledge indebtedness to other writ.ers on the subject. Sorne aspects of it may be inferred from authors mentioned or quoted in the text. I ha ve read on t he subject for many years, however, more or less widely in English literature, somewhat less in French and stillless in German, and I ha ve absorbed much from sources which I cannot now directly recall. Moreover, my obliga-tions to a number of writers are much greater t han might be gathered from allusions to them in the volume itself" (p. vii) . But he must also ha ve availed himself of sorne I talian aut.hors, though these were perhaps included among the English because read in English translations. However, Dewey expressly men-tions my studies more t han once in the course of his argument, now to rnake use of their concepts, for example of my criticism of the separation of the arts from each other; but moreoften to exorcise with horror, as I said above, my somewhat mad "idealistic" (or rather "organic") way of philosophizing.

Even so, an ltalian reader is pleasantly surprised to meet on every page observations and theories long since formulated in ltaly and familiar to him. For example, that 'expression' in the poet ical sense is not to be confused with the expression which goes by the same name but is not expression in and for

Translated by Katharne Glbert. Arta$ Experi ence, by John Dewey. Mnton, Balch, New York, 1934. Al! page ref-

erences, unless otherwse ndcated, are taken from t his book. 203

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BENEDETTO C ROCE in 1947

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not such things as aesthetic contents or non-aesthetic contents (p. 187); that all the other arts are in every art (p. 195); that there are not artistic "things", but only an artistic doing, an artistic producing (p. 214); that the so-called 'modi-fications of the beautul' such as the sublime, grotesque, tragic, comic, etc., have practica! use but surely not conceptual or dialectical meaning; that the aesthetic process is of great importance for the philosopher, because through it he understands the nature of every psychic process; and therefore aesthetics is indispensable to the work of philosophy (p. 274); that it is impossible in judging art, to forego either of the two elements: the sensitive and the intellectual (p. 290); tbat aesthetic judgment is not that of a court pronouncing in the light of laws or rules (p. 299-300); that bistorical knowledge is indispensable for judg-ment on art.

And so on, for here I note rapidly only certain points. Nor am 1 setting them down to put forward a claim to authorship or priority, but rather to observe that whatever kind and however much stimulus Dewey has received from the thought of others, he thinks over problema for himself, so that bis observations come out wit.h freshness and sxmtaneity and sustain the reader's interest; part icularly the interest of one who, having arrived earlier and by other routes at the same con-clusions, and discovering bis own ideas in a new form, finds in this an added proof of their truth.

But precisely because of this obvious agreement of his doctrines with so-called idealistic aesthetic, a disciple of Dewey's, and his co-religionist in pragma-tism, has very recently raised a respectful and resolute protest against the new

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fulfilled in the perception itself" (p. 254). This corre


as indication of the extreme to which philosophy may go in superimposing a preconceived theory upon esthetic experience, resulting in arbitrary distortion" (p. 294- 5).

Now, without doubt, 1 hold that poetry and t he other arts have for their material not externa! things (nobody knows what and where such t hings are) but the "sentiments" or human passion, and 1 hold that nothing can exist sepa-rated {roro knowing. As 1 hold these propositions to be true, it is natural that 1 should use them to establish the place of art in the system of mind. Dewey does not undertake to refute these doctrines of mine because he considera that he has already refuted their very foundation: viz. philosophical reflection. He says in another book: "Reason, as a Kantian faculty that introduces generality and regularity into experience, strikes us more and more as supertluous-the un-necessary creation of roen addicted to traditional formalism and to elaborate terminology. Concrete suggestions arising from past experiences, developed and matured in the lght of the needs and deficiencies of the present , emp/Qyed as aims and methods of specific reC0118tructicm, and tested by success or failure in accomplshing this task of readjustment, suffice. To such empirical suggesticms used in constructive fashion for new ends the name intelligence is given" (p. 95-96) .

It is certainly st range that a mind so keen and a genius so acute as Dewey's should turn in such vicious circles and positivistic tautologies; and 1 oft.en ask

Recot&Siruction in Philosophy, by John Dewey. The italics are Croce's . (K. G.)

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myself how it could have happened. Perhaps bis thought is dominated by the traditional Anglo-Saxon empiricism. Perhaps also the fanaticism and emptiness

PREV of the orthodo.,:y of the Kantians and Hegelians who were bis first masters in America stirred in him a revolt which has not yet quieted clown. Perbaps this feeling of revolt has prevented him from seeing that the Hegelian and rela.ted structures ha.ve fallen to pieces and that the Absolute which he found so for-bidding, no longer exists as such, but has become one with tbe world, experience, and history; that the new philosophy has rejected the static elements of Hegelian-ism in order. to preserve tl.Ild develop the dynamic ones. For the new philosopby is a tbeory of perpetua) confict, of solutions that generate new problems, of a continua) enricbment, such as pragmatism claims to be but cannot logically become. However that may be, his philosopbical position is sucb as 1 have described above.

A COMMENT ON THE FOREGOING CRIT1C1SMS

JOHN DEWEY

1 fully appreciate the attention given Art as Experierl,u by the distinguished ltalian philosopher Benedetto Croce-as I appreciate his heroic resistance to the wave of Fascism which swept so many 1talian thinkers and educators off their feet. That he should have read my book tl.Ild then have taken the trouble

CLOSE X

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A COMMENT ON THE FOREGOING CRITICISMS

JOHN DEWEY

I fully appreciate the attention given Art aa Experien,u by the distinguished 1 talia.n philosopher Benedetto Croce-ilS 1 appreciate bis heroic resistan ce to the wave o Fascism which swept so many Italian thinkers a.nd educators off their feet. That be should have read my book a.nd then have taken the trouble to write about it for publication in another country commands a.nd receives my hearty thanks. 1 wish also to express my gratitude to Proessor Katharine Gilbert for interesting Croce in writing the article, a.nd or sending me a. t ranslated copy of it together with the suggestion tha.t I write a. reply.

I regret that what 1 ha.ve to say is largely o the nature of a comment rather than being a reply m a.ny distinctive sense of that word. For a reply, as I under-stand the word, requires a common ground on which both parties stand and from which deviations and departures can be measured. I do not find such a common ground in this present case. And I can perhaps best introduce my comment by telling why I ca.nnot find it. In substance, it is because Croce assumes that I ha.ve written about art with the intention of bringing it within the scope of pragmatic philosophy-although I have not, as he sees the matter, carried out successfully the claim involved in this purpose. The actual fa.ct is that I have consistently treated the pragmatic theory as a theory of kwm'ing, and as confined within the limits of the field of specifically cognitive subject-matter. And in addition I ha ve specifically rejected the idea that aesthetic subjectmatter is a form o knowledge, and have held tbat a prime defect of philosophies o art has been treating subjectmatter as if it were (whether the creators and enjoycrs of it were aware of it or not) akind of knowledge of Reality, presumably of a higher and truer order than a.nything o which "science" is capable. The consequence of this approa.ch, I concluded early in my studies,

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t Safari Archivo Edicin Visualizacin Historial Favoritos Ventana Ayuda ~ ~ ~ fSl S 0 * '? @(Cargada) -4~ vie 21 feb 14:26 Luis Arenas Q. 9 0 0 JSTOR: The Journal of Aesthetics and Art Criticism, Vol. 6, No. 3 (Mar., 1948), pp. 207- 209 w.14 [ .,. J [IJ [O www.jstor.org/dlscover/l0.2307/426qJ7uld=3737952&uid=2134&Uid=380624853&uid=380624843&uid=2&uid=70&uld=3&u,d=60&sld~21103431892691 ~ ecto JI O] bO CI:J ;;:; elpais Gmail Sigma Oto. fil Tus prezis ll'rezi Moodle YouTube Wikipedia Wo

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1 had supposed that the presence of the word "experience" in my title, es-pecially in its close connection with The Live Animal of the first chapter, would indicate the point of view and method of approach adopted in discussion of the creation and enjoyment of works of art. But it seems that that supposition was over-optimistic. The meanings belonging to historie empiricist philosophies have been read into the word, in spite of the fact that the pragmatic theory of knowing has systematically criticized these empiricisms because of their system-atic failure to connect experiences with the processes and operation of human Iife AS life.

The foregoing remarks indicate the absence of common ground on which to stand in making a reply. But they should also indicate the point of view from which 1 may reply to certain remarks of my critic in pleading Not Guilty to sug-gestions of slighting acknowledgments to writers to whom 1 am presumably in-debted, and to a kind of Xenophobia with respect to Italian writers in particular. For good or for evil, as 1 have already said, I have learned little from what has been written in the name of the Philosophy of Art and Aesthetics, since it has seemed tome to subordinate art to philosophy, instead of using philosophy asan incidental aid in appreciation of art in its own language. 1 have Jeamed much, however, from the writings of essayists and literary critica, espedally from Eng-lish writers whose works are themselves a part of the great tradition of English Jiterature, and from what poets, painters, etc., have said about the arts they ha ve practiced-a source, in my judgment, that is unduly overlooked by those who philosophize on art. I do not think that I exaggerate in sayng tbat 1 owe more to the books on the plastic arts written by the man to whom my book is dedicated, Albert C. Barnes, than to all the offteial treatises on art composed by philosophers.

1 fear I shall have to be explicit with reference to the bearing of these state-

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writing the kind of scholarly treatise in which footnotes breed and multiply on every page as authorities for what is said in the text. My aim was much humbler.

STYLE AND PERSONALITY: A Graphclogical Portrait of Osear Kokoschka

J . P. RODIN

1. Expressionism and &r.tio. Le style, c'est l'homme m~me. (Butfon). When we compare the methods of modem science with those of modem a.rt,

we are surprised by a peculiar phenomenon. In whatever country a piece of scientific work is carried out a.nd to whatever nat ionality the scientist ma.y belong, the methods tha.t he uses are based on intema.tionally recognized and applied principies, and tbe results bring about changes a.ffecting the whole of mankind. In the pla.~tic arts man's creative urge, the will to expression, has experimented in various directions, and at one and the same time methods of representat ion have been used that differ from each other in the principies on which they are based. Modern art does not give a definite, unambiguous picture of man's emotional and intellectuallife at t.be present day.

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Dewey began to be recognized just recently in Italy where (in addition to the Hegelian Royce) another sharp, quick-witted American philosopher, James (not however comparable to Dewey in solidity) was already widely known. His Principies of Psychology as well as other writings were translated into Italian. Dewey's educational ideas had attracted the attention of Lombardo Radice, but it was not until 1931 that De Ruggiero wrote an integrated ac-count of Dewey's philosophy in his series of essays, Filosofi del novecento, which at my request he was t.hen preparing for the Critica.'

Just like Lombardo Radice, who was an educator but an idcalist, De Ruggiero soon perceived that the conclusious at which Dewey arrived in bis euquiry into various philosopbical problems were logically inconsistent witb his persistent profession of empiricism and pragmati~m . De Ruggiero believed that, if "t.o him idealism wa.s uot a result," it was nonctheless, "a dircction in which he wa.s moving and of wbich be wa.s constan ti y acquiring clearer consciousness." Tbis judgment or rather prediction wa.s repeated at the end of his essay after baving shown that "the metaphysical, etbical, and educational developments of Dewey's doctrines surpass by f11r the initial pragmat.ic and instrup:.ental premises." Meanwhile, in expectation of tbe further development tbat he felt was certain, De Ruggiero offered Italian readers a translation of Reconstn.u;tion in Philoso-

Translated by Frederie S. Simoni. 'Vol. XXIX, issue of 20 Sept. 1031, pp. 341- 57.

1

CHPYRIGH1' 1952 Tnt AMtRI

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far t.o call them "commonpl9.(!cs," but restrict.ed himself to saying that "thcy are reasonably familia.r to connoisseurs and to cultivated essayists and critics, "8 whieh is a euphcmistic and courteous way of saying that t.hey are "common-places" with respect to a.est.hetic problems. I would have been truly proud to have things "in common" with Dewey, but I aro not happy either for myself or for him to have theorized "commonplaces" '"'ith him, which not only would do me an injustice, since I am not accustomed to amuse myself In this way, but would even do him an injustice because those "commonplaces" comprise the major part of what there is of a positive nature in his aesthetics. Nonethe-Jess, those allegcd "commonplaces" are so litt.le common that t.hey have been achieved only after st ruggles and disputes often last ing centurics, and which even today are from time to time rcnewed. For exarnplc, the negation of the distinction of art into single arts, each one possessing its unique aesthetic prov-

' Ricustruzione filos(fjie


But the other reply, which is that of "fin de non recevoir," proffered me by Dewey is to me unacceptable and leads me to touch upon the ill effects wit.h which empiricism and pragmatism damage the great and beautiful truth Dewey teaches in his books. He answers that in my review he does not find a common ground for discussion.9 Bccause of a natural discretion, I did not ask for a dis-cussion. Also, I know through personal experience that one does not always feel like replying and arguing, not because the opponent is held in little regard, but often because one's mind is involved in other studies or is stimulated with other emotions, or because one becomes tired of renewing discussions already mstained many times or of returning upon problems upon which one does not have anyt.hing substantially new to say. But to answer that there is no com-mon ground between us (as Dewey replies) is not allowable, not only because it would be an indication of little faith in the goodness of God, but for the fact that we are both standing on the grounds of philosophy, which we have both studied and loved, and on that ground we find ourselves in contrast, which does not lea ve us indifferent, or which at least does not lea ve me indifferent .

There are two methods of escape from that contrnst: the first is that one of the adversaries completely refute the theory of tbe other and thereby displace it by his own; the second is that, in the course of the dispute, each one recip-rocally acknowledges the part that is true and the part that is false in the other, and by discarding the two sickly portions, will find t hemselves in the healthy

'A Comment, in t he issue cited pp. 7-9.

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pages instead considered as the key for understanding the present. Thc true point of departure of b.istory is always a certain situation in the present with its indi-

viduali:c~ed problems. " 10 This was the same theory which 1 had promulgated in my academic memoir

of 1912: Hiswry, chronicle.s, an.d .false hisrories,11 in which 1 maintained that history is only that which is born from a present interest that reanimates and revivifies the past, and that without this stimulus, the past remains a heap of disconnected and extrinsic data, which is just what the annotations called chronicles are, and that because of being always animated by an interest of the present, every true and living history is not "of the past," but is "contempo-rary." This is the conclusion which my logical studies had brought to a head. In thesc studies it became clear to me that the only form of thought is the historical judgment, and that t.his judgment is the genuine logical "a priori synthesis" which Kant had correctly defined, but which he had then sougbt in the judgments of the seiences, incurring an error analogous to that of Vi

t Safari Archivo Edicin Visualizacin Historial Favoritos Ventana Ayuda ~ ~ ~ fSl S 0 * '? @(Cargada) -4~ vie 21 feb 14:32 Luis Arenas Q. 9 0 0 JSTOR: The Journal of Aesthetics and Art Criticism, Vol. 11, No. 1 (Sep., 1952), pp. 1-6 w.14 [ .,. J [IJ [O www.jstor.org/dlscover/l0.2307/4266l4'uld=3737952&uid=2l34&Uid=380624853&uid=380624843&uid=2&uid=70&uld=3&u,d=60&sld~21103431892691 ~ ecto JI O] bO CI:J ;;:; elpais Gmail Sigma Oto. fil Tus prezis IPrezi Moodle YouTube Wikipedia WoBut in Dewey's empirical and pragmatic treatment, this tmth which he (as Kant did earlier) calls the "Copernican revolution in philosophy,"'2 can never achieve adequate demonstration, because it has a beginning we know not where, and carries the name of the old and inept concept of "sensation."'a He interprets it as a practkal activity which should by agitating and intensi-fying itself, produce a knowing which then becomes independent, but we know not how if it is "relegated toa derived position, secondary in origin," and such it remains, "even, if its importance, when once it is established, is oversbadow-ing."" The last word is one which sounds very much Like Ueberwindung or the Hegelian overcoming, but one which does not bave the strength of completing the process without remaining a "pietiner sur place."

This process which is not really a process and which l.ies midway between

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This procesa which is not really a process and which les midway between the immobile and the eccentric takes such a peculiar course because empirically and pragmatically Dewey cannot overcome the dualism of mind and nature. He is led to delude himself that he has overeome it by means of a continuous process of nature-mind, in which the hyphen connecting the two words would provide the victory which speculative logic, distinguishing the categorical con-cepts from the emprica! concepts, and the activity of Vemunft from that of Verstand, and resolving the externa! world into the interna), nature into mind, is alone capable of accomplishing. Why should Dewey object in his Art as

E:~:perience to my assertion of the unity of intuition and expresaion, which, if he \Vll but reflect upon it, finds its complement not in recognition of roan as an abstract being, but as a "living being"?a Why doesn't this satisfy him if not because he preserves a dualism, and therefore is incapable of thinking intuition to be in the very act expres.sion, the will to be action, mind in t.he very act living body? On this same question, he says in his Art as Experience and he repeats in the comments to my review, that I "wish to subordinate creation of art and aesthetic enjoyment to a preconceived system of philoso-

" See the New Republic of Oct. 20, 1949: " Jobo Dewey: a S!)

t Safari Archivo Edicin Visualizacin Historial Favoritos Ventana Ayuda ~ ~ ~ fSl S 0 * '? @(Cargada) -4~ vie 21 feb 14:32 Luis Arenas Q. 9 0 0 JSTOR: The Journal of Aesthetics and Art Criticism, Vol. 11, No. 1 (Sep., 1952), pp. 1-6 w.14 [ .,. J [IJ [O www.jstor.org/dlscover/l0.2307/4266l4'uld=3737952&uid=2l34&Uid=380624853&uid=380624843&uid=2&uid=70&uld=3&u,d=60&sld~21103431892691 ~ ecto JI O] bO CI:J ;;:; elpais Gmail Sigma Oto. fil Tus prezis 1 Prezi Moodle YouTube Wor:dReference BUZ Catafogo lightlnTheB .. ~g Apparel Traductor Real Academia Espaola

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books and which he candidly believes to be the fruit of bis empiricism and pragmatism, but which in reality are due solely to the genial insight with whlch nature has endowed him. Empiricism and pragmati1:1m have been able here and there to obscure this insight, but fortunat.ely for ourselves and for him, they have not succeeded in suffocating or extinguishlng it.

"Jqu.mal of Aesthetics, iMd., p. 208; cp. Art as Experience, pp. 294-95. 17 Reconstruction., p. 115 sqq.

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