Peter Caws

Jean-Paul Sartre is the writer who gave the most trenchant formulation of existentialism and tried to do the same for a version of Marxism, and as a philosopher of history who got it wrong about history and then, in his last "philosophical manifesto" - volume III of the Idiot - got it brilliantly right. But Sartre did not write the second volume of the Critique. Or, more exactly, he wrote it but he did not publish it. The Critique, as Sartre himself admitted, grew like a hernia on the body of the book on Flaubert, so that it had to be surgically removed and given a life of its own; but a sort of symbiosis persisted, and when it came to the continuation of the argument, Sartre seems to have sensed that volume II was a dead end, and that the route to the alternative would prove to lie after all in the Flaubert project itself. In order to understand Sartre's position, the author analyzes his conception of history, especially of the intelligibility of history by mean of the dialectical reason as a movement of totalization of practical seriality, and shows its actuality.

Peter Caws provides a fresh and often iconoclastic treatment of some of the most vexing problems in the philosophy of science: explanation, induction, causality, evolution, discovery, artificial intelligence, and the social implications of technological rationality. Caws's work has been shaped equally by the insights of Continental philosophy and a concern with scientific practice. In these twenty-eight essays spanning more than a quarter of a century, he ranges from discussions of the work of French philosopher Gaston Bachelard, to relations between science and surrealism, to the concept of intentionality, to the limits of quantitative description. A lively mix of history, theory, speculation, and analysis, _Yorick's World_ presents a vision of science that includes human history and social life. It will interest professional philosophers and scientists, and at the same time its directness will make it readily accessible to nontechnical readers.

THE GENERATION which separates Hempel's latest major publication from his first has seen the philosophy of science come into its own as one of the chief subdivisions of philosophy, with a recognizable and coherent set of problems yielding to a recognizable and coherent set of strategies for solution. Not, of course, that in 1936 the philosophy of science was a new discipline—far from it: if anybody deserves credit for getting the field started it is probably Democritus. Nor that the publication of Der Typusbegriff marked a new era in the development of the subject, the recent literature of which included, after all, The Logic of Modern Physics, Der Logische Aufbau der Welt, and Logik der Forschung. The point which these facts illustrate is simply that Hempel's professional career spans a period of intense activity during which the philosophical discipline to which he has made his greatest contribution arrived at an evident maturity and autonomy. The aim of this essay is to examine his contribution to that activity, and to deal with some recent arguments to the effect that the process of development has carried the philosophy of science away from science itself, on which in some sense or other it clearly depends for its intellectual relevance and honesty.

On the back cover of the original French edition of Sartre's Le scénario Freud (The Freud Scenario), the promotional blurb poses the question: "Est-ce ici Sartre qui analyse Freud ou Freud qui analyse Sartre?" (Is Sartre analyzing Freud here, or is Freud analyzing Sartre?). We do not, for obvious reasons, have anything of Freud's on Sartre, but we do have quite a lot of Sartre on Freud, and great quantities of Sartre on Sartre. It has sometimes seemed to me that reading through everything that Sartre wrote—not just the autobiographical material but everything, including the carnets and the cahiers and the letters—might be a bit like having him in analysis. The speed and apparent openness with which he produced his texts, page after page in that quick yet legible script that French writers seem to turn out so effortlessly, mimic some of the conditions of free association, and an analytically sensitive eye, like the analyst's ear in therapeutic sessions, could no doubt piece together a plausible account of the Sartrean unconscious.