Vincent Colapietro

The aim of this article is to show how intimately connected Beth J. Singer's theory of operative rights is with her understanding of the deliberative process. I thus argue against Cynthia Gayman's effort to set in contrast Singer's theory of rights and Dewey's characteristic emphasis on reflective morality. Since I take the value of Singer's approach to be most evident in its relevance to the abortion debate as an ongoing deliberation, I question whether Mary Magada‐Ward sufficiently appreciates the dialogical and deliberative emphases of Singer's stance. My goal, however, is not so much to argue against either Gayman or Magada‐Ward as it is to argue for taking Singer's position even more seriously than either author does. In particular, I want to highlight the finely nuanced character of Singer's philosophical intervention in the debate regarding abortion, especially stressing certain features that Gayman and Magada‐Ward overlook.

ABSTRACT This article offers a critique of a deeply engrained tendency to narrate the story of American pragmatism exclusively or primarily in terms of modern European philosophy. While it suggests alternative stories, it is principally a metanarrative, an intentionally polemical story about our entrenched habits of philosophical storytelling. Indeed, the pragmatics of storytelling merits, especially in reference to historical accounts of American pragmatism, critical attention. The seemingly simple question, “What are we doing when we tell the story of this movement in this manner rather than that?” is a truly important one. It is also an avowedly pragmatic question.

Peirce was a thinker who claimed that his mind had been thoroughly formed by his rigorous training in the natural sciences. But he was also the author who proclaimed that nothing is truer than true poetry. In making the case for Peirce’s relevance to issues of education, then, it is necessary to do justice to the multifaceted character of his philosophical genius, in particular, to the experimentalist cast of his mind and his profound appreciation for the aesthetic, the imaginative, and (more narrowly) the metaphorical in their myriad guises. My aim in this paper is to go some distance, however small, toward doing such justice to Peirce.