Paul C. Taylor

Contemporary analytic aestheticians have little interest in the old paradigm of expression theory. They observe that expression theorists tend to locate the essence of art in the externalization of emotion, and they argue persuasively that this tendency is unfortunate. Then they consign expression theorists like Dewey; Collingwood, and Croce to the dustbin of history. This dismissive posture has become standard in aesthetics, for some good reasons. But at least in the case of Dewey, the reasons don't apply. The burden of my dissertation is to make a case for this claim. ;While Dewey does help himself to the vocabulary of expressionism in Art as Experience, he uses it to make arguments less appropriate to a fin-de-siecle expression theorist than to a contemporary cultural critic. He never claims that art is essentially the expression of emotion; he doesn't even agree that emotion is what's expressed in art. His account of expression in art is about the production and reproduction of culture by means of individual agency. It is what Charles Taylor calls expressivism, not expressionism. ;My interpretation of Dewey's aesthetics diverges radically from the one in Alan Tormey's The Concept of Expression, which has become a kind of controlling precedent for the analytic approach to expressionism. I avoid and reject Tormey's reading by locating Dewey's musings on expression in the broader contexts of his conception of the aesthetic, his pragmatist philosophical system, and the tradition of expressivist thought that includes Hamann, Herder, Hegel and Marx. Proceeding in this way not only reveals certain motivations and themes that would otherwise remain obscure, but also highlights certain insights that point toward new, more culturally grounded modes of aesthetic theorizing. I try to recover Dewey's work as a step toward this new aesthetics, an approach that I call, following Cornel West, prophetic aesthetics

In his contribution to Cheryl Misak's New Pragmatists volume, David Bakhurst considers the "prospect of a fruitful alliance between [ethical] particularism and pragmatism." 1 In an attempt to show that members of the two camps can "profit from critical engagement with each other's works" (124), he considers how pragmatists might help resolve three outstanding problems for ethical particularists. Unfortunately, his generosity outpaces his imagination, and he does not really find a great deal that pragmatists can contribute. So Bakhurst's potential alliance ends up being a case of convergent evolution. He finds that he and his fellow particularists now occupy positions—positions against, among other ..

There is an odd duality in Cornel West's work. He is a generous thinker and voracious interlocutor, willing to learn from anyone on a sincere quest for insight. But he is also he is an unapologetic admirer of greatness, as stingy with ascriptions of genius as he is lavish with praise for the select few who qualify. "Making Niagara a Cataract" reflects on this duality. I try to explain what motivates West's commitment to the importance of greatness, and how these motivations emerge from and shape his intellectual project