"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."

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.

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

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.

The epic wisdom contained in a lost library helps the author turn his life around John Kaag is a dispirited young philosopher at sea in his marriage and his career when he stumbles upon West Wind, a ruin of an estate in the hinterlands of New Hampshire that belonged to the eminent Harvard philosopher William Ernest Hocking. Hocking was one of the last true giants of American philosophy and a direct intellectual descendent of William James, the father of American philosophy and psychology, with whom Kaag feels a deep kinship. It is James’s question “Is life worth living?” that guides this remarkable book. The books Kaag discovers in the Hocking library are crawling with insects and full of mold. But he resolves to restore them, as he immediately recognizes their importance. Not only does the library at West Wind contain handwritten notes from Whitman and inscriptions from Frost, but there are startlingly rare first editions of Hobbes, Descartes, and Kant. As Kaag begins to catalog and read through these priceless volumes, he embarks on a thrilling journey that leads him to the life-affirming tenets of American philosophy—self-reliance, pragmatism, and transcendence—and to a brilliant young Kantian who joins him in the restoration of the Hocking books. Part intellectual history, part memoir, American Philosophy is ultimately about love, freedom, and the role that wisdom can play in turning one’s life around.

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.

In this fresh, provocative account of the American philosophical tradition, Roger Ward explores the work of key thinkers through an innovative and counterintuitive lens: religious conversion. From Jonathan Edwards to Cornel West, Ward threads the history of American thought into an extended, multivalent encounter with the religious experience. Looking at Dewey, James, Peirce, Rorty, Corrington, and other thinkers, Ward demonstrates that religious themes have deeply influenced the development of American philosophy. This innovative reading of the American philosophical tradition will be welcomed not only by philosophers, but also by historians and other students of America's religious, intellectual, and cultural legacy.

One learns a great deal about a major philosopher by coming to appreciate his perspective on the history of philosophy. Here Charles Hartshorne gives us just such a perspective on the history of philosophy and thereby on himself. This is a reexamination of the history of philosophy, looking at neglected aspects of the philosophers' thought, interpreting their views in a sharply focused, controversial manner in order to show the origins and development within the Western tradition of the metaphysical and moral views represented by process philosophy. The result is a fresh look at the tradition. This is a clearly written, readable, original, and constructive interpretation of the history of philosophy in hte West from the sixth century before Christ to the present. As the best-known living representative of process philosophy, Hartshorne shows that it has anticipations in Plato, Aristotle, Leibniz, Hegel, Schelling, and many others, even including the materialist Epicurus and the atheist Nietzsche. Process philosophy and theology have significant overlap with the views of most of the creative, constructive philosophers and theologians of recent times, including Peirce, William James, Bergson, Heidegger, Paul Weiss, Berdyaev, John Findlay, Paul Tillich, Sartre, Merleau-Ponty, and others. This philosophy takes creative freedom, transcending causal determinism, and a generalized idea of sympathy--"feeling of feeling," love--as universal principles of life and nature.

The Ethics of Creativity illuminates the thorny issues that arise when novel creative ideas collide with what we believe to be 'right' or 'good'. This book tackles questions of when creativity and ethics tend to coincide and when conflict, and how both might be harnessed to support a brighter future for all.