Pragmatic Modernism traces an alternative strain of modernism influenced by pragmatist philosophy and characterized by its commitment to gradualism, continuity, and habit rather than spectacular events and radical rupture. Through original readings of Gertrude Stein, Henry James, Marcel Proust, and Oliver Wendell Holmes, Jr., this study rediscovers an overlooked cultural and social matrix and suggests an expanded range of responses to modernity.

Pragmatic Modernism traces an alternative strain of modernism influenced by pragmatist philosophy and characterized by its commitment to gradualism, continuity, and habit rather than spectacular events and radical rupture. Through original readings of Gertrude Stein, Henry James, Marcel Proust, and Oliver Wendell Holmes, Jr., this study rediscovers an overlooked cultural and social matrix and suggests an expanded range of responses to modernity.

Larry A. Hickman presents John Dewey as very much at home in the busy mix of contemporary philosophy—as a thinker whose work now, more than fifty years after his death, still furnishes fresh insights into cutting-edge philosophical debates. Hickman argues that it is precisely the rich, pluralistic mix of contemporary philosophical discourse, with its competing research programs in French-inspired postmodernism, phenomenology, Critical Theory, Heidegger studies, analytic philosophy, and neopragmatism—all busily engaging, challenging, and informing one another—that invites renewed examination of Dewey’s central ideas. Hickman offers a Dewey who both anticipated some of the central insights of French-inspired postmodernism and, if he were alive today, would certainly be one of its most committed critics, a Dewey who foresaw some of the most trenchant problems associated with fostering global citizenship, and a Dewey whose core ideas are often at odds with those of some of his most ardent neopragmatist interpreters. In the trio of essays that launch this book, Dewey is an observer and critic of some of the central features of French-inspired postmodernism and its American cousin, neopragmatism. In the next four, Dewey enters into dialogue with contemporary critics of technology, including Jürgen Habermas, Andrew Feenberg, and Albert Borgmann. The next two essays establish Dewey as an environmental philosopher of the first rank—a worthy conversation partner for Holmes Ralston, III, Baird Callicott, Bryan G. Norton, and Aldo Leopold. The concluding essays provide novel interpretations of Dewey’s views of religious belief, the psychology of habit, philosophical anthropology, and what he termed “the epistemology industry.”

For much of our century, pragmatism has enjoyed a charmed life, holding the dominant point of view in American politics, law, education, and social thought in general. After suffering a brief eclipse in the post-World War II period, pragmatism has enjoyed a revival, especially in literary theory and such areas as poststructuralism and deconstruction. In this sweeping critique of pragmatism and neopragmatism, one of our leading intellectual historians traces the attempts of thinkers from William James to Richard Rorty to find a response to the crisis of modernism. John Patrick Diggins analyzes the limitations of pragmatism from a historical perspective and dares to ask whether America's one original contribution to the world of philosophy has actually fulfilled its promise. In the late nineteenth century, intellectuals felt themselves in the grips of a spiritual crisis. This confrontation with the "acids of modernity" eroded older faiths and led to a sense that life would continue in the awareness, of absences: knowledge without truth, power without authority, society without spirit, self without identity, politics without virtue, existence without purpose, history without meaning. In Europe, Friedrich Nietzsche and Max Weber faced a world in which God was "dead" and society was succumbing to structures of power and domination. In America, Henry Adams resigned from Harvard when he realized there were no truths to be taught and when he could only conclude: "Experience ceases to educate." To the American philosophers of pragmatism, it was experience that provided the basis on which new methods of knowing could replace older ideas of truth. Diggins examines how, in different ways, William James, Charles Peirce, John Dewey, George H. Mead, and Oliver Wendell Holmes, Jr., demonstrated that modernism posed no obstacle in fields such as science, education, religion, law, politics, and diplomacy. Diggins also examines the work of the neopragmatists Jurgen Habermas and Richard Rorty and their attempt to resolve the crisis of postmodernism. Using one author to interrogate another, Diggins brilliantly allows the ideas to speak to our conditions as well as theirs. Did the older philosophers succeed in fulfilling the promises of pragmatism? Can the neopragmatists write their way out of what they have thought themselves into? And does America need philosophers to tell us that we do not need foundational truths when the Founders already told us that the Constitution would be a "machine" that would depend more upon the "counterpoise" of power than on the claims of knowledge? Diggins addresses these and other essential questions in this magisterial account of twentieth-century intellectual life. It should be read by everyone concerned about the roots of postmodernism (and its links to pragmatism) and about the forms of thought and action available for confronting a world after postmodernism.

Examines the impact of the modernist art movement on American popular culture in a collection of critical essays.

Examines the role of musical figures within 'late modernism', presenting a new understanding of the politics and aesthetics of lateness.

Psychologist, philosopher, teacher, writer-William James stood closer than any other thinker to the center of the confluence of intellectual and artistic forces that defined the culture of modernism. The outstanding feature of this volume lies in its intent to investigate James's influence on both American and International Modernism. It provides, on the one hand, a multifaceted introduction to students of history, philosophy, and culture, and on the other, a compendium of some of the most up-to-date thinking on this central figure. James's first book, Principles of Psychology (1890) immediately established James as the leading psychologist of his time, at a moment in history when psychology seemed to offer the promise of finding some definitive answers to eternal philosophical conundra. James's innovations would register a clear effect on much modernist art, most evidently in the stylistic prose experiments of James Joyce, Virginia Woolf, and their imitators. James's tentative skepticism concerning the concept of consciousness as such, and the post-Cartesian ego that was its foundation, also anticipates the questioning of the subject that would be the theme of much modern, and indeed postmodern thought. The contributors to this volume explore James's most essential texts as well as his influence on contemporary writers, artists, and thinkers. The final section is a glossary of James's key terms, with entries written by leading experts.

In Virtual Modernism, Katherine Biers offers a fresh view of the emergence of American literary modernism from the eruption of popular culture in the early twentieth century. Employing dynamic readings of the works of Stephen Crane, Henry James, James Weldon Johnson, Djuna Barnes, and Gertrude Stein, she argues that American modernist writers developed a “poetics of the virtual” in response to the rise of mass communications technologies before World War I. These authors’ modernist formal experimentation was provoked by the immediate, individualistic pleasures and thrills of mass culture. But they also retained a faith in the representational power of language—and the worth of common experience—more characteristic of realism and naturalism. In competition with new media experiences such as movies and recorded music, they simultaneously rejected and embraced modernity. Biers establishes the virtual poetics of these five writers as part of a larger “virtual turn” in the United States, when a fascination with the writings of Henri Bergson, William James, and vitalist philosophy—and the idea of virtual experience—swept the nation. Virtual Modernism contends that a turn to the virtual experience of language was a way for each of these authors to carve out a value for the literary, both with and against the growth of mass entertainments. This technologically inspired reengagement with experience was formative for American modernism. Situated at the crossing points of literary criticism, philosophy, media studies, and history, Virtual Modernism provides an examination of Progressive Era preoccupations with the cognitive and corporeal effects of new media technologies that traces an important genealogy of present-day concerns with virtuality.

This book examines how the productive interplay between nineteenth-century literary and visual media paralleled the emergence of a modern psychological understanding of the ways in which reading, viewing and dreaming generate moving images in the mind.

Modernism's Mythic Pose recovers the tradition of Delsartism, a popular international movement that promoted bodily and vocal solo performances, particularly for women. This strain of classical-antimodernism shaped dance, film, and poetics. Its central figure, the mythic pose, expressed both skepticism and nostalgia and functioned as an ambivalent break from modernity.