I explore three points about the relationship between C.I. Lewis’s conceptual pragmatism and W.V. Quine’s naturalized epistemology inspired by Robert Sinclair’s Quine, Conceptual Pragmatism, and the Analytic-Synthetic Distinction. First, I highlight Lewis’s long-standing commitment to Platonism about meaning and its connection to his reflective philosophical method and rejection of a linguistic account of analyticity. Second, I consider Sinclair’s claim that “Lewis’s epistemology provides no indication concerning how, despite different sensory experiences, we still come to agree on what we (...) are talking about and what counts as evidence” (2022, 113). I find more hints, especially in Lewis’s account of how we verify that two people share meaning in common. However, some of the pragmatic and broadly empirical factors Lewis appeals to are not part of Quine’s naturalized epistemology. Finally, I relate these points to Quine’s (1953/1980) claim to advance a more “thorough pragmatism” than Lewis. Quine does not say much about action, value, and ethics, but these are central parts of Lewis’s conceptual pragmatism and a source of his reluctance to abandon those parts of his epistemology that Sinclair argues Quine found dispensable. (shrink)

Chapter One Triadomany defined You shall bind them in Three Classes; according to their Classes. William Blake, Milton In a manuscript of The Quest for ...

As a drama and a poem theEumenidesis often regarded with unease. It brings theOresteiato a conclusion; but its account of Athens and the Areopagus seems to many readers inspired more by patriotism than a sense of dramatic unity. Hence much attention has been devoted to Aeschylus' supposed political message in the play; as a result, the question of its fitness to crown the trilogy recedes into the background or even vanishes. On the other hand, those whose concern is with Aeschylus' (...) poetry tend to ignore his ‘politics’. The purpose of this paper is twofold. First, it seeks to vindicate Aeschylus the artist: to show, that is, how the founding of the homicide court and the cult of the Semnai on the Areopagus in Athens properly marks the end of the troubles of the Argive Atridae, and how the sufferings and guilt of individual men and women are resolved in a city's institutions. In pursuing this aim, it also has to consider, and try to define, the relation of the tragedian to his audience and to contemporary society. My concern, then, is with the individual and the community, both within the play and behind it. (shrink)