Abstract
In a few paragraphs, I want here to try to draw together my view of Peircean creativity descriptively. As I do so, we should keep in mind that this description fills a gap in Peirce’s esthetics as a normative science; that is, it tells us how, according to Peirce, artistic creativity ought to be pursued, just as Peirce’s logic described how scientific inquiry ought to be pursued.
For every symbol is a living thing, in a very strict sense that is no mere figure of speech. The body of the symbol changes slowly, but its meaning inevitably grows, incorporates new elements and throws off old ones (2.222).
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Notes
Dewey, Art as Experience, p. 44.
Hausman, “Eros and Agape,” p.23.
Hausman, “Eros and Agape,” p. 16.
Richard Bernstein, Praxis and Action ( Philadelphia: Univ. of Pennsylvania Press, 1971 ), p. 195.
Blanshard, “The Case for Determinism,” in Determinism and Freedom in the Age of Modern Science ( New York: N.Y.U. Press, 1965 ), pp. 26–29.
See Susanne Langer, Philosophy in a New Key ( Cambridge, Mass.: Harvard Univ. Press, 1957 ), p. 54.
Hartshorne, Creative Synthesis, p. 3.
Hartshorne, Creative Synthesis, p. 293.
Morris, Signs, Language, and Behavior (New York: George Braziller, Inc., 1955 ), p. 194.
Kaelin, p. 152.
Morris, Signification and Significance ( Cambridge, Mass.: Harvard Univ. Press, 1964 ), p. 67.
Langer, Mind: An Essay on Human Feeling (Baltimore: The Johns Hopkins Press, 1967), vol. I, p. 100.
Langer, Feeling and Form ( New York: Charles Scribner’s Sons, 1953 ), p. 27.
Langer, Mind, p. 104.
Zeman, p. 250.
Zeman, 252.
Dewey, Art as Experience, p. 37.
Dewey, Art as Experience, p. 84.
Dewey, Art as Experience, p. 85.
Dewey, Art as Experience, p. 139.
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© 1987 Springer Science+Business Media Dordrecht
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Anderson, D.R. (1987). A Final Description. In: Creativity and the Philosophy of C.S. Peirce. Martinus Nijhoff Philosophy Library, vol 27. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-7760-1_6
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