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A Final Description

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Part of the Martinus Nijhoff Philosophy Library book series (MNPL, volume 27)

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.

Keywords

Normative Science Artistic Creativity Creative Evolution Final Description American Tradition 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. [1]
    Dewey, Art as Experience, p. 44.Google Scholar
  2. [2]
    Hausman, “Eros and Agape,” p.23.Google Scholar
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    Hausman, “Eros and Agape,” p. 16.Google Scholar
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    Richard Bernstein, Praxis and Action ( Philadelphia: Univ. of Pennsylvania Press, 1971 ), p. 195.Google Scholar
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    See Susanne Langer, Philosophy in a New Key ( Cambridge, Mass.: Harvard Univ. Press, 1957 ), p. 54.Google Scholar
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    Hartshorne, Creative Synthesis, p. 293.Google Scholar
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    Morris, Signs, Language, and Behavior (New York: George Braziller, Inc., 1955 ), p. 194.Google Scholar
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    Morris, Signification and Significance ( Cambridge, Mass.: Harvard Univ. Press, 1964 ), p. 67.Google Scholar
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    Langer, Mind, p. 104.Google Scholar
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    Zeman, p. 250.Google Scholar
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    Zeman, 252.Google Scholar
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    Dewey, Art as Experience, p. 37.Google Scholar
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    Dewey, Art as Experience, p. 84.Google Scholar
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    Dewey, Art as Experience, p. 85.Google Scholar
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    Dewey, Art as Experience, p. 139.Google Scholar

Copyright information

© Springer Science+Business Media Dordrecht 1987

Authors and Affiliations

  1. 1.Wittenberg UniversityGermany

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