During my freshman year at New York University in 1971, I had as my first professor of philosophy Bob Gurland (b. 1933), voted many times Teacher of the Year (by many of his 25 thousand students). One fascinating thing I had learned about him was that he played trumpet in several big bands in the Fifties. (Charlie Barnet’s was one, as I recall.) One day after class, I chatted with him on Waverly Place, half a block east of Washington Square North, about jazz music, which we both love, and I remember interjecting, “That’s not something I want to theorize about.” Neither did he. He added a few words that underscored his head-nodding agreement.[1] I went about my philosophical education knowing both that there was such a thing as aesthetics and that I wasn’t much interested in it.
But as that lack of interest didn’t sit well with me, I was delighted when my reading led me to Susanne K. Langer, who lifted the veil a bit for me. On this site five years ago, I shared my discovery of her writings, which came into my world by way of my long and deep interest in Bernard Lonergan (1904-1984).
Lonergan [I wrote] was impressed with Susanne K. Langer’s Feeling and Form enough to cite it a couple of times in Insight. That’s how I learned of her work, and around 2008 I finally got around to marking up her Philosophy in a New Key: a Study in the Symbolism of Reason Rite and Art. For the first time, the arts were for me not just enjoyable, but also intelligible. First published in 1942, a mass market paperback edition hit the stands in 1949.
What could Langer, a materialist (or naturalist) in all but name, offer Lonergan a Transcendental Thomist? Monsignor Richard M. Liddy, who wrote his dissertation on Langer after studying under Lonergan in Rome, supplied an answer in “What Bernard Lonergan Learned from Susanne K. Langer.”[2]
Now, just how did she make intelligible to my prosaic mind the arts that express, enrich, and delight us as souls, that is, as beings capable of enjoyment and suffering?[3] Well, she had an insight into the different “primary illusions” that inform the “great orders of art.” These illusions are “semblances of experienced events,” with music (where she, a trained cellist, started) creating the illusion of time; painting, space; ballet, forces; literature, a virtual past; drama, a virtual present. The primary illusion of film, I reread the other day, is the dream.
I cannot compress her insights into a blogpost without doing violence to their nuance—I know . . . too late—but several key essays (which Langer scholars have told me they’ve found useful in this form) may be read on my old site. But let me give you a taste of how she understands the unity of the diversity of arts. Continue reading “Making the aesthetic realm a little less mysterious (to me): what I got from Susanne Langer (1895-1985)”
On the tenth anniversary of my old (but extant) site 
On the occasion of the tenth anniversary of this site, I am pleased to report the publication of my article “C. L. R. James: Herbert Aptheker’s Invisible Man,” in the Fall 2013 issue of the CLR James Journal. It arrived in the mail two days ago, and I purchased access to the online version of my essay this morning (sort of an anniversary present to myself). Hazily aware for four decades of C. L. R. James (1901-1989), author of The Black Jacobins: Toussaint L’Ouverture and the San Domingo Revolution, the umpteenth sighting of his name in my reading material (this time it was in a piece by Dwight Macdonald) over the course of a few months in 2012 triggered an odd reverie and query. (In the late thirties and early forties Macdonald and James’s circles partly overlapped.)
Herbert Aptheker (1915-2003), once one of the leading intellectuals in the Communist Party of the United States of America (CPUSA), was a ground-breaking Marxist historian of American slave revolts. So why hadn’t James’s work figured into his writings (virtually all of which I had read before I was twenty)? Why hadn’t James’s name ever crossed Aptheker’s lips during our many conversations about the early years while I served as 
“Not enough for what?” To philosophize aright. I swiped this post’s title from a collection of essays by critics of the philosophical school of linguistic analysis that dominated 20th-century academic philosophy.
How is philosophy after Christ (κατὰ Χριστόν, kata Christon) related to philosophy after some other principle? (See Colossians 2:8.) Say, how does it related to philosophy before Christ?
worldview you’re defending (wittingly or otherwise).”
Last week 
People who find Bernard Lonergan’s writing forbidding might benefit from this review of his magisterial Insight: A Study of Human Understanding, the subject of 