from The American Heritage® Dictionary of the English Language, 4th Edition
- Dewey, George 1837-1917. American naval officer known for his victory at Manila Bay (May 1, 1898) in the Spanish-American War.
- Dewey, John 1859-1952. American philosopher and educator who was a leading exponent of philosophical pragmatism and rejected traditional methods of teaching by rote in favor of a broad-based system of practical experience.
- Dewey, Melvil 1851-1931. American librarian and founder of the decimal system of classification (1876).
- Dewey, Thomas Edmund 1902-1971. American politician who was the Republican nominee for President in 1944 and 1948. In the latter election he was unexpectedly beaten by Harry S. Truman's whistle-stop campaign.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- proper n. An American surname.
- proper n. A male given name derived from the surname, popular in the U.S. in the 1890s.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. United States librarian who founded the decimal system of classification (1851-1931)
- n. a United States naval officer remembered for his victory at Manila Bay in the Spanish-American War
- n. United States pragmatic philosopher who advocated progressive education (1859-1952)
DEWEY - Bottom-of-the-lineup bashers bolstered Dewey to a boisterous victory Saturday against visiting Verdigris.
Dewey is among those philosophers who reorient philosophy to the consideration of perceptible reality and in his philosophy of art tries to orient us to the concrete reality of aesthetic experience.
I tend to think that those who do "use 'literary' as a term of disparagement" ( "merely literary") ultimately don't want to accept language as a "medium" in Dewey's account of the term.
Surely this as much the case now as it was in Dewey's time (and a very long time it was; Dewey died in 1952 at the age of 92).
Dewey is suggesting that artists (good artists, that is) are distinctive in their ability not merely to acknowledge "resistance and tension" (the world's tendency to thwart "harmonious feelings") but to dwell in them, to accept disorder as a necessary accompaniment to the experience of order.
Dewey is probably using the construction "say something" very loosely, to indicate that the work as shaped turns out to express the sharpest and most far-reaching vision, but it might mislead us into thinking that the vagueness of the inner vision becomes the more clearly enunciated "theme" through outer vision.
However much the "real" may be transformed by imagination (Dewey is not making a case for realism), it is not reduced to mere fantasy.
The reader of a poem or novel in Dewey's formulation seeks to trace the "subtlety" of the work as manifest in the writer's aesthetic choices.
Ultimately Dewey is questioning the dominance of "story" in fiction.
In this chapter of Art as Experience, Dewey is concerned with the relation of "content" to "form."