Taking Emerson as his starting point, Cornel West’s basic task in this ambitious enterprise is to chart the emergence, development, decline, and recent resurgence of American pragmatism. John Dewey is the central figure in West’s pantheon of pragmatists, but he treats as well such varied mid-century representatives of the tradition as Sidney Hook, C. Wright Mills, W. E. B. Du Bois, Reinhold Niebuhr, and Lionel Trilling. West’s "genealogy" is, ultimately, a very personal work, for it is imbued throughout with the author’s conviction that a thorough reexamination of American pragmatism may help inspire and instruct contemporary efforts to remake and reform American society and culture.
"West . . . may well be the pre-eminent African American intellectual of our generation."—The Nation
"The American Evasion of Philosophy is a highly intelligent and provocative book. Cornel West gives us illuminating readings of the political thought of Emerson and James; provides a penetrating critical assessment of Dewey, his central figure; and offers a brilliant interpretation—appreciative yet far from uncritical—of the contemporary philosopher and neo-pragmatist Richard Rorty. . . . What shines through, throughout the work, is West's firm commitment to a radical vision of a philosophic discourse as inextricably linked to cultural criticism and political engagement."—Paul S. Boyer, professor emeritus of history, University of Wisconsin–Madison.
Wisconsin Project on American Writers
Frank Lentricchia, General Editor
Composition and Cornel West: Notes toward a Deep Democracy identifies and explains key aspects of the work of Cornel West—the highly regarded scholar of religion, philosophy, and African American studies—as they relate to composition studies, focusing especially on three rhetorical strategies that West suggests we use in our questioning lives as scholars, teachers, students, and citizens.
In this study, author Keith Gilyard examines the strategies of Socratic Commitment (a relentless examination of received wisdom), Prophetic Witness (an abiding concern with justice and the plight of the oppressed), and Tragicomic Hope (a keep-on-pushing sensibility reflective of the African American freedom struggle). Together, these rhetorical strategies comprise an updated form of cultural criticism that West calls prophetic pragmatism.
This volume, which contains the only interview in which Cornel West directly addresses the field of composition,sketches the development of Cornel West’s theories of philosophy, political science, religion, and cultural studies and restates the link between Deweyan notions of critical intelligence and the notion of critical literacy developed by Ann Berthoff, Ira Shor, and Henry Giroux. Gilyard provides examples from the classroom to illustrate the possibilities of Socratic Commitment as part of composition pedagogy, shows the alignment of Prophetic Witness with traditional aims of critical composition, and in his chapter on Tragicomic Hope, addresses African American expressive culture with an emphasis on music and artists such as Curtis Mayfield, Marvin Gaye, Aretha Franklin, and Kanye West.
The first book to comprehensively connect the ideas of one of America's premier scholars of religion, philosophy and African American studies with composition theory and pedagogy, Composition and Cornel West will be valuable to scholars, teachers, and students interested in race, class, critical literacy, and the teaching of writing.
When Barney Clark received the Jarvik-7 artificial heart in 1983 and Cold Fusion came under fire in 1989, Chase Peterson, as the University of Utah president, was inevitably pulled into these campus events. While these episodes may be the best known in Peterson’s professional history, they are certainly not the only stories that make his autobiography worth reading.
The Guardian Poplar tells of a man who grew up in small-town Utah and carried his pioneer and Mormon heritage to a New England prep school and later to Harvard. He then returned to Utah as a doctor, but unexpectedly found himself back at Harvard as its dean of admissions, handling issues such as the Vietnam War and racial and gender reform. The book explains how Peterson’s home state recruited him back to become an administrator at the University of Utah and how he would eventually become the university president, taking on new issues and challenges. Peterson recounts these years by drawing on anecdotes that recall the people he served and the moments that brought his life meaning.
This autobiography is a compelling account of how Peterson has managed to balance family and career, handle the tensions that have arisen between his faith and his scientific training, and remain solid in the face of his newest challenge—cancer. The book’s engaging prose and honest reflections are sure to intrigue and inspire readers who know the man well, as well as those readers who simply want to know a man who can be described as dedicated, faithful, hardworking, and hopeful about the future.
“When I first met Chase Peterson as a Harvard freshman—along with our joint friend and brother David Evans—something deeply touched me. It was not only his sincere smile and open embrace but also a sense that here was a kind and courageous man comfortable in his own skin, secure in who he was yet eager to encounter new persons, new experiences, and new challenges. . . . He was from Utah but in New England, a Mormon in old Harvard, and a medical doctor in the deanship of admissions. Little did I know that his journey would enhance and enrich my own—owing to his critical allegiance to his family, his faith, his friends, and to his citizenship of country and world. His prophetic witness at Harvard in the turbulent ‘60s and ‘70s, his promotion of black priesthood in the Mormon church, his support of antiapartheid protests in the ‘80s, and his steadfast defense of academic freedom in the Cold Fusion controversy in the early ‘90s all express his quiet and humble effort to be true to himself—a self grounded in, but
not limited by, a rich Mormon tradition.”—from the foreword by Cornel West
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