ABSTRACT
There is nothing in Anglo-American aesthetics that can compare with the comprehensive scope, detailed argument, and passionate power of Dewey’s Art as Experience (1987). Yet though this book initially aroused considerable interest, pragmatist aesthetics was, by the late fifties, totally eclipsed by analytic philosophy of art, which by and large dismissed Dewey’s aesthetic theory as “a hodge-podge of conflicting methods and undisciplined speculations” (Isenberg 1987: 128; see also Shusterman 1989).
