Through extensive textual analysis, this book concludes that the prevailing opinion about the nature of modern and contemporary philosophy is wrong. It maintains that almost all modern and contemporary philosophy is deconstructed, secularized, Augustinian theology, not philosophy. The work is divided into eight chapters, a guest Foreword by Herbert I. London (President of the Hudson Institute and Olin Professor of Humanities at New York University) notes, bibliography, and an index. Chapter 1 (Protagoras Sees the Ghost of Hippo) considers Cartesian thought, Hobbes, and Newton. Chapter 2 (I Feel the Spirit Move Me) examines Locke, Berkeley, and Hume. Chapter 3 (The Urge to Emerge) investigates Lessing and Rousseau. Chapters 4 (To Dream the Impossible Dream) and 5 (Wake Up, Wake Up, You Sleepyhead) treat Kant. Chapters 6 (I Am Music) and 7 (Looking for God in All The Wrong Places) deal with Hegel. Chapter 8 (Dirty Dancing: Higher Education as Enlightened Swindling) concludes that a lack of philosophical and historical experience coupled with a widespread inability to read philosophical texts according to the intention of the author (1) causes us to mistake secularized theology for philosophy and (2) is a main cause for the decline of contemporary universities.

Vols. 8-10 of the 1965-1984 master cumulation constitute a title index.

Using the tools of philosophy, this book is an investigation of the origin of true humanity. Questions of animal intelligence, the philosophical meaning of the species concept, Adam and Eve, and human evolution being compatible with Christianity are also explored.

This book interprets Thomas Hardy's Tess of the D'Urbervilles with the openness toward experience recommended by John Dewey's Art as Experience. The characters of Tess are considered as real people with sexual bodies and complex minds. Efron identifies the "experience blockers" that the critical tradition has stumbled upon, and defends Hardy's involvement in telling his story. Efron offers a new way of evaluating literature inspired by Dewey's pragmatist aesthetics.

Contrary to what the author dismisses as false claims of postmodernity, the work shows that what is truly postmodern in philosophy both goes beyond modernity and recovers philosophy's past in a renewed understanding of the human condition.

The 4 Walker children are confused and angry when their father is accused of embezzlement.