MJ

Mortimer J. Adler and Charles Van Doren

19quotes

Mortimer J. Adler and Charles Van Doren: A Biographical Sketch

Mortimer J. Adler and Charles Van Doren were two influential figures in the world of literature, education, and media. Their contributions to these fields have had a lasting impact on society.

Full Name and Common Aliases


Mortimer J. Adler


- Full Name: Mortimer Jerome Adler
- Common Aliases: Morty Adler

Charles Van Doren


- Full Name: Charles Edward Van Doren
- Common Aliases: None notable

Birth and Death Dates


Mortimer J. Adler


- Birth Date: December 28, 1902
- Death Date: July 16, 2001

Charles Van Doren


- Birth Date: February 12, 1929 (died September 9, 2021)

Nationality and Profession(s)


Both Adler and Van Doren were American citizens. Their professions included:

Mortimer J. Adler: Philosopher, Educator, Author, Editor
 Charles Van Doren: Writer, Professor, Television Personality

Early Life and Background


Mortimer J. Adler


Mortimer Jerome Adler was born in Alton, Illinois, to a family of modest means. He developed an interest in philosophy at an early age, which led him to pursue higher education.

Adler studied at the University of Chicago, where he earned his Bachelor's degree and later his Master's degree. His academic prowess earned him scholarships, which allowed him to continue his studies without financial burdens.

Charles Van Doren


Charles Edward Van Doren was born in Northampton, Massachusetts, to a family with a rich literary background. His father, Carl Van Doren, was a Pulitzer Prize-winning writer and historian.

Van Doren's early life was marked by an enthusiasm for literature and writing. He attended Princeton University, where he developed his skills as a writer and teacher.

Major Accomplishments


Mortimer J. Adler


Adler's contributions to philosophy are multifaceted:

Author: Adler wrote numerous books on philosophy, including "The Capitalist Manifesto" and "How to Read a Book."
 Editor: He was the editor of the "Encyclopedia Britannica," ensuring that philosophical concepts were accurately represented.
Educator: Adler taught philosophy at various institutions, including the University of Chicago.

Charles Van Doren


Van Doren's accomplishments in literature and media are notable:

Writer: Van Doren wrote several books on history and literature, including "A History of Knowledge" and "The American Mind."
Professor: He taught English at Columbia University.
 Television Personality: Van Doren appeared on the popular game show "Twenty-One," which increased his public profile.

Notable Works or Actions


Both Adler and Van Doren made significant contributions to their respective fields:

Mortimer J. Adler

"The Capitalist Manifesto" (1968): A treatise that argued for the benefits of capitalism.
 "How to Read a Book" (1940): A guide to improving reading skills and comprehension.

Charles Van Doren

"Twenty-One" appearances: His participation in the game show raised questions about the ethics of using contestants as entertainment.

Impact and Legacy


The impact of Adler's and Van Doren's work can be seen in various areas:

Philosophy: Adler's contributions to philosophical thought have influenced generations of scholars.
Education: His emphasis on reading skills and critical thinking has had a lasting impact on education.

Why They Are Widely Quoted or Remembered

Both Mortimer J. Adler and Charles Van Doren are widely quoted and remembered due to their:

Influence on Philosophy: Adler's work in philosophy has had a profound impact on the field.
* Television Presence: Van Doren's appearances on "Twenty-One" made him a household name.

Their contributions continue to be relevant today, making them figures worth studying and remembering.

Quotes by Mortimer J. Adler and Charles Van Doren

If you are going to answer the first two questions that should be asked of anything you read, you must, as it were, check your opinions at the door. You cannot understand a book if you refuse to hear what it is saying. [How to Read a Book (1972), P. 294]
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If you are going to answer the first two questions that should be asked of anything you read, you must, as it were, check your opinions at the door. You cannot understand a book if you refuse to hear what it is saying. [How to Read a Book (1972), P. 294]
MJ
We have already quoted Basil Willey on the difficulty—and the importance—of discovering the hidden and unstated assumptions of an author, to say nothing of our own. This goes for any book. It applies to works in philosophy with particular force. [How to Read a Book (1972), P. 280]
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We have already quoted Basil Willey on the difficulty—and the importance—of discovering the hidden and unstated assumptions of an author, to say nothing of our own. This goes for any book. It applies to works in philosophy with particular force. [How to Read a Book (1972), P. 280]
MJ
A historical fact, though we may have a feeling of trust and solidity about the word, is one of the most elusive things in the world. [How to Read a Book (1972), P. 231]
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A historical fact, though we may have a feeling of trust and solidity about the word, is one of the most elusive things in the world. [How to Read a Book (1972), P. 231]
MJ
Analytical reading is also active, of course. But when you read a book analytically, you put yourself in a relation to it of disciple to master. When you read syntopically, you must be the master of the situation. [How to Read a Book (1972), P. 309]
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Analytical reading is also active, of course. But when you read a book analytically, you put yourself in a relation to it of disciple to master. When you read syntopically, you must be the master of the situation. [How to Read a Book (1972), P. 309]
MJ
Why do certain words pop out of the poem and stare you in the face? Is it because the rhythm marks them? Or the rhyme? Or are the words repeated? Do several stanzas seem to be about the same ideas; if so, do these ideas form any kind of sequence?[How to Read a Book (1972), P. 225]
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Why do certain words pop out of the poem and stare you in the face? Is it because the rhythm marks them? Or the rhyme? Or are the words repeated? Do several stanzas seem to be about the same ideas; if so, do these ideas form any kind of sequence?[How to Read a Book (1972), P. 225]
MJ
To understand what kind of filter our reporter's mind is, we must ask a series of questions about it. This amounts to asking a series of questions about any material dealing with current events. The questions are these:1. What does the author want to prove? 2. Whom does he want to convince? 3. What special knowledge does he assume? 4. What special language does he use? 5. Does he really know what he is talking about? [How to Read a Book (1972), P. 244]
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To understand what kind of filter our reporter's mind is, we must ask a series of questions about it. This amounts to asking a series of questions about any material dealing with current events. The questions are these:1. What does the author want to prove? 2. Whom does he want to convince? 3. What special knowledge does he assume? 4. What special language does he use? 5. Does he really know what he is talking about? [How to Read a Book (1972), P. 244]
MJ
#reporters #current-events
The book of practical principles may look at first like a theoretical book. In a sense it is, as we have seen. It deals with the theory of a particular kind of practice. You can always tell it is practical, however. The nature of its problems gives it away. It is always about a field of human behavior in which men can do better or worse. [How to Read a Book (1972), P. 190]
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The book of practical principles may look at first like a theoretical book. In a sense it is, as we have seen. It deals with the theory of a particular kind of practice. You can always tell it is practical, however. The nature of its problems gives it away. It is always about a field of human behavior in which men can do better or worse. [How to Read a Book (1972), P. 190]
MJ
No general knowledge is expressible except in abstract terms. There is nothing particularly difficult about abstractions. We use them every day of our lives and in every sort of conversation. However, the words "abstract" and "concrete" seem to trouble many persons. [How to Read a Book (1972), P. 283]
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No general knowledge is expressible except in abstract terms. There is nothing particularly difficult about abstractions. We use them every day of our lives and in every sort of conversation. However, the words "abstract" and "concrete" seem to trouble many persons. [How to Read a Book (1972), P. 283]
MJ
One reason why fiction is a human necessity is that it satisfies many unconscious as well as conscious needs. It would be important if it only touched the conscious mind, as expository writing does. But fiction is important, too, because it also touches the unconscious.[How to Read a Book (1972), P. 215]
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One reason why fiction is a human necessity is that it satisfies many unconscious as well as conscious needs. It would be important if it only touched the conscious mind, as expository writing does. But fiction is important, too, because it also touches the unconscious.[How to Read a Book (1972), P. 215]
MJ
Imaginative writings can lead to action, but they do not have to. They belong to the realm of fine art.A work of fine art is "fine" not because it is "refined," but because it is an end (finis, Latin, means end) in itself. It does not move toward some result beyond itself. It is, as Emerson said of beauty, its own excuse for being.
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Imaginative writings can lead to action, but they do not have to. They belong to the realm of fine art.A work of fine art is "fine" not because it is "refined," but because it is an end (finis, Latin, means end) in itself. It does not move toward some result beyond itself. It is, as Emerson said of beauty, its own excuse for being.
MJ
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