 Richard Rorty has suggested that English language philosophy in the early 20th century emerged from the dominance of Hegelian idealism by deferring to the natural sciences, partly because the alternative association with modernist literature seemed to threaten “a kind of privatised aestheticism which contained disturbing strains of irrationalism” (Rorty 1985, p. 748). Superficially, Anderson’s work suggests an attempt of some kind to assimilate philosophy to the sciences. But he was a true modernist in relation to literary culture: his articles and addresses include critical works on such figures as, in particular, James Joyce, but also Lawrence, Shaw, Wells, Grahame, Belloc, Wilde, Hardy, Ibsen, Meredith, Dostoevsky and Melville, as well as on the genre of detective fiction. Literature for Anderson had a special character as the embodiment or repository of culture (JAA, Lectures on the Educational Theories of Spencer and Dewey, 1949). At Sydney in the 1930s he championed both the works of James Joyce (recently banned) and the importance of Freudian psychoanalysis to our understanding of mentality as conflicted and passionate, and to cultural inquiry more generally (cf., Damousi 2005). He thought the pre-modernist “literary philosophers” of romanticism and idealism had shown “greater tenacity” than those philosophers who professed scientific exactitude (EMP, 80). But they had also tended to promote forms of moralising and theologising which were opposed to precision and independence of thought and which were “detrimental to culture in general” (EMP, 87). Anderson thought his interpretation of traditional Aristotelian logic had an important role to play in the new world of literary culture as much as in the natural sciences.