This work approaches texts in the history of philosophy as the repository of a kind of literature that brings together rational thought and rhetorical principles.

Metaphysics and the Modern World makes the abiding questions of the nature of the self, world, and God available for the modern reader. Donald Phillip Verene presents these questions in both their systematic and historical dimensions, beginning with Aristotle's claim in his Metaphysics that philosophy begins in wonder. The first three chapters concern the origin of metaphysics as the transformation of the conception of reality in ancient Greek mythology, the ontological argument as the basis of Christian metaphysics, and the (...) Renaissance cosmology of infinite worlds and the coincidence of contraries. The final four chapters present the central issues of the metaphysics of history through the New Science of Vico, the principle of true infinity of Hegel's Logic, the dialectic of spirit and life in Cassirer's Metaphysics of Symbolic Forms, and the conception of actual entities and God in Whitehead's Process and Reality. In these discussions, the reader will find a lively and learned account of a field of philosophy that is often thought difficult to access, but in this work becomes most accessible and a pleasure to read. -- back cover. (shrink)

Pt. 1. The Practice Of Prudence. 1.The Moral in the Theater of the World -- pt. 2. The Labor Of The Negative. 2.Terrorism: The Ideology of Identity -- 3. Psycho-Sociopathy: The Counterfeit of Conscience -- 4. The Technological Person: The Dominance of Desire.

The Philosophy of Literature: Four Studies puts forth the question of the extent to which philosophers must go to school with the poets. It begins with a new interpretation of the famous Platonic quarrel with the poetic wisdom of Homer. It brings this question forward through the humanism of thinkers of the Italian Renaissance and the German Idealism of Hegel. It then treats the relation of philosophy and literature in four ways by considering philosophy as literature, philosophy of literature, philosophy (...) in literature, and philosophy and literature. In regard to the first of these, it discusses Jorge Luis Borges’s The Immortal, to the second James Joyce’s Finnegans Wake, to the third Carl Sandburg’s epic prose poem The People, Yes, and to the fourth, Sebastian Brant’s Ship of Fools. This work demonstrates that in an area of thought often dominated by fashionable doctrines of literary interpretation, the great works of literature and philosophy remain as permanent residents of our thought and imagination. (shrink)

Introduction: schema, substance, and symbol -- Linguistic form: the critique of reason becomes the critique of culture -- Mythical thought: beginning the ladder of consciousness -- Phenomenology of knowledge: taking phenomenology in the Hegelian, not the modern sense -- Metaphysics of symbolic forms: spirit, life, and Werk -- Logic of the cultural sciences: nature and culture -- Animal symbolicum -- Human freedom and politics.

Preface Giambattista Vico (1668-1744) was throughout his mature years professor of Latin Eloquence at the University of Naples. His works, first written in ...

Giambattista Vico is best remembered for his major work, the New Science, in which he sets forth the principles of humanity and gives an account of the stages common to the development of all societies in their historical life. Controversial at the time of its publication in 1725, the New Science has come to be seen as the most ambitious attempt before Comte at a comprehensive science of human society and the most profound analysis of the philosophy of history prior (...) to Hegel. Despite the fundamental importance of the New Science, there has been no philosophical commentary of the text in any language, until now. Written by the noted Vico scholar Donald Phillip Verene, this commentary can be read as an introduction to Vico’s thought or it can be employed as a guide to the comprehension of specific sections of the New Science. Following the structure of the text scrupulously, Verene offers a clear and direct discussion of the contents of each division of the New Science with close attention to the sources of Vico’s thought in Greek philosophy and in Roman jurisprudence. He also highlights the grounding of the New Science in Vico’s other works and the opposition of Vico’s views to those of the seventeenth-century natural-law theorists. The addition of an extensive glossary of Vico’s Italian terminology makes this an ideal companion to Vico’s masterpiece, ideal for both beginners and specialists. (shrink)

Introduction: On philosophical tetralogy -- The canon of the primal scene in speculative philosophy -- Philosophical pragmatics -- Putting philosophical questions (in)to language -- Absolute knowledge and philosophical language -- The limits of argument : argument and autobiography -- Philosophical aesthetics -- Philosophical memory -- Culture, categories, and the imagination -- Metaphysical narration, science, and symbolic form -- Myth and metaphysics.

Consciousness confronts itself with the aim of achieving absolute knowing. This is the first commentary to regard metaphor, irony, and memory as keys to the understanding of Hegel's basic philosophical position.

Focusing in particular on the traditions of some of the late Greeks and the Romans, Renaissance humanism, and the thought of Giambattista Vico, this book's concern is to revive the ancient Delphic injunction "know thyself," an idea of civil wisdom that Verene finds has been missing since Descartes. The author recovers the meaning of the vital relations that poetry, myth, and rhetoric had with philosophy in thinkers like Cicero, Quintilian, Isocrates, Pico, Vives, and Vico.

THIS ESSAY ADDRESSES TWO QUESTIONS: Is the search for scientific truth a self-sufficient activity? or Does scientific right reasoning depend upon a form of truth-telling that lies beyond the limits of scientific investigation? Put differently, is there a sense of metaphysics as a form of human culture that is the embodiment of this general sense of truth-telling?

In The Art of Humane Education, Donald Phillip Verene presents a new statement of the classical and humanist ideals that he believes should guide education in the liberal arts and sciences. These ideals are lost, he contends, in the corporate atmosphere of the contemporary university, with its emphasis on administration, faculty careerism, and student performance. Verene addresses questions of how and what to teach and offers practical suggestions for the conduct of class sessions, the relationship between teacher and student, (...) the interpretation of texts, and the meaning and use of a canon of great books.In sharp contrast to the current tendency toward specialization, Verene considers the aim of college education to be self-knowledge pursued through study of all fields of thought. Education, in his view, must be based on acquisition of the arts of reading, writing, and thinking. He regards the class lecture as a form of oratory that should be presented in accordance with the well-known principles of rhetoric. The Art of Humane Education, styled as a series of letters, makes the author's original and practical ideas very clear. In this elegant book, Verene explores the full range of issues surrounding humane education.On the humanities: "Despite Descartes, the study of humane letters has remained, but it is always in danger of passing out of the curriculum. It remains a beggar who will not quite leave the premises."On teaching: "Like oratory, teaching requires a natural gift, but it is also an art which, like all the other humane arts, can be learned only mimetically.... As some are born tone-deaf and cannot be musical, there are those who can never teach. But most if they wish have some aptitude for it, and this aptitude can be developed into an art."On teachers: "Teachers motivated by eloquence attempt to speak wholly on a subject, since the whole is where its life is. Teachers not motivated by eloquence tend to be either dull or comedic. The dull teacher may have knowledge but have no true language for it.... The comedic teacher is shallow and a menace to the subject matter."On administrators: "Administration is never content simply to concern itself with the pure business of the university, paying its bills, maintaining its buildings. It sees itself as necessary in order for the process between teacher and student to go on. But it is a process that it constantly interrupts.... Administrators, however, should not be taken too seriously."Although sharply critical of many aspects of the modern university and of many currents within the humanities, The Art of Humane Education remains at heart a ringing endorsement of the high humanist tradition and its continuing relevance to the institutions of teaching and learning. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 89-103 MuseSearchJournalsThis JournalContents[Access article in PDF]Philosophical AestheticsDonald Phillip VereneIs there an aesthetics of philosophy? Does philosophical discourse have a foundation in sense and sensibility? If the answer to these questions is affirmative and there is in some sense a philosophical aesthetics, what conclusions might be drawn for philosophical education?Put another way: Does philosophy require the power of the imagination and the product (...) of this power-image? Or is philosophy the product of the pure concept, the rational idea? Does philosophical reason rest upon a logic that resides in thought alone that is expressed essentially in principles and arguments disconnected from images and sentiment?The Philosophical ImaginaryThe French philosopher Michèle Le Doeuff says:Whether one looks for a characterization of philosophical discourse to Plato, to Hegel or to Bréhier, one always meets with a reference to the rational, the concept, the argued, the logical, the abstract. Even when a certain coyness leads some authorities to pretend that they do not know what philosophy is, no agnosticism remains about what philosophy is not. Philosophy is not a story, not a pictorial description, not a work of pure literature. Philosophical discourse is inscribed and declares its status as philosophy through a break with myth, fable, the poetic, the domain of the image. 1Le Doeuff continues:If, however, one goes looking for this philosophy in the texts which are meant to embody it, the least that can be said is that it is not to be found there in a pure state. We shall also find statues that breathe the scent of roses, comedies, tragedies, architects, foundations, dwellings, [End Page 89] doors and windows, sand, navigators, various musical instruments, islands, clocks, horses, donkeys and even a lion, representatives of every craft and trade, scenes of sea and storm, forests and trees: in short, a whole pictorial world sufficient to decorate even the dryest "History of Philosophy." 2Le Doeuff points to Hegel's work as an example of the claim that the sole form of philosophy is thought. Yet the works of Hegel, like those of Plato, are full of images. Plato and Hegel are masters of metaphor. One can say of them what Aristotle says in the Poetics, that "the greatest thing by far is to be a master of metaphor. It is the one thing that cannot be learnt from others and it is a sign of genius. For the right use of metaphor requires an eye for similarities in dissimilars." 3 Despite his mastery of metaphor, in the Republic Plato uses his doctrine of eidos to criticize the power of eikon to present truth. Hegel, in the Phenomenology, uses his doctrine of the Begriff to claim that the Bild cannot produce the science of the absolute. Plato and Hegel say one thing in their texts, but in the texts themselves they do another. Plato's dialogues are filled with metaphors and likely stories from the Ring of Gyges to the metaphor of the Sun to the tale of Atlantis, as are Hegel's works, from the "night in which all cows are black" to the phrenological skull to the owl of Minerva that flies only at the falling of dusk.How are we to comprehend the extremes of philosophical doctrine on the one hand and the discourse that expresses it on the other? Is the discourse simply the outer shell of the doctrine, inessential to its truth, or does the doctrine itself require for its truth all that is needed for its proper statement?I wish to seek the answer to this by connecting Plato to Hegel, using Vico as an intermediary, in particular Vico's conception of la sapienza poetica (poetic wisdom) and his conception of the universale fantastico (imaginative universal). My claim is that philosophical discourse, as well as philosophy itself, depends upon an aesthetic that cannot be overcome by reason, that there is a philosophical imaginary that necessarily accompanies philosophical rationality. The concept, the idea, always has a shadow, a doppelgänger through which... (shrink)

The philosopher Giambattista Vico (1668-1744) was an original thinker whose voice echoes today in the humanities and in fields of social thought. In this book Vico's career and works are considered from a new viewpoint. Donald Philip Verene examines in full for the first time the interconnections between Vico's new science and James Joyce's Finnegans Wake. Maintaining that Joyce is the greatest modern "interpreter" of Vico, Verene demonstrates how images from Joyce's work offer keys to Vico's philosophy. The volume (...) also features a detailed chronology of the philosopher's career, historical illustrations related to his works, and an extensive bibliography of Vico scholarship and all English translations of his writings. (shrink)

With the aim of guiding readers along, in Hegel’s words, “the long process of education towards genuine philosophy,” this introduction emphasizes the importance of striking up a conversation with the past. Only by looking to past masters and their works, it holds, can old memories and prior thought be brought fully to bear on the present. This living past invigorates contemporary practice, enriching today’s study and discoveries. In this book, groundbreaking philosopher and author Donald Verene addresses two themes: why (...) should one study the historically “great” texts and, if such a study is necessary, how can one undertake it? Acting out against the rejection of the idea that there is a philosophical canon, he centers his argument on the “tetralogy” of Plato, Aristotle, Kant, and Hegel. From his opening look at the rhetorical tradition, he brings those core ideals forward to classical Roman and medieval philosophers and then on into Renaissance and modern philosophy, including contemporary thinkers such as Derrida and Foucault. This vital chronological outline is supplemented by Verene’s contextualizing commentary. In ensuing sections, he offers guidance on reading philosophical works with “intellectual empathy,” suggests 100 essential works to establish a canon, illustrates the role of philosophers in history and society, and examines the nature of history itself. Ultimately, Verene concludes that history may be essential to philosophy, but philosophy is more than just its history. (shrink)

La "Reprensión" la concibió Vico para añadirla como breve capítulo a la sección sobre "Poética y Metafisica" del Libro Segundo de la Scienza nuova. Aquí se comenta sobre la base de que se trata del pronunciamiento más conciso que hace Vico de sus objeciones a todas las formas de la metafísica moderna.Vico intended the "Reprehension" to be a short chapter added to the section on "Poetic Metaphysics" of Book 2 of the New Science. This commentary takes as starting point that (...) it is Vico’s most concise statement of his objections to all forms of modern metaphysics. (shrink)

ABSTRACT Ernst Cassirer claims in his Philosophy of Symbolic Forms that the transcendental analysis of science, ethical freedom, and aesthetic and organic natural forms of Kant's three Critiques is extended to other forms of culture, such as language, myth, and art. In this way, Cassirer holds, the “critique of reason becomes the critique of culture.” This claim tends to place Cassirer within the tradition of Neo-Kantianism. But this view is offset by Cassirer's further claim that his philosophy is based on (...) a phenomenology of knowledge “as established and systematically grounded by Hegel.” He also subscribes to Hegel's dictum that “the True is the whole.” In order to achieve his philosophy of symbolic forms Cassirer joins Kantian transcendental method with Hegelian phenomenology. In so doing Cassirer replaces the idea of system with a conception of “systematic overview,” which he connects to a theory of “basis phenomena,” especially the basis phenomenon of the work. This phenomenon allows him finally to conceive his philosophy of culture as a fulfillment of the Socratic pursuit of self-knowledge. In this way Cassirer's thought moves from an epistemology to a philosophical anthropology. (shrink)