Thomas Eisele explores the premise that the Socratic method of inquiry need not teach only negative lessons. Instead, Eisele contends, the Socratic method is cyclical: we start negatively by recognizing our illusions, but end positively through a process of recollection performed in response to our disillusionment, which ultimately leads to renewal. Thus, a positive lesson about our resources as philosophical investigators, as students and teachers, becomes available to participants in Socrates' robust conversational inquiry. __Bitter Knowledge __includes Eisele's detailed readings of (...) Socrates' teaching techniques in three fundamental Platonic dialogues, _Protagoras, Meno_, and _Theaetetus_, as well as his engagement with contemporary authorities such as Gregory Vlastos, Martha Nussbaum, and Stanley Cavell. Written in a highly engaging and accessible style, this book will appeal to students and scholars in philosophy, classics, law, rhetoric, and education. "This book is original, fresh, and of very high quality, opening up these Platonic texts, central to Western culture, in new ways. In addition, it establishes a method that others can use and apply to the other dialogues. It would be a wonderful text to assign in courses in philosophy, basic humanities, education, and law." --_James Boyd White, University of Michigan_ "Through his thoughtful and incisive readings of Plato, Thomas Eisele puts Socrates in a new light. In Eisele's hands, Socrates offers us a method not simply for philosophy but for the challenges of life and mind. This superb book builds on the great readings of Plato, adding to the richness of our understanding of the enigmatic figure of Socrates. These are profound readings of Plato." --_Dennis Patterson, Rutgers University School of Law_ "Eisele's book is much more than an erudite, seductive, and imaginative exploration of three central Platonic dialogues. It is also a fine general treatment of philosophy, discussing the kind of finality or closure to which philosophical questions are susceptible and the appropriate stance of the inquirer. It considers the pedagogy of philosophy and law brilliantly." --_Thomas Morawetz, University of Connecticut School of Law_. (shrink)

Punishment is a topic of increasing importance for citizens and policymakers. Why should we punish criminals? Which theory of punishment is most compelling? Is the death penalty ever justified? These questions and many more are examined in this highly engaging and accessible guide. Punishment (2nd edition) is a critical introduction to the philosophy of punishment, offering a new and refreshing approach that will benefit readers of all backgrounds and interests. The first comprehensive critical guide to examine all leading contemporary theories (...) of punishments, this book explores – among others – retribution, the communicative theory of punishment, restorative justice and the unified theory of punishment. Thom Brooks applies these theories to several case studies in detail, including capital punishment, juvenile offending and domestic violence. Punishment highlights the problems and prospects of different approaches in order to argue for a more pluralistic and compelling perspective that is novel and ground-breaking. This second edition has extensive revisions and updates to all chapters, including an all-new chapter on the unified theory substantively redrafted and new chapters on cyber-crimes and social media as well as corporate crimes. Punishment is essential reading for undergraduate and graduate students in philosophy, criminal justice, criminology, justice studies, law, political science and sociology. "Lucid, fair-minded, and well-informed, Thom Brooks’ Punishment offers a superb introduction to a complex and contentious subject. Many a perplexed student will find illumination in his patient discussion of each of the leading theories. The way Brooks shows their interconnectedness and application in practice – to capital punishment, juvenile offenders, domestic violence, and the like – will interest not only students but scholars as well." ―Stuart P. Green, Distinguished Professor of Law and Nathan L. Jacobs Scholar, Rutgers School of Law "As a topic in moral and political philosophy, punishment has been jolted back to life. In the last quarter century, retribution has returned with a vengeance, both in the theoretical literature and (with a very different emphasis) in public policy. The rise of the victim as a player in the criminal justice system has also fuelled a counter-trend, placing an emphasis on redress. Human rights, privatization, globalization, the rise of the therapist, the lobbyist, the terrorist: all have affected our ways of punishing and of thinking about punishment. A new survey of the terrain is overdue. And who better to conduct it than Thom Brooks, whose grasp of the literature and feel for the issues is second to none? From the noble ideals of ‘communicative’ theory to the grim realities of children in prison: in Punishment Brooks covers it all with insight, rigour, and energy." ―John Gardner, Professor of Jurisprudence, University of Oxford "Thom Brooks has produced a valuable introduction to, and critical survey of, current theoretical approaches to punishment together with an analysis of their implications for practice. In addition, he has provided a spirited defence of a new, unified theory inspired by the British Idealists and encompassing retributive, consequentialist, and restorative elements. Written in a lucid and engaging style, the book will interest a wide range of readers – students, theorists of punishment, as well as those engaged in criminal justice policy." ―Alan Brudner, Albert Abel Professor Emeritus, Faculty of Law, University of Toronto. (shrink)

My education in political poetry begins with William Blake’s remark about John Milton in The Marriage of Heaven and Hell: “The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devil’s party without knowing it.”1 The statement is usually taken as a charming misreading of Milton or as some sort of hyperbole. We find it lumped with other readings which (...) supposedly view Satan as the hero of Paradise Lost, such as Percy Bysshe Shelley’s in A Defence of Poetry, although neither Blake nor Shelley says anything of the kind.2I consider Blake’s statement simply accurate. I think it the best single thing anybody has ever said about Paradise Lost. If not clear as a bell, then at least as compressed as diamonds. The insouciant opening gesture takes for granted what to Blake is obvious” that the poetry qua poetry is better, more exciting, more energetic in the sections dominated by Stan, worse, duller, less poetic in the sections dominated by God. As a lover of poetry Blake has evidently struck a perplexity. Why does Milton’s Satan excite me and this God bore me even though he plainly intends me to adore God and scorn Satan? The answer could have been that Milton “wrote in fetters” where constrained by theology and the danger of lapsing into inadvertent sacrilege, but “at liberty” otherwise. Other critics have claimed that it is impossible to make God talk successfully in a poem, but the Book of Job is enough to refute that position. Why did Milton choose to make God talk at all? Dante cleverly avoided that difficulty.The second half of Blake’s sentence not only solves the Paradise Lost problem but proposes a radical view of all poetry which might be summarized as follows: All art depends on opposition between God and the devil, reason and energy. The true poet is necessarily the partisan of energy, rebellion, and desire, and is opposed to passivity, obedience, and the authority of reason, laws, and institutions. To be a poet requires energy; energetic subjects make the best material for poems; the truer the poetry, the more it will embody the truths of Desire. But the poet need not think so. He can be of the devil’s party without knowing it. 1. William Blake, “The Marriage of Heaven and Hell,” Complete Poems, ed. Alicia Ostriker , p. 182.2. Let one instance serve: Marjorie Hope Nicolson wonders whether the members of the “‘Satanic School’ of Milton criticism” have read past books 1 and 2 of Paradise Lost . Alicia Ostriker, professor of English as Rutgers University, is the author of Stealing the Language: The Emergence of Women’s Poetry in America. Her most recent book of poetry is Imaginary Lover. (shrink)