In this article, I consider the relevance of Bergson's theory of durée for an understanding of sculpture by focusing on the work of three canonical artists in the history of twentieth-century modernism: the French Cubist Raymond Duchamp-Villon, the Italian Futurist Umberto Boccioni, and the London-based Vorticist Henri Gaudier-Brzeska. While these sculptors produced widely divergent aesthetic forms, I argue that they all endorsed Bergson's notion of durée as a spontaneous process of qualitative differentiation. These artists reconfigured their medium in terms of (...) Bergson's process philosophy, whether in the guise of an artists? generative imagination (Duchamp-Villon), representations of the human body as a living center of indetermination (Boccioni), or the act of direct carving as an intuitive response to a sculptor's chosen material (Gaudier-Brzeska). These Bergsonian paradigms enable us to reassess Jack Burnham's evaluation of Bergson's impact in his seminal text Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of this Century (1968). Finally, by drawing on recent discussions of cybernetic and new media art, I will highlight the limitations of Burnham's categorical dismissal of Bergsonism as an outmoded metaphysics, irrelevant to newer conceptions of ?sculpture as system.? (shrink)

Annotation. In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; (...) and the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism. (shrink)

In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and (...) the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism. (shrink)

Explores some steps toward non-assimilative encounters in the "global village.".

This is a comprehensive, integrated account of eighteenth and early nineteenth century German figurative aesthetics. The author focuses on the theologically-minded discourse on the visual arts that unfolded in Germany, circa 1754-1828, to critique the assumption that German romanticism and idealism pursued a formalist worship of beauty and of unbridled artistic autonomy. This book foregrounds what the author terms an "Aesthetics of Figurative Theo humanism". It begins with the sculptural aesthetics of Johann Joachim Winckelmann and Gottfried Herder before moving on (...) to Karl Philipp Moritz, Wilhelm Heinrich Wackenroder and Friedrich Schelling. The reader will discover how this aesthetic tradition, after an initial obsession with classical sculpture, chose painting as the medium more suited to the modern self's exploration of transcendence. This paradigm-shift is traced in the aesthetic discourse of Friedrich Schlegel and Georg Wilhelm Friedrich Hegel. In this work, the widespread prejudice that such aesthetics initiated a so-called "Modern Grand Narrative of the Arts" is deconstructed. One accusation directed at 18th century aesthetics has been that it realised into "Art" what had previously been a living, rich tissue of meaning: this work shows how Figurative Theo humanism's attention to aesthetic values was never detached from deeper theological and humanistic considerations. Furthermore, it argues that this aesthetic discourse never forgot that it emerged from modern disenchantment-far from occluding the dimension of secularization, it draws poignant meaning from it. Anyone with an interest in the current debates about the scope and nature of aesthetics (philosophers of art, theology, or religion) will find this book of great interest and assistance. (shrink)

In the 1950s and 60s, Martin Heidegger turned to sculpture to rethink the relationship between bodies and space and the role of art in our lives. In his texts on the subject—a catalog contribution for an Ernst Barlach exhibition, a speech at a gallery opening for Bernhard Heiliger, a lecture on bas-relief depictions of Athena, and a collaboration with Eduardo Chillida—he formulates his later aesthetic theory, a thinking of relationality. Against a traditional view of space as an empty container for (...) discrete bodies, these writings understand the body as already beyond itself in a world of relations and conceive of space as a material medium of relational contact. Sculpture shows us how we belong to the world, a world in the midst of a technological process of uprooting and homelessness. Heidegger suggests how we can still find room to dwell therein. Filled with illustrations of works that Heidegger encountered or considered, _Heidegger Among the Sculptors_ makes a singular contribution to the philosophy of sculpture. (shrink)

This volume focuses on early modern paintings, sculpture and other artworks in which subjects have been difficult to define, which constitute potentially or actually visual aporias. Using specific examples as case studies, contributors analyze borderline visual cases in which subjects are smudged either due to the convergence of discordant elements or to a dearth, insufficiency or ambivalence of iconographic components.

Chapter 1 : Introduction General Argument My aim is to survey some of the most influential philosophical writers on human nature from the time that ...

The articles in the symposium “Teaching Early Modern Philosophy: New Approaches” provide theoretical reflections and practical advice on new ways of teaching undergraduate survey courses in early modern philosophy. This introduction lays out the rationale for the symposium and summarizes the articles that compose it.

The seventeenth and eighteenth centuries are arguably the most important period in philosophy’s history, given that they set a new and broad foundation for subsequent philosophical thought. Over the last decade, however, discontent among instructors has grown with coursebooks’ unwavering focus on the era’s seven most well-known philosophers—all of them white and male—and on their exclusively metaphysical and epistemological concerns. While few dispute the centrality of these figures and the questions they raised, the modern era also included essential (...) contributions from women—like Margaret Cavendish, Elisabeth of Bohemia, Mary Wollstonecraft, and Émilie Du Châtelet—as well as important non-white thinkers, such as Anton Wilhelm Amo, Julien Raimond, and Ottobah Cugoano. At the same time, there has been increasing recognition that moral and political philosophy, philosophy of the natural world, and philosophy of race—also vibrant areas of the seventeenth and eighteenth centuries—need to be better integrated with the standard coverage of metaphysics and epistemology. -/- A New Modern Philosophy: The Inclusive Anthology of Primary Sources addresses—in one volume—these valid criticisms. Weaving together multiple voices and all of the era’s vibrant areas of debate, this volume sets a new agenda for studying modern philosophy. It includes a wide range of readings from 34 thinkers, integrating essential works from all of the canonical writers along with the previously neglected philosophers. Arranged chronologically, editors Eugene Marshall and Susanne Sreedhar provide an introduction for each author that sets the thinker in his or her time period as well as in the longer debates to which the thinker contributed. Study questions and suggestions for further reading conclude each chapter. At the end of the volume, in addition to a comprehensive subject index, the book includes 13 Syllabus Modules, which will help instructors use the book to easily set up different topically structured courses, such as "The Citizen and the State," "Mind and Matter," "Education," "Theories of Perception," or "Metaphysics of Causation." -/- And an eresource offers a wide range of supplemental online resources, including essay assignments, exams, quizzes, student handouts, reading questions, and scholarly articles on teaching the history of philosophy. (shrink)

Erotikon brings together leading contemporary intellectuals from a variety of fields for an expansive debate on the full meaning of eros . Renowned scholars of philosophy, literature, classics, psychoanalysis, theology, and art history join poets and a novelist to offer fresh insights into a topic that is at once ancient and forever young. Restricted neither by historical period nor by genre, these contributions explore manifestations of eros throughout Western culture, in subjects ranging from ancient philosophy and baroque architecture (...) to modern literature and Hollywood cinema. An idea charged with paradox, eros has always defied categorization, and yet it cannot--it will not--be ignored. Erotikon aims to raise the difficult question of what, if anything, unifies the erotic manifold. How is eros in a sculpture like eros in a poem? Does the ancient story of Cupid and Psyche still speak meaningfully to modern readers, and if so, why? Is Plato's eros the same as Freud's? Or Proust's? And what is the erotic dimension in Nietzsche's thought? While each essay takes on a specific issue, together they constitute a wide-ranging conversation in which these broader questions are at play. A compilation of the latest, best efforts to reckon with eros , Erotikon will appeal not just to scholars and educators, but also to artists and critics, to the curious and the disillusioned, to the prurient and the prudent. Contributors: Shadi Bartsch Peter Brooks J. M. Coetzee Catharine Edwards Anthony Grafton Tom Gunning David M. Halperin Valentina Izmirlieva Jonathan Lear Eric Marty Susan Mitchell Glenn W. Most Martha C. Nussbaum Robert B. Pippin James I. Porter Philippe Roger Ingrid D. Rowland Eric L. Santner Mark Strand David Tracy Richard Wollheim Slavoj Zizek. (shrink)

_Erotikon_ brings together leading contemporary intellectuals from a variety of fields for an expansive debate on the full meaning of _eros_. Renowned scholars of philosophy, literature, classics, psychoanalysis, theology, and art history join poets and a novelist to offer fresh insights into a topic that is at once ancient and forever young. Restricted neither by historical period nor by genre, these contributions explore manifestations of _eros_ throughout Western culture, in subjects ranging from ancient philosophy and baroque architecture to (...) modern literature and Hollywood cinema. An idea charged with paradox, _eros_ has always defied categorization, and yet it cannot—it will not—be ignored. _Erotikon_ aims to raise the difficult question of what, if anything, unifies the erotic manifold. How is _eros_ in a sculpture like _eros_ in a poem? Does the ancient story of Cupid and Psyche still speak meaningfully to modern readers, and if so, why? Is Plato's _eros_ the same as Freud's? Or Proust's? And what is the erotic dimension in Nietzsche's thought? While each essay takes on a specific issue, together they constitute a wide-ranging conversation in which these broader questions are at play. A compilation of the latest, best efforts to reckon with _eros_, _Erotikon_ will appeal not just to scholars and educators, but also to artists and critics, to the curious and the disillusioned, to the prurient and the prudent. (shrink)

Conventional wisdom holds that Judaism is indifferent or even suspiciously hostile to the visual arts due to the Second Commandment's prohibition on creating "graven images," the dictates of monotheism, and historical happenstance. This intellectual history of medieval and modern Jewish attitudes toward art and representation overturns the modern assumption of Jewish iconophobia that denies to Jewish culture a visual dimension. Kalman Bland synthesizes evidence from medieval Jewish philosophy, mysticism, poetry, biblical commentaries, travelogues, and law, concluding that premodern (...) Jewish intellectuals held a positive, liberal understanding of the Second Commandment and did, in fact, articulate a certain Jewish aesthetic. He draws on this insight to consider modern ideas of Jewish art, revealing how they are inextricably linked to diverse notions about modern Jewish identity that are themselves entwined with arguments over Zionism, integration, and anti-Semitism. Through its use of the past to illuminate the present and its analysis of how the present informs our readings of the past, this book establishes a new assessment of Jewish aesthetic theory rooted in historical analysis. Authoritative and original in its identification of authentic Jewish traditions of painting, sculpture, and architecture, this volume will ripple the waters of several disciplines, including Jewish studies, art history, medieval and modern history, and philosophy. (shrink)

Repetition dynamically shaped important modes of thought and action in early modern British and European cultures. The centrality and often problematic ambiguity of repetition as they converge in ritual, routine, and regime, however, are rarely assessed accurately because repetition is often dismissed as quaintly primitive or embarrassingly visceral. Ritual, Routine, and Regime is a collection of essays that reveals varied meanings given to and created by repetition from a range of disciplinary perspectives. The contributors reveal repetition at work in (...) evolving definitions of the self and of the emotions, in political rhetoric used to assert a nation's history, in values ascribed to musical styles, in religious verse grounded in practices of prayer, in the aesthetics created by the poetry of work and by rhyme in general, in the recreation of British classics through French translations, and in the repeated but significantly varied sculpture of the portrait bust. Edited by Lorna Clymer, Ritual, Routine, and Regime juxtaposes early modern practices with twentieth- and twenty-first century theoretical accounts of the institutions of repetition. Providing a stimulating, new perspective on early modern culture, the collection describes repetition's often peculiar demands, its surprising gratifications, and its contested interpretations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Unmodern Philosophy and Modern Philosophy by John DeweyCharles A. HobbsJohn Dewey. Unmodern Philosophy and Modern Philosophy. Carbondale and Edwardsville: Southern Illinois University Press, 2012, 351 pp., index.John Dewey’s latest publication marks a watershed moment for scholarship in American philosophy, and, in addition to Dewey himself, we have editor Phillip Deen to thank for discovering it (among the Dewey papers in Special (...) Collections at Morris Library of Southern Illinois University) and editing it. We see Dewey late in life (early 1940s) engaged mainly in a critique of the modern, ancient, and (fragmentarily) medieval philosophical periods, which Dewey argues, are eras not nearly as distinct as traditional understanding admits. In the Introduction, Deen helpfully explains how we are now bequeathed incomplete but in most [End Page 122] cases quite robust chapter drafts that amount to another substantial work by Dewey. While published by Southern Illinois University Press, this volume is not itself part of The Collected Works of John Dewey. Still, the careful editing (of what are actually a number of manuscripts) is comparable in its excellence. There is also a well-done Index.The scope is twofold: retrospective and prospective. Chapters one through seven trace the development of so-called modern philosophy along with its central epistemological problem, with the aim being to demonstrate how thoroughly “unmodern” such philosophy has been. Then, chapters eight through fourteen constitute a genuinely modern approach that naturalistically and functionally undercuts the epistemic problem of subject/object and points to a revolution in the process of knowing.We turn to the retrospective, beginning in the first chapter with the acknowledgement that Dewey comes to philosophy itself as a kind of anthropologist, something we note as consistent with the influence of Franz Boas on Dewey (with whom Dewey was a colleague and intellectual ally at Columbia for about thirty-five years). This is further underscored by a lengthy quotation of anthropologist Bronislaw Malinowski on the meaning of culture (p. 290). The ongoing history of philosophy is itself a cultural activity. Indeed, citing James, Dewey declares that “The sickliest way in which a student of philosophy can approach his subject-matter is that of a search for ultimate impersonal revelation of truth.” (p. 16) Rather, let the philosopher have the pragmatic attitude of openness “... to truth from whatever source it comes” (ibid).With that, Dewey once again turns to the Greeks, who initiated “The Discovery of Rational Discourse” (Ch. III) as underscored by the Socratic means of cooperative discourse, with the dialogues—not lectures—being evidence of the Athenian philosophical revolution in turning “from discussing nature and giving an account of it to the examination of the nature and procedure of discussion and report” (p. 38). Yet this project, despite its initial promise, failed for lack of a genuine logic of experimentation or inquiry. Then philosophy focused on going beyond the natural, beginning with the medieval “Search for Salvation” (Ch. IV, a significantly less developed and unified chapter draft). “Modern” philosophers then rightly replaced grand cosmic schemes with a focus on human nature (Ch. V), but they went too far with their introspective methods, gradually resulting in the same consequence supernaturalism had produced: a dualism of mind and nature, as if human nature is somehow not a part of nature. As we recall from Human Nature and Conduct (1922), human nature is not independent of but rather interdependent (or, using Dewey’s later term, transactional) with the rest of nature. The key is to avoid hypostatizing mind and better to talk of culture as nature. [End Page 123]With the Renaissance onward, humans have been “Wandering between Two Worlds” (Ch. VI), and endless arguments between “rationalists” and “empiricists” overlook what these camps share, namely a psychology assuming a fundamental split between subjective/objective and assumptions about certainty as founded upon various first principles or substances. The result is the stagnation of philosophy while science flourishes. Dewey cites Bertrand Russell as an example of continued insistence on such a priori principles (p. 106).We find ourselves in an epoch split between scientism and moral and religious fundamentalism, the result of a lingering tenacious investment in bad elements from ancient and medieval... (shrink)

It is the aim of this work to examine the pivotal role of Johann Joachim Winckelmann (1717-1768) as a judge of classical sculpture and as a major contributor to German art criticism. John Harry North seeks to identify the key features of his treatment of classical beauty, particularly in his famous descriptions of large-scale classical sculpture. Five case studies are offered to demonstrate the academic classicism that formed the core of his philosophy of art. North aims to establish Winckelmann's (...) place in the development of the German language. His prose contributed to a literary style that was suitable for the expression of an emotional response to visual experiences. His use of rhetoric in the assessment of classical art, however, make his judgements propagandist rather than analytical. The published works of Winckelmann, his draft essays and his collected private correspondence are advanced as criteria in the evaluation of his impact on the development of German classicism that culminated in the Weimar group of poets and writers. His Grecophile enthusiasm, however, led him to introduce stylistic categories in the development of classical marble sculpture that are no longer regarded as truly reflecting the evolution of Greco-Roman art. Thus his historicity and his classification of styles remain in doubt. Winckelmann proposed that the training of modern artists should concentrate on the observation and imitation of classical models instead of looking to nature as the source of inspiration. This plan succeeded to some extent in the generation that followed his untimely death. Throughout the succeeding century, artists and their sponsors did favour classical models and developed stylistic classicism in European freestanding sculpture, in painting and in architecture. (shrink)

_ _ _Modern Philosophy: An Anthology_ features a broad range of selections from important but seldom anthologized works in the philosophy of psychology, natural science, morality, politics and religion. Features a broad range of selections from works in the philosophy of psychology, natural science, morality, politics and religion. Places the modern thinkers in conversation with each other, including Leibniz on Descartes and Spinoza, Reid on Locke and Hume, and Kant on Hobbes. Offers important, but seldom anthologized (...) primary works. (shrink)

The identification of a post-modern art requires the determination of its implicit patterns of signification, as is the case with the modern art’s patterns of signification. In fact, the mere formal and stylistic analyses are not able to distinguish the post-modern art from the modern art. Actually, the specificity of minimalist and post-minimalist sculpture is founded on a phenomenological interpretation of subjective aesthetic experience and on a phenomenological interpretation of significance. In other words, this phenomenological interpretation (...) gives a positive content to the concept of post-modern art. (shrink)

Original copyright date: c1972. First Princeton paperback edition, 1975.

Venice and Padua are neighboring cities with a topographical and geopolitical distinction. Venice as a port city opened up towards Byzantium whereas Padua as a university city was a place of Humanism and research. The contributions analyze works of art as aesthetic formulations of their places of origin, which also have an effect on their surroundings. International experts investigate these two concepts and how the exchange worked.

The identification of a post-modern art requires the determination of its implicit patterns of signification, as is the case with the modern art’s patterns of signification. In fact, the mere formal and stylistic analyses are not able to distinguish the post-modern art from the modern art. Actually, the specificity of minimalist and post-minimalist sculpture is founded on a phenomenological interpretation of subjective aesthetic experience (the reciprocal glance between who regards and what is regarded) and on a (...) phenomenological interpretation of significance. In other words, this phenomenological interpretation gives a positive content to the concept of post-modern art. (shrink)

The identification of a post-modern art requires the determination of its implicit patterns of signification, as is the case with the modern art’s patterns of signification. In fact, the mere formal and stylistic analyses are not able to distinguish the post-modern art from the modern art. Actually, the specificity of minimalist and post-minimalist sculpture is founded on a phenomenological interpretation of subjective aesthetic experience (the reciprocal glance between who regards and what is regarded) and on a (...) phenomenological interpretation of significance. In other words, this phenomenological interpretation gives a positive content to the concept of post-modern art. (shrink)

The present state of the discussion on relativity -- The theory of motion according to Newton, Leibniz, and Huyghens -- Casualty and probability -- Aims and methods of modern philosophy of nature -- The principle of causality and the possibility of its empirical confirmation -- Rationalism and empiricism -- The freedom of the will -- On the explication of ethical utterances.

James Collins probes the meaning and methods of historical interpretation in philosophy by analyzing the creative reciprocity between the modern source thinkers—the great classical philosophers from Descartes and Locke to Mill and Nietzsche—and their midtwentieth century interpreters. Originally published in 1972. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in (...) durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Modern Philosophy is an exploration of the ideas of six major thinkers from Descartes to Hume. It takes a fresh and engaging look at the common themes that dominate this period, as well as examining the differences in the work of the six philosophers. Through vivid and witty prose, Richard Francks skilfully presents ideas that have informed the development of philosophy as we know it, and which present a challenge to beliefs and attitudes that most of us (...) now share. In this work we find the source of modern philosophical inquiry - questions such as the existence of God, the Mind and Body problem, the idea of self, and the existence of the world had their birth in these texts - as well as broader questions about political and social philosophy. Thinkers discussed: Rene Descartes Baruch Spinoza Gottfried Willhelm Leibniz John Locke George Berkeley David Hume This will be ideal for anybody coming to the ideas of these philosophers for the first time. (shrink)

Early Modern Philosophy Reconsidered: Essays in Honor of Paul Hoffman is an international collection of essays from both well-established and younger scholars. In keeping with the example of Hoffman's own work, the essays are written in the spirit of promoting serious philosophical engagement with the historical figures they discuss. Among the philosophers whose views are explored in the collection are Descartes, Spinoza, Leibniz, Berkeley, and Kant."--Publisher's website.

The first edition of The Scientific Background to Modern Philosophy took the dialogue of science and philosophy from Aristotle through to Newton. This second edition adds eight chapters, taking the dialogue through the Enlightenment and up to Darwin. This anthology is an attempt to help bridge the gap between the history of science and the history of philosophy.

This new anthology of early modern philosophy enriches the possibilities for teaching this period by highlighting not only metaphysics and epistemology, but also new themes such as virtue, equality and difference, education, the passions, and love. It contains the works of forty-three philosophers, including traditionally taught figures such as Descartes, Spinoza, Leibniz, Locke, Berkeley, Hume, and Kant, as well as less familiar writers such as Lord Shaftesbury, Anton Amo, Julien Offray de La Mettrie, and Denis Diderot. It also (...) highlights the contributions of women philosophers, including Margaret Cavendish, Anne Conway, Gabrielle Suchon, Sor Juana Inéz de la Cruz, and Emilie Du Châtelet. (shrink)

"Pre-modern philosophy" means the line of reflection that started with Plato andvAristotle, passed through Augustine and Boethius, and reached its acme in Aquinas, Scotus, and Suarez. The whole line was harshly judged by Descartes, then mocked by the empiricsts of the 18th Century. Why, then, did Pope Leo XII make a determined effort to revive it? And, more importantly, why was the revival a stunning success by the middle of the 20th Century? The answers to both questions are (...) found in a famous German book, Philosophie der Vorzeit by Josef Kleutgen, now available for the first time in English. Pre-ModernPhilosophy Defended shaped and strengthened Pope Leo's resolve. It showed how inaccurate the harsh judgments had been and how sadly inferior the modern replacements from Descartes to Hegel had turned out to be in many respects. Not in all. Kleutgen was no knee-jerk reactionary. He made no bones about the obsolete status of pre-Newtonian physics and cosmology. Rather, he focused on the central boast of "modern" thought, namely, that it had turned at least to the "subject" and had provided a long-needed thing called a "critique of knowledge." This book is must reading for intellectual historians and for philosophers working today in epistemology. But most of all, it is essential reading for laity and clergy concerned about revivals of modernism in the church. What was modernism, after all, but an attempt to make the Church revise her theology in the "light" of Kant or Hegel? This is why every Modernist knew Kleutgen's name and hated this book. Here is the first English translation (from the German) of the master work of Josef Kleutgen, the nineteenth century social philosopher whose thought lies at, or near, the heart of Catholic Social Thought. Kleutgen is widely and rightly seen as the shadow author of the social encyclicals of Leo XII. Leo's Rerum Novarum remains the origin and constant reference point of all Catholic Social Teaching. And Popes since have dated their own social encyclicals from Rerum Novarum - hence, Quadragesimo anno and Centesimus annus. --Gerard V. Bradley, University of Notre Dame Pre-Modern Philosophy Defended is must reading for intellectual historians and for philosophers working today in epistemology. And it is essential reading for laity and clergy concerned about revivals of modernism in the church. What was modernism, after all, but an attempt to make the Church revise her theology in the 'light' of Kant or Hegel? This is why every Modernist knew Kleutgen's name and hated Philosophie der Vorzeit (Pre-Modern Philosophy Defended). (shrink)

Jean bodin (b. 1530, Angers, France—d. June 1596, Laon, France) Jean Bodin was a French political philosopher whose exposition of the principles of stable government was widely influential in Europe at a time when medieval systems were ...

Classical Modern Philosophy introduces students to the famous philosophers of the 17th and 18th centuries and explores their most important works. Jeffrey Tlumak takes the reader on a chronological journey from Descartes to Kant, tracing the themes that run through the period and their interrelations. The main texts covered are: · Descartes' Meditations on First Philosophy · Spinoza's Ethics · Locke's Essay Concerning Human Understanding · Leibniz's Discourse on Metaphysics and Monadology · Berkeley's Treatise Concerning the Principles (...) of Human Knowledge · Hume's Enquiry Concerning Human Understanding and Dialogues Concerning Natural Religion · Kant's C ritique of Pure Reason and Prolegomena to Any Future Metaphysics Classical Modern Philosophy: A Contemporary Introduction is the ideal textbook to accompany a course in the history of modern philosophy, but each chapter can also be studied alone as an introduction to the featured philosopher or work. Jeffrey Tlumak outlines and assesses prominent interpretations of the texts, and surveys the legacy of each great thinker. (shrink)

The ethos of Justin Smith’s Nature, Human Nature, & Human Difference is expressed in the narrative of Anton Wilhelm Amo (~1703-53), an African-born​ slave who earned his doctoral degree in Philosophy at a European university and went on to teach at the Universities of Jena and Halle. Smith identifies Amo as a time-marker for diverging interpretations of race: race as inherently tethered to physical difference and race as inherited essential difference. Further, these interpretations of race are fastened to the (...) discourse of science and human diversity within modern Europe. Smith’s thesis maintains that the rise of the concept of race in philosophy begins with a divorcing of the soul from human nature and a movement to a naturalistic classification of human beings through taxonomies (e.g. botany, mineralogy and zoology), which dissolved into this dichotomy: an essential difference between people of reason and people of nature. (shrink)

Philosopher Roger Scruton offers a wide-ranging perspective on philosophy, from logic to aesthetics, written in a lively and engaging way that is sure to stimulate debate. Rather than producing a survey of an academic discipline, Scruton reclaims philosophy for worldly concerns.

The leading anthology of its kind, this volume provides the key works of seven major philosophers, along with a rich selection of associated texts by other ...

Part of the Blackwell Readings in the History of Philosophy series, this survey of early modern philosophy focuses on the key texts and philosophers of the period whose beliefs changed the course of western thought.

In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; (...) its position with respect to other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world. (shrink)

This volume showcases the best current work now being written on a wide range of issues in early modern philosophy, when some of the most influential current philosophical problems were first identified by figures like Locke, Berkeley, Kant, Spinoza, and Descartes. Collectively the articles exemplify the wide range of methodological perspectives currently being employed by top figures in the field. Indeed the selling point of the volume is the very high level of the fourteen contributors, each of whom (...) has a highly distinguished international reputation. (shrink)

The essence of the Man self-reflection has discovered Materialistic monism with understanding of substance as the reality of all existed, including universal: qualities – continuity, interruptness, corpuscleness, reflection; characteristics – transition from quantity to quality and vice versa, unity and struggle of opposites, denial of denial, unity of substance; states – rest, development, form, motion; processes – physical, chemical, biological, mental. The Materialistic monism consists of the unity of methodological, theoretical, sociological, statistical and practical levels of cognition, mastered by the (...) Man through five known historical ways of the vital activity. Each successive historical period of life is characterized by more perfect forms of the Man bodiness, his common character and relationships, subject interaction, reflection and consciousness, and hence by it considerable broadening of the boarders of cognition and its set of instruments.Philosophical significance of the levels of cognition consists in their possibility to consider a phenomenon as universal, general, particular, separate and single; stratificated methods of cognition and technologies of penetration into different aspects of the phenomenon essence. The methodological cognition with itsown distinctive methods contains all other methods, thus this unity pretends to be the Modern Philosophy, including monistic, systemic, dialectial, metaphisical and empirical methods of cognition. (shrink)

Part of the Blackwell Readings in the History of Philosophy series, this survey of late modern philosophy focuses on the key texts and philosophers of the period whose beliefs changed the course of western thought.

"Pre-modern philosophy" means the line of reflection that started with Plato andvAristotle, passed through Augustine and Boethius, and reached its acme in Aquinas, Scotus, and Suarez. The whole line was harshly judged by Descartes, then mocked by the empiricsts of the 18th Century. Why, then, did Pope Leo XII make a determined effort to revive it? And, more importantly, why was the revival a stunning success by the middle of the 20th Century? The answers to both questions are (...) found in a famous German book, Philosophie der Vorzeit by Josef Kleutgen, now available for the first time in English. Pre-ModernPhilosophy Defended shaped and strengthened Pope Leo's resolve. It showed how inaccurate the harsh judgments had been and how sadly inferior the modern replacements from Descartes to Hegel had turned out to be in many respects. Not in all. Kleutgen was no knee-jerk reactionary. He made no bones about the obsolete status of pre-Newtonian physics and cosmology. Rather, he focused on the central boast of "modern" thought, namely, that it had turned at least to the "subject" and had provided a long-needed thing called a "critique of knowledge." This book is must reading for intellectual historians and for philosophers working today in epistemology. But most of all, it is essential reading for laity and clergy concerned about revivals of modernism in the church. What was modernism, after all, but an attempt to make the Church revise her theology in the "light" of Kant or Hegel? This is why every Modernist knew Kleutgen's name and hated this book. Here is the first English translation (from the German) of the master work of Josef Kleutgen, the nineteenth century social philosopher whose thought lies at, or near, the heart of Catholic Social Thought. Kleutgen is widely and rightly seen as the shadow author of the social encyclicals of Leo XII. Leo's Rerum Novarum remains the origin and constant reference point of all Catholic Social Teaching. And Popes since have dated their own social encyclicals from Rerum Novarum - hence, Quadragesimo anno and Centesimus annus. --Gerard V. Bradley, University of Notre Dame Pre-Modern Philosophy Defended is must reading for intellectual historians and for philosophers working today in epistemology. And it is essential reading for laity and clergy concerned about revivals of modernism in the church. What was modernism, after all, but an attempt to make the Church revise her theology in the 'light' of Kant or Hegel? This is why every Modernist knew Kleutgen's name and hated Philosophie der Vorzeit (Pre-Modern Philosophy Defended). (shrink)

Margaret J. Osler - Early Modern Philosophy: Mind, Matter, and Metaphysics - Journal of the History of Philosophy 44:3 Journal of the History of Philosophy 44.3 478-479 Christia Mercer and Eileen O'Neill, editors. Early Modern Philosophy: Mind, Matter, and Metaphysics. New York: Oxford University Press, 2005. Pp. xxi + 298. Cloth, $55.00. The editors of this collection of essays by the late Margaret Wilson's former students and colleagues present this book "as a snapshot of (...) state-of-the-art history of early modern philosophy" . Many of the usual suspects make an appearance in these pages: Descartes, Spinoza, Locke, Berkeley, Malebranche, and Kant. A couple of new faces also come on stage: Damaris Cudworth , best known as Locke's companion but presented here as a philosopher in her own right, and the Cartesian Bernard le Bouvier de.. (shrink)

This chapter contains sections titled: The medieval background The emergence of modern science Materialism and dualism Empirical philosophies of nature Rationalist philosophy of nature Empires, naturism, and fideism.

Philosopher Roger Scruton offers a wide-ranging perspective on philosophy, from logic to aesthetics, written in a lively and engaging way that is sure to stimulate debate. Rather than producing a survey of an academic discipline, Scruton reclaims philosophy for worldly concerns.