Yitzhak Melamed here offers a new and systematic interpretation of the core of Spinoza's metaphysics. In the first part of the book, he proposes a new reading of the metaphysics of substance in Spinoza: he argues that for Spinoza modes both inhere in and are predicated of God. Using extensive textual evidence, he shows that Spinoza considered modes to be God's propria. He goes on to clarify Spinoza's understanding of infinity, mereological relations, infinite modes, and the flow of finite things from God's essence. In the second part of the book, Melamed relies on this interpretation of the substance-mode relation and the nature of infinite modes and puts forward two interrelated theses about the structure of the attribute of Thought and its overarching role in Spinoza's metaphysics. First, he shows that Spinoza had not one, but two independent doctrines of parallelism. Then, in his final main thesis, Melamed argues that, for Spinoza, ideas have a multifaceted (in fact, infinitely faceted) structure that allows one and the same idea to represent the infinitely many modes which are parallel to it in the infinitely many attributes. Thought turns out to be coextensive with the whole of nature. Spinoza cannot embrace an idealist reduction of Extension to Thought because of his commitment to the conceptual separation of the attributes. Yet, within Spinoza's metaphysics, Thought clearly has primacy over the other attributes insofar as it is the only attribute which is as elaborate, as complex, and, in some senses, as powerful as God.

This work, originally published in 1912, is an introduction to the theory of philosophical enquiry. It gives Russell's views on such subjects as the distinction between appearance and reality and the existence and nature of matter.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Cities are conspicuous among settlements because of their bulk and pace: Venice, Paris, or New York. Each is distinctive, but all share a social structure that mixes systems (families, businesses, and schools), their members, and a public regulator. Cities alter this structure in ways specific to themselves: orchestras play music too elaborate for a quartet; city densities promote collaborations unachievable in simpler towns. Cities, Real and Ideal avers with von Bertalanffy, Parsons, Simmel, and Wirth that a theory of social structure is empirically testable and confirmed. It proposes a version of social justice appropriate to this structure, thereby updating Marx's claim that justice is realizable without the intervention of factors additional to society's material conditions.

Oxford Studies in Metaphysics is the forum for the best new work in this flourishing field. OSM offers a broad view of the subject, featuring not only the traditionally central topics such as existence, identity, modality, time, and causation, but also the rich clusters of metaphysical questions in neighbouring fields, such as philosophy of mind and philosophy of science. Besides independent essays, volumes will often contain a critical essay on a recent book, or a symposium that allows participants to respond to one another's criticisms and questions. Anyone who wants to know what's happening in metaphysics can start here.

Unarguably, Jean-Luc Marion is the leading figure in French phenomenology as well as one of the proponents of the so-called "theological turn" in European philosophy. In this volume, Kevin Hart has assembled a stellar group of philosophers and theologians from the United States, Britain, France, and Australia to examine Marion's work-especially his later work-from a variety of perspectives. The resulting volume is an indispensable resource for scholars working at the intersection of philosophy and theology. Hart characterizes Marion's work as a profound response to two major philosophical events: the end of metaphysics and the beginning of phenomenology. From the vantage point reached by Marion over the years, Hart argues, that end and that beginning are one and the same. Yet their unity is elusive: in order to discern it, the student of Marion must follow his vigorous and subtle rethinking of the history of modern philosophy and the nature of phenomenology. Only then can the reader begin to perceive many things that metaphysics has occluded, especially the nature of selfhood and our relations with God. The newfound unity of these two events is productive; it allows Marion to revise and extend the philosophy of disclosure that Edmund Husserl and Martin Heidegger were the first to practice. With Marion as guide, we can also refigure the human subject-the gifted one (l'adonne)-and thus also secure a phenomenological understanding of revelation. Marion challenges theologians to pursue the implications of this move. This is the Marion for whom a revived phenomenology is philosophy today, the Marion deeply concerned to understand, maintain, and, if need be, rework the central insights of Husserl and Heidegger. The volume includes essays that consider The Erotic Phenomenon (2003), a rethinking of human subjectivity in terms of the possibility of loving and being loved. Throughout, the contributors engage key concepts defined by Marion-givenness, the saturated phenomenon, erotic reduction, and counter-experience-and Marion himself concludes with a retrospective essay written in response to criticisms of his work.