Dionysus after Nietzsche examines the way that The Birth of Tragedy (1872) by Friedrich Nietzsche irrevocably influenced twentieth-century literature and thought. Adam Lecznar argues that Nietzsche's Dionysus became a symbol of the irrational forces of culture that cannot be contained, and explores the presence of Nietzsche's Greeks in the diverse writings of Jane Harrison, D. H. Lawrence, Martin Heidegger, Richard Schechner and Wole Soyinka (amongst others). From Jane Harrison's controversial ideas about Greek religion in an anthropological modernity, to Wole Soyinka's reimagining of a postcolonial genre of tragedy, each of the writers under discussion used the Nietzschean vision of Greece to develop subversive discourses of temporality, identity, history and classicism. In this way, they all took up Nietzsche's call to disrupt pre-existing discourses of classical meaning and create new modes of thinking about the Classics that speak to the immediate concerns of the present.

Blamed for the bloody disasters of the 20th century: Auschwitz, the Gulags, globalisation, Islamic terrorism; heralded as the harbinger of reason, equality, and the end of arbitrary rule, the Enlightenment has been nothing if not divisive. To this day historians disagree over when it was, where it was, and what it was (and sometimes, still is). Kieron O'Hara deftly traverses these conflicts, presenting the history, politics, science, religion, arts, and social life of the Enlightenment not as a simple set of easily enumerated ideas, but an evolving conglomerate that spawned a very diverse set of thinkers, from the radical Rousseau to the conservative Burke.

A distinguished philosopher offers a novel account of experience and reason, and develops our understanding of conscious experience and its relationship to thought: a new reformed empiricism. The role of experience in cognition is a central and ancient philosophical concern. How, theorists ask, can our private experiences guide us to knowledge of a mind-independent reality? Exploring topics in logic, philosophy of mind, and epistemology, Conscious Experience proposes a new answer to this age-old question, explaining how conscious experience contributes to the rationality and content of empirical beliefs. According to Anil Gupta, this contribution cannot be determined independently of an agent's conceptual scheme and prior beliefs, but that doesn't mean it is entirely mind-dependent. While the rational contribution of an experience is not propositional-it does not, for example, provide direct knowledge of the world-it does authorize certain transitions from prior views to new views. In short, the rational contribution of an experience yields a rule for revising views. Gupta shows that this account provides theoretical freedom: it allows the observer to radically reconceive the world in light of empirical findings. Simultaneously, it grants empirical reason significant power to constrain, forcing particular conceptions of self and world on the rational inquirer. These seemingly contrary virtues are reconciled through novel treatments of presentation, appearances, and ostensive definitions. Collectively, Gupta's arguments support an original theory: reformed empiricism. He abandons the idea that experience is a source of knowledge and justification. He also abandons the idea that concepts are derived from experience. But reformed empiricism preserves empiricism's central insight: experience is the supreme epistemic authority. In the resolution of factual disagreements, experience trumps all.

Why is the philosopher Hegel returning as a potent force in contemporary thinking? Why, after a long period when Hegel and his dialectics of history have seemed less compelling than they were for previous generations of philosophers, is study of Hegel again becoming important? Fashionably contemporary theorists like Francis Fukuyama and Slavoj Zizek, as well as radical theologians like Thomas Altizer, have all recently been influenced by Hegel, the philosopher whose philosophy seems somehow perennial - or, to borrow an idea from Nietzsche, eternally returning. Exploring this revival via the notion of 'negation' in Hegelian thought, and relating such negativity to sophisticated ideas about art and artistic creation, Andrew Hass argues that the notion of Hegelian negation moves us into an expansive territory where art, religion and philosophy may all be radically reconceived and broken open into new forms of philosophical expression. The implications of such a revived Hegelian philosophy are, the author argues, vast and current. Hegel thereby becomes the philosopher par excellence who can address vital issues in politics, economics, war and violence, leading to a new form of globalised ethics. Hass makes a bold and original contribution to religion, philosophy and the history of ideas.

C'est 'le plein Moyen Age', du dixieme au quatorzieme siecle, qu'evoque Voltaire dans ces trente chapitres. Structuration et centralisation progressives des differents etats europeens, lutte entre sacerdoce et Empire, chasse aux 'heretiques' et proces des templiers, croisades et Grand Schisme d'Occident en forment l'ossature. Mais l'auteur se livre aussi a une analyse en profondeur des societes et de l'evolution des comportements; evoque les ferments d'avenir, telle par exemple la naissance, au quatorzieme siecle, de la democratie helvetique; et met en evidence les paradoxes parfois cruels de l'histoire, ou les petitesses peu flatteuses de certains de ses acteurs. L'annotation fournit les references detaillees des sources auxquelles Voltaire avait acces, et s'interesse a l'usage qu'il en a fait. L'ouvrage contient un index des noms propres ainsi qu'un index analytique.

This collection of essays takes as its starting point Arthur Ripstein's Force and Freedom: Kant's Legal and Political Philosophy, a seminal work on Kant's thinking about law, which also treats many of the contemporary issues of legal and political philosophy. The essays offer readings and elucidations of Ripstein's thought, dispute some of his claims and extend some of his themes within broader philosophical contexts, thus developing the significance of Ripstein's ideas for contemporary legal and political philosophy. All of the essays are contributions to normative philosophy in a broadly Kantian spirit. Prominent themes include rights in the body, the relation between morality and law, the nature of coercion and its role in legal obligation, the role of indeterminacy in law, the nature and justification of political society and the theory of the state. This volume will be of interest to a wide audience, including legal scholars, Kant scholars, and philosophers with an interest in Kant or in legal and political philosophy.

Our knowledge comes primarily from experience - what our senses tell us. But is experience really what it seems? The experimental breakthroughs in 17th-century science of Kepler, Galileo and Newton informed the great British empiricist tradition, which accepts a 'common-sense' view of the world - and yet concludes that all we can ever know are 'ideas'. In Introducing Empiricism: A Graphic Guide, Dave Robinson - with the aid of Bill Mayblin's brilliant illustrations - outlines the arguments of Locke, Berkeley, Hume, J.S. Mill, Bertrand Russell and the last British empiricist, A.J. Ayer. They also explore criticisms of empiricism in the work of Kant, Wittgenstein, Karl Popper and others, providing a unique overview of this compelling area of philosophy.

Ever since it was first published in 1930, William Empson's Seven Types of Ambiguity has been perceived as a milestone in literary criticism-far from being an impediment to communication, ambiguity now seemed an index of poetic richness and expressive power. Little, however, has been written on the broader trajectory of Western thought about ambiguity before Empson; as a result, the nature of his innovation has been poorly understood. A History of Ambiguity remedies this omission. Starting with classical grammar and rhetoric, and moving on to moral theology, law, biblical exegesis, German philosophy, and literary criticism, Anthony Ossa-Richardson explores the many ways in which readers and theorists posited, denied, conceptualised, and argued over the existence of multiple meanings in texts between antiquity and the twentieth century. This process took on a variety of interconnected forms, from the Renaissance delight in the 'elegance' of ambiguities in Horace, through the extraordinary Catholic claim that Scripture could contain multiple literal-and not just allegorical-senses, to the theory of dramatic irony developed in the nineteenth century, a theory intertwined with discoveries of the double meanings in Greek tragedy. Such narratives are not merely of antiquarian interest: rather, they provide an insight into the foundations of modern criticism, revealing deep resonances between acts of interpretation in disparate eras and contexts. A History of Ambiguity lays bare the long tradition of efforts to liberate language, and even a poet's intention, from the strictures of a single meaning.

Originally published in 1959. This book examines the French Enlightenment by analyzing critical thought in eighteenth-centruy France. It examines the philosophes' views on evil, free will and determinism, and human nature. This is an interesting group to look at, according to Crocker, because French Enlightenment thinkers straddled two vastly different time periods.

Through a detailed study of Spinoza's concept of 'experience', Moreau shows how Spinoza extends the power of reason to domains frequently seen as irrational, from common life to history, language to the passions. Where previously Spinoza's thought was identified exclusively with the geometrical method, Moreau demonstrates that by mobilising his unique account of 'experience', Spinoza is able to capture the singularity of individuals, their lives, languages, passions and societies. With readings of each of Spinoza's most famous works, from the Treatise on the Emendation of the Intellect to the Ethics, and also minor writings such as the Hebrew Grammar, Moreau renews our understanding of Spinoza's philosophy by showing us how his geometrical and experiential methods operate simultaneously. Finally, this new vision of Spinoza's philosophy illuminates the enigmatic experience of eternity mentioned in Book V of Spinoza's Ethics.

Reason and Experience in Mendelssohn and Kant provides the first in-depth examination of the lifelong intellectual relationship between two of the greatest figures of the European Enlightenment, Immanuel Kant (1724-1804) and Moses Mendelssohn (1729-1786). Both were engaged in a common project of striking the right balance between rationalism and empiricism. They sometimes borrowed from one another, often disagreed with one another, and can usefully be compared even when they did not directly interact. Guyer examines a series of comparisons and contrasts: their arguments and conclusions on a range of metaphysical issues, including proofs of the existence of God, immortality, and idealism; their shared interests in aesthetics; and their path-breaking work on the "religion of reason" and the separation of church and state. Setting the work of both philosophers in historical context, Guyer shows that, where Kant sometimes provides deeper insight into the underlying structure of human thought, Mendelssohn is often the deeper student of the variety of human experience. This is evident above all in their treatments of aesthetics and religion: Mendelssohn recognizes more deeply than Kant the emotional impact of art, and while Kant imagines that organized religion will one day be superseded by pure morality, Mendelssohn argued that organized religion in all its varieties seems here to stay, and so toleration for religious variety is an inescapable requirement of human morality. Based on an exhaustive study of a wide range of texts, this study demonstrates the on-going relevance of Kant and Mendelssohn to modern thought.

In the Louvre museum hangs a portrait that is considered the iconic image of Rene Descartes, the great seventeenth-century French philosopher. And the painter of the work? The Dutch master Frans Hals--or so it was long believed, until the work was downgraded to a copy of an original. But where is the authentic version, and who painted it? Is the man in the painting--and in its original--really Descartes? A unique combination of philosophy, biography, and art history, The Philosopher, the Priest, and the Painter investigates the remarkable individuals and circumstances behind a small portrait. Through this image--and the intersecting lives of a brilliant philosopher, a Catholic priest, and a gifted painter--Steven Nadler opens a fascinating portal into Descartes's life and times, skillfully presenting an accessible introduction to Descartes's philosophical and scientific ideas, and an illuminating tour of the volatile political and religious environment of the Dutch Golden Age. As Nadler shows, Descartes's innovative ideas about the world, about human nature and knowledge, and about philosophy itself, stirred great controversy. Philosophical and theological critics vigorously opposed his views, and civil and ecclesiastic authorities condemned his writings. Nevertheless, Descartes's thought came to dominate the philosophical world of the period, and can rightly be called the philosophy of the seventeenth century. Shedding light on a well-known image, The Philosopher, the Priest, and the Painter offers an engaging exploration of a celebrated philosopher's world and work.

The second edition of this Companion presents a philosophical perspective on an eighteenth-century phenomenon that has had a profound influence on Western culture. A distinguished team of contributors examines the writings of David Hume, Adam Smith, Thomas Reid, Adam Ferguson and other Scottish thinkers. Their subjects range across philosophy, natural theology, economics, anthropology, natural science, and law and the arts, and in addition, they relate the Scottish Enlightenment to its historical context and assess its impact and legacy. The result is a comprehensive and accessible volume that illuminates the richness, the intellectual variety and the underlying unity of this important movement. This volume contains five entirely new chapters on morality, the human mind, aesthetics, sentimentalism and political economy, and eleven other chapters have been significantly revised and updated. The book will be of interest to a wide range of readers in philosophy, theology, literature and the history of ideas.

Today we consider ourselves to be free and equal persons, capable of acting rationally and autonomously in both practical (moral) and theoretical (scientific) contexts. The essays in this volume show how this conception was first articulated in a fully systematic fashion by Immanuel Kant in the eighteenth century. Twelve leading scholars shed new light on Kant's philosophy, with each devoting particular attention to at least one of three aspects of this conception: autonomy, freedom, and personhood. Some focus on clarifying the philosophical content of Kant's position, while others consider how his views on these issues cohere with his other distinctive doctrines, and yet others focus on the historical impact that these doctrines had on his immediate successors and on our present thought. Their essays offer important new perspectives on some of the most fundamental issues that we continue to confront in modern society.

Widely regarded as the father of modern Western philosophy, Descartes sought to look beyond established ideas and create a thought system based on reason. In this profound work he meditates on doubt, the human soul, God, truth and the nature of existence itself. GREAT IDEAS. Throughout history, some books have changed the world. They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives - and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are.

Providing a unique interpretation of Kant's theory of judgement as integral to his overall project, Claudia Brodsky explores his continued relevance to contemporary theoretical concerns. The Linguistic Condition traces how Kant combined sensus communis, or common sense with the communicative nature of judgement to reveal that, for him, acts of judgement are dependent on their linguistic articulation, so that in Kantian philosophy language and judgement are inextricably linked. In this first in-depth analysis of language in the Critique of Judgement, Brodsky forms creative connections between literature and philosophy.

In the Louvre museum hangs a portrait of a middle-aged man with long dark hair, a mustache, and heavy-lidded eyes, and he is dressed in the starched white collar and black coat of the typical Dutch burgher. The painting is now the iconic image of Rene Descartes, the great seventeenth-century French philosopher. And the painter of the work? The Dutch master Frans Hals--or so it was long believed, until the work was downgraded to a copy of an original. But where, then, is the authentic version located, and who painted it? Is the man in the painting--and in its original--really Descartes?

A unique combination of philosophy, biography, and art history, "The Philosopher, the Priest, and the Painter" investigates the remarkable individuals and circumstances behind a small portrait. Through this image--and the intersecting lives of a brilliant philosopher, a Catholic priest, and a gifted painter--Steven Nadler opens up a fascinating portal into Descartes's life and times, skillfully presenting an accessible introduction to Descartes's philosophical and scientific ideas, and an illuminating tour of the volatile political and religious environment of the Dutch Golden Age. As Nadler shows, Descartes's innovative ideas about the world, about human nature and knowledge, and about philosophy itself, stirred great controversy. Philosophical and theological critics vigorously opposed his views, and civil and ecclesiastic authorities condemned his writings. Nevertheless, Descartes's thought came to dominate the philosophical world of the period, and can rightly be called the philosophy of the seventeenth century.

Shedding light on a well-known image, "The Philosopher, the Priest, and the Painter" offers an engaging exploration of a celebrated philosopher's world and work."

Le tome 9 du "Corpus des notes marginales de Voltaire" constituera l'ultime volume de cette publication de reference qui devoile l'ensemble des annotations laissees par Voltaire en marge des ouvrages de sa bibliotheque personnelle, conservee depuis sa mort a Saint-Petersbourg, de nos jours a la Bibliotheque nationale de Russie. Cette derniere livraison contient les notes et les traces de lecture inspirees par des auteurs aussi differents que Spinoza, Laurence Sterne, Tacite, le Tasse, de Thou, Titon Du Tillet, Matthew Tindal, John Toland, Jacob Vernet, Horace Walpole et Warburton. Un appareil critique complet montre dans quelle mesure les lectures de Voltaire ont influe sur ses propres ecrits, et le tome, genereusement illustre, comporte egalement un index des textes de Voltaire mentionnes dans les notes editoriales. Collaborateurs: Natalia Elaguina, Graham Gargett, Paul Gibbard, Ethel Groffier, Serguei V. Korolev, Edouard Langille, Michel Mervaud, Patrick Neiertz, Gillian Pink, John Renwick, Bertram E. Schwarzbach.

Human, All Too Human marks the beginning of what is often called Nietzsche's middle or positivist period (which ends with the conclusion of Book IV of The Gay Science). It initiates some important features that become permanent in his work, such as his experiments in multiple writing styles within one work, his self-representation as a psychologist, his genealogical excavations of morality and his appeal to fellow Europeans to overcome the parochialism and antagonism of nationalism. Ruth Abbey shows Nietzsche to be more receptive to the Enlightenment tradition than he is typically taken to be. She assumes no knowledge of the text or of Nietzsche. She maps her chapters onto those of Nietzsche's text, allowing you to read the guide alongside the book. Altogether, she opens up Human, All Too Human for new readers, while more experienced Nietzsche scholars will appreciate the new perspective.

A number of Montesquieu's lesser-known discourses, dissertations and dialogues are made available to a wider audience, for the first time fully translated and annotated in English. The views they incorporate on politics, economics, science, and religion shed light on the overall development of his political and moral thought. They enable us better to understand not just Montesquieu's importance as a political philosopher studying forms of government, but also his stature as a moral philosopher, seeking to remind us of our duties while injecting deeper moral concerns into politics and international relations. They reveal that Montesquieu's vision for the future was remarkably clear: more science and less superstition; greater understanding of our moral duties; enhanced concern for justice, increased emphasis on moral principles in the conduct of domestic and international politics; toleration of conflicting religious viewpoints; commerce over war, and liberty over despotism as the proper goals for mankind.

Hegel's philosophy of history-which most critics view as a theory of inevitable progress toward modern European civilization-is widely regarded as a failure today. In Does History Make Sense? Terry Pinkard argues that Hegel's understanding of historical progress is not the kind of teleological or progressivist account that its detractors claim, but is based on a subtle understanding of human subjectivity. Pinkard shows that for Hegel a break occurred between modernity and all that came before, when human beings found a new way to make sense of themselves as rational, self-aware creatures. In Hegel's view of history, different types of sense-making become viable as social conditions change and new forms of subjectivity emerge. At the core of these changes are evolving conceptions of justice-of who has authority to rule over others. In modern Europe, Hegel believes, an unprecedented understanding of justice as freedom arose, based on the notion that every man should rule himself. Freedom is a more robust form of justice than previous conceptions, so progress has indeed been made. But justice, like health, requires constant effort to sustain and cannot ever be fully achieved. For Hegel, philosophy and history are inseparable. Pinkard's spirited defense of the Hegelian view of history will play a central role in contemporary reevaluations of the philosopher's work.

'Those most capable of being moved by passion are those capable of tasting the most sweetness in this life.' Descartes is most often thought of as introducing a total separation of mind and body. But he also acknowledged the intimate union between them, and in his later writings he concentrated on understanding this aspect of human nature. The Passions of the Soul is his greatest contribution to this debate. It contains a profound discussion of the workings of the emotions and of their place in human life - a subject that increasingly engages the interest of philosophers and intellectual and cultural historians. It also sets out a view of ethics that has been seen as a radical reorientation of moral philosophy. This volume also includes both sides of the correspondence with Princess Elisabeth of Bohemia, one of Descartes's keenest disciples and shrewdest critics, which played a crucial role in the genesis of The Passions, as well as the first part of The Principles of Philosophy, which sets out the key positions of Descartes's philosophical system. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

How is Nature Possible?: Kants Project in the First Critique presents a clear and systematic appraisal of what is perhaps the most difficult treatise in the philosophical canon. Daniel N. Robinson situates Kants undertaking in the First Critique within the context of the history of philosophy and as a response to the challenges of scepticism. Kants central task in the First Critique is to tie his metaphysical analysis to the very possibility of nature itself. Where others assumed the validity or the weakness of perception and reason, Kant presents a critical appraisal of both, thereby establishing the very limits of sense and reason as instruments of discovery. Ideal for students at all levels, this fascinating introduction clarifies the aims and significance of Kants project, locates its place within the history of philosophy and identifies the strengths and weaknesses reasonably attributed to this most significant contribution to the history of philosophical reflection.

French painting of Louis XV's reign (1715-74), generally categorized by the term rococo, has typically been understood as an artistic style aimed at furnishing courtly society with delightful images of its own frivolous pursuits. Instead, this book shows the significance and seriousness underpinning the notion of pleasure embedded in eighteenth-century history painting. During this time, pleasure became a moral ideal grounded not only in domestic life but also defining a range of social, political, and cultural transactions oriented toward transforming and improving society at large. History, painting, and the seriousness of pleasure in the age of Louis XV reconsiders the role of history painting in creating a new visual language that presented peace and happiness as an individual's natural rights in the aftermath of Louis XIV's bellicose reign (1643-1715). In this new study, Susanna Caviglia reinvestigates the artistic practices of an entire generation of painters born around 1700 (e.g. Francois Boucher, Charles-Joseph Natoire, and Carle Vanloo) in order to highlight the cultural forces at work within their now iconic images.