Spinoza's Ethics, and its project of proving ethical truths through the geometric method, have attracted and challenged readers for more than three hundred years. In Spinoza and the Cunning of Imagination, Eugene Garver uses the imagination as a guiding thread to this work. Other readers have looked at the imagination to account for Spinoza's understanding of politics and religion, but this is the first inquiry to see it as central to the Ethics as a whole--imagination as a quality to be cultivated, and not simply overcome. Spinoza initially presents imagination as an inadequate and confused way of thinking, always inferior to ideas that adequately represent things as they are. It would seem to follow that one ought to purge the mind of imaginative ideas and replace them with rational ideas as soon as possible, but as Garver shows, the Ethics don't allow for this ultimate ethical act until one has cultivated a powerful imagination. This is, for Garver, "the cunning of imagination." The simple plot of progress becomes, because of the imagination, a complex journey full of reversals and discoveries. For Garver, the "cunning" of the imagination resides in our ability to use imagination to rise above it.

This monograph proposes a new (dialogical) way of studying the different forms of correlational inference, known in the Islamic jurisprudence as qiyas. According to the authors' view, qiyas represents an innovative and sophisticated form of dialectical reasoning that not only provides new epistemological insights into legal argumentation in general (including legal reasoning in Common and Civil Law) but also furnishes a fine-grained pattern for parallel reasoning which can be deployed in a wide range of problem-solving contexts and does not seem to reduce to the standard forms of analogical reasoning studied in contemporary philosophy of science and argumentation theory. After an overview of the emergence of qiyas and of the work of al-Shirazi penned by Soufi Youcef, the authors discuss al-Shirazi's classification of correlational inferences of the occasioning factor (qiyas al-'illa). The second part of the volume deliberates on the system of correlational inferences by indication and resemblance (qiyas al-dalala, qiyas al-shabah). The third part develops the main theoretical background of the authors' work, namely, the dialogical approach to Martin-Loef's Constructive Type Theory. The authors present this in a general form and independently of adaptations deployed in parts I and II. Part III also includes an appendix on the relevant notions of Constructive Type Theory, which has been extracted from an overview written by Ansten Klev. The book concludes with some brief remarks on contemporary approaches to analogy in Common and Civil Law and also to parallel reasoning in general.

Die MISCELLANEA MEDIAEVALIA prasentieren seit ihrer Grundung durch Paul Wilpert im Jahre 1962 Arbeiten des Thomas-Instituts der Universitat zu Koeln. Das Kernstuck der Publikationsreihe bilden die Akten der im zweijahrigen Rhythmus stattfindenden Koelner Mediaevistentagungen, die vor uber 50 Jahren von Josef Koch, dem Grundungsdirektor des Instituts, ins Leben gerufen wurden. Der interdisziplinare Charakter dieser Kongresse pragt auch die Tagungsakten: Die MISCELLANEA MEDIAEVALIA versammeln Beitrage aus allen mediavistischen Disziplinen - die mittelalterliche Geschichte, die Philosophie, die Theologie sowie die Kunst- und Literaturwissenschaften sind Teile einer Gesamtbetrachtung des Mittelalters.

This book provides a fresh reading of Aquinas' metaphysics in the light of insights from the works of Frege. In particular, Ventimiglia argues that Aquinas' doctrine of being can be better understood through Frege's distinction between the 'there is' sense and the 'present actuality' sense of being, as interpreted by Peter Geach and Anthony Kenny. Aquinas' notion of essence becomes clearer in the light of Frege's distinction between objects and concepts and his account of concepts as functions. Aquinas' doctrine of trancendentals is clarified with the help of Frege's accounts of assertion and negation. Aquinas after Frege provides us with a new Aquinas, which pays attention to his texts and their historical context. Ventimiglia's development of 'British Thomism' furnishes us with a lucid and exciting re-reading of Aquinas' metaphysics.

This volume examines how the notion of law was transformed and reformulated during the Middle Ages. It focuses on encounters between ancient and local legal traditions and the three great revelation religions Judaism, Christianity, and Islam each of which understood the written word of God as law and formulated new cultures. The work thus furnishes interdisciplinary and intercultural insight into medieval legal discourse."

This book examines the pivotal role of Johann Joachim Winckelmann as an arbiter of classical taste. It identifies the key features of Winckelmann's treatment of classical beauty, particularly in his famous descriptions, and investigates his teaching of the appreciation of beauty. The work identifies and examines the point at which theory and descriptive method are merged in a practical attempt to offer aesthetic education. The publications and correspondence of Winckelmann's pupils are offered as criteria for judging the success of his mission, eventually casting doubt upon his concept of aesthetic education, both in theory and practice. The final chapter of the book is concerned with Goethe's reception of Winckelmann, which shows unusual sensitivity to his work's aesthetic core. It also shows how Goethe's own writing on Italy reveals a process of independent aesthetic education akin to Winckelmann's and distinct from his pupils. The work is founded in close textual analysis but also covers the principles of the aesthetic education, the value of the Grand Tour and the role of Rome in the European imagination.

This book charts the evolution of Islamic dialectical theory (jadal) over a four-hundred year period. It includes an extensive study of the development of methods of disputation in Islamic theology (kalam) and jurisprudence (usul al-fiqh) from the tenth through the fourteenth centuries. The author uses the theoretical writings of Islamic theologians, jurists, and philosophers to describe the concept Overall, this investigation looks at the extent to which the development of Islamic modes of disputation is rooted in Aristotle and the classical tradition. The author reconstructs the contents of the earliest systematic treatment of the subject by b. al-Riwandi. He then contrasts the theological understanding of dialectic with the teachings of the Arab Aristotelians-al-Farabi, Avicenna, and Averroes. Next, the monograph shows how jurists took over the theological method of dialectic and applied it to problems peculiar to jurisprudence. Although the earliest writings on dialectic are fairly free of direct Aristotelian influence, there are coincidences of themes and treatment. But after jurisprudence had assimilated the techniques of theological dialectic, its own theory became increasingly influenced by logical terminology and techniques. At the end of the thirteenth century there arose a new discipline, the adab al-bahth. While the theoretical underpinnings of the new system are Aristotelian, the terminology and order of debate place it firmly in the Islamic tradition of disputation.

In the twentieth century, the boundaries between different literary genres started to be questioned, raising a discussion about the various narrative modes of factual and fictional discourses. Moving on from the limited traditional studies of genre definitions, this book argues that the borders between these two types of discourse depend on complex issues of epistemology, literary traditions and social and political constraints. This study attempts a systematic and specific analysis of how literary works, and in particular documentary ones, where the borders are more difficult to define, can be classified as factual or fictional. The book deals with several areas of discourse, including history, travel tales, autobiography and reportage, and opens up perspectives on the very different ways in which documentary works make use of the inescapable presence of both factual and fictional elements.

Marsilio Ficino (1433-99) directed the Platonic Academy in Florence, and it was the work of this Academy that gave the Renaissance in the 15th century its impulse and direction. During his childhood Ficino was selected by Cosimo de' Medici for an education in the humanities. Later Cosimo directed him to learn Greek and then to translate all the works of Plato into Latin. This enormous task he completed in about five years. He then wrote two important books, "The Platonic Theology" and "The Christian Religion", showing how the Christian religion and Platonic philosophy were proclaiming the same message. The extraordinary influence the Platonic Academy came to exercise over the age arose from the fact that its leading spirits were already seeking fresh inspiration from the ideals of the civilizations of Greece and Rome and especially from the literary and philosophical sources of those ideals. Florence was the cultural and artistic centre of Europe at the time and leading men in so many fields were drawn to the Academy: Lorenzo de'Medici (Florence's ruler), Alberti (the architect) and Poliziano (the poet). Moreover Ficino bound together an enormous circle of correspondents throughout Europe, from the Pope in Rome to John Colet in London, from Reuchlin in Germany to de Ganay in France. Published during his lifetime, "The Letters" have not previously been translated into English. Following the Pazzi Conspiracy of 1478, Florence was at war with both the Pope (Sixtus IV) and King Ferdinand of Naples. Prompted by the appalling conditions under which Florence suffered as a result of the war, Ficino wrote eloquent letters to the three main protagonists. In his three letters to Sixtus, who was the main architect of the war, Ficino states in magnificent terms the true work of the Pope - to fish in the "deep sea of humanity", as did the Apostles. King Ferdinand of Naples spent most of his life in intrigue, not only against other states, but also against his own barons. Yet, Ficino addresses him in the words of his father, the admirable King Alfonso. This extraordinary letter, written in the form of a prophesy, speaks of his son's destiny on Earth. "In peace alone a splendid victory awaits you..., in victory, tranquility; in tranquility, a reverence and worship of Minerva" (wisdom). Negotiations for peace were in fact begun about five months later. In his letter to Lorenzo de 'Medici, Ficino presented, with dramatic clarity, the two sides of Lorenzo's nature. The letter may have prompted Lorenzo's bold visit to King Ferdinand's court and the ensuing negotiations for peace. In insisting on the reality of unity and peace in the face of war and division, Ficino uses a number of analogies. He speaks in at least two letters of all the colours emerging from simple white light, just as all the variety of the universe issues from one consciousness. "For the Sun, to be is to shine, to shine is to see, and to illuminate is to create all that is its own and to sustain what it has created."

The early modern era produced the Scientific Revolution, which originated our present understanding of the natural world. Concurrently, philosophers established the conceptual foundations of modernity. This rich and comprehensive volume surveys and illuminates the numerous and complicated interconnections between philosophical and scientific thought as both were radically transformed from the late sixteenth to the mid-eighteenth century. The chapters explore reciprocal influences between philosophy and physics, astronomy, mathematics, medicine, and other disciplines, and show how thinkers responded to an immense range of intellectual, material, and institutional influences. The volume offers a unique perspicuity, viewing the entire landscape of early modern philosophy and science, and also marks an epoch in contemporary scholarship, surveying recent contributions and suggesting future investigations for the next generation of scholars and students.

Alone among Thomas Aquinas' works, the Summa Theologiae contains well-developed and integrated discussions of metaphysics, ethics, law, human action, and the divine nature. The essays in this volume, by scholars representing varied approaches to the study of Aquinas, offer thorough, cutting-edge expositions and analyses of these topics and show how they relate to Aquinas' larger system of thought. The volume also examines the reception of the Summa Theologiae from the thirteenth century to the present day, showing how scholars have understood and misunderstood this key text - and how, even after seven centuries of interpretation, we still have much to learn from it. Detailed and accessible, this book will be highly important for scholars and students of medieval philosophy and theology.

The Cambridge Companion to Renaissance Philosophy, published in 2007, provides an introduction to a complex period of change in the subject matter and practice of philosophy. The philosophy of the fourteenth through sixteenth centuries is often seen as transitional between the scholastic philosophy of the Middle Ages and modern philosophy, but the essays collected here, by a distinguished international team of contributors, call these assumptions into question, emphasizing both the continuity with scholastic philosophy and the role of Renaissance philosophy in the emergence of modernity. They explore the ways in which the science, religion and politics of the period reflect and are reflected in its philosophical life, and they emphasize the dynamism and pluralism of a period which saw both new perspectives and enduring contributions to the history of philosophy. This will be an invaluable guide for students of philosophy, intellectual historians, and all who are interested in Renaissance thought.

The Cambridge Companion to Renaissance Philosophy, published in 2007, provides an introduction to a complex period of change in the subject matter and practice of philosophy. The philosophy of the fourteenth through sixteenth centuries is often seen as transitional between the scholastic philosophy of the Middle Ages and modern philosophy, but the essays collected here, by a distinguished international team of contributors, call these assumptions into question, emphasizing both the continuity with scholastic philosophy and the role of Renaissance philosophy in the emergence of modernity. They explore the ways in which the science, religion and politics of the period reflect and are reflected in its philosophical life, and they emphasize the dynamism and pluralism of a period which saw both new perspectives and enduring contributions to the history of philosophy. This will be an invaluable guide for students of philosophy, intellectual historians, and all who are interested in Renaissance thought.

For this second edition, Sir Richard Southern has revised his much-acclaimed study in the light of recent scholarly research, and added an extensive preliminary chapter on the debate over Robert Grosseteste's career and intellectual growth. He has added c.50 extra pages in which he answers criticisms and adds further material to support his controversial account of Grosseteste's career. He examines particular features of Grosseteste's career in detail, especially his chancellorship of tbe University of Oxford, and provides a fuller account of the tradition of scientific study in England which Grosseteste inherited and transformed. This is a study of the intellectual development and influence of one of the most independent and vigorous Englishmen of the Middle Ages. As a scientist, theologian and pastoral leader, he was rooted in an English tradition predating the Norman conquest, and he looks forward to such disturbing characters of the later Middle Ages as Piers Plowman and John Wycliffe, though with a wider range of intellectual interests than any of them.

Machiavelli's New Modes and Orders is the only full-length interpretive study on Machiavelli's controversial and ambiguous work, Discourses on Livy. These discourses, considered by some to be Machiavelli's most important work, are thoroughly explained in a chapter-by-chapter commentary by Harvey C. Mansfield, one of the world's foremost interpreters of this remarkable philosopher. Mansfield's aim is to discern Machiavelli's intention in writing the book: he argues that Machiavelli wanted to introduce new modes and orders in political philosophy in order to make himself the founder of modern politics. Mansfield maintains that Machiavelli deliberately concealed part of his intentions so that only the most perceptive reader could see beneath the surface of the text and understand the whole of his book. Previously out of print, Mansfield's penetrating study brings to light the hidden thoughts lurking in the details of the Discourses on Livy to inform and challenge its readers at every step along the way.

Das Buch widmet sich poetischen Positionierungen zu kosmologischen Problemfeldern in lateinischen und deutschsprachigen Epen des Hochmittelalters, u.a. der Cosmographia, dem Architrenius, dem Laborintus, Flore und Blanscheflur, dem Wigalois sowie der Crone. Dabei plausibilisiert es ein Diskursnetz im Bereich jeweils kosmologisch fundierter anthropologischer, epistemologischer sowie poeto-logischer Fragehorizonte. An die Stelle eines einstrangigen Fortschrittsnarrativs tritt die Annahme einer 'Gemengelage', einer Textlandschaft aus verstreuten Einheiten. Gezeigt wird, wie diese sich - zumeist in Form von Verschiebungen, UEberlagerungen und Synkretismen - zu den drangenden Fragen zeitgenoessischer Kosmologie im 12./13. Jahrhundert positionieren.

This book addresses an emblematic case of a potential faith-reason, or faith-science, conflict that never arose, even though the biblical passage in question runs counter to simple common sense. Within the context of Western culture, when one speaks of a faith-science conflict one is referring to cases in which a "new" scientific theory or the results of empirical research call into question what the Bible states on the same subject. Well-known examples include the Copernican theory of planetary motion and the Darwinian theory of evolution. The passage considered in this book, concerning the "waters above the firmament" in the description of the creation in the first book of Genesis, represents a uniquely enlightening case. The author traces the interpretations of this passage from the early centuries of the Christian era to the late Renaissance, and discusses them within their historical context. In the process, he also clarifies the underlying cosmogonic model. Throughout this period, only exegetes belonging to various religious orders discussed the passage's meaning. The fact that it was never debated within the lay culture explains its non-emergence as a faith-reason conflict. A fascinating and highly accessible work, this book will appeal to a broad readership.

Uncovers the interplay of the physical and the aesthetic that shaped Viennese modernism and offers a new interpretation of this moment in the history of the West. Viennese modernism is often described in terms of a fin-de-siecle fascination with the psyche. But this stereotype of the movement as essentially cerebral overlooks a rich cultural history of the body. The Naked Truth, an interdisciplinary tour de force, addresses this lacuna, fundamentally recasting the visual, literary, and performative cultures of Viennese modernism through an innovative focus on the corporeal. Alys X. George explores the modernist focus on the flesh by turning our attention to the second Vienna medical school, which revolutionized the field of anatomy in the 1800s. As she traces the results of this materialist influence across a broad range of cultural forms--exhibitions, literature, portraiture, dance, film, and more--George brings into dialogue a diverse group of historical protagonists, from canonical figures such as Egon Schiele, Arthur Schnitzler, Joseph Roth, and Hugo von Hofmannsthal to long-overlooked ones, including author and doctor Marie Pappenheim, journalist Else Feldmann, and dancers Grete Wiesenthal, Gertrud Bodenwieser, and Hilde Holger. She deftly blends analyses of popular and "high" culture, laying to rest the notion that Viennese modernism was an exclusively male movement. The Naked Truth uncovers the complex interplay of the physical and the aesthetic that shaped modernism and offers a striking new interpretation of this fascinating moment in the history of the West.

The first book to explore the role of images in philosophical thought and teaching in the early modern period Delving into the intersections between artistic images and philosophical knowledge in Europe from the late sixteenth to the early eighteenth centuries, The Art of Philosophy shows that the making and study of visual art functioned as important methods of philosophical thinking and instruction. From frontispieces of books to monumental prints created by philosophers in collaboration with renowned artists, Susanna Berger examines visual representations of philosophy and overturns prevailing assumptions about the limited function of the visual in European intellectual history. Rather than merely illustrating already existing philosophical concepts, visual images generated new knowledge for both Aristotelian thinkers and anti-Aristotelians, such as Descartes and Hobbes. Printmaking and drawing played a decisive role in discoveries that led to a move away from the authority of Aristotle in the seventeenth century. Berger interprets visual art from printed books, student lecture notebooks, alba amicorum (friendship albums), broadsides, and paintings, and examines the work of such artists as Pietro Testa, Leonard Gaultier, Abraham Bosse, Durer, and Rembrandt. In particular, she focuses on the rise and decline of the "plural image," a genre that was popular among early modern philosophers. Plural images brought multiple images together on the same page, often in order to visualize systems of logic, metaphysics, natural philosophy, or moral philosophy. Featuring previously unpublished prints and drawings from the early modern period and lavish gatefolds, The Art of Philosophy reveals the essential connections between visual commentary and philosophical thought.