The Making of a Philosopher follows Colin McGinn from his early years in England, reading Descartes and Anselm, to his years in the States, first in Los Angeles, then New York. McGinn presents a contemporary academic take on the great philosophical figures of the twentieth century -- including Bertrand Russell, Jean-Paul Sartre, and Noam Chomsky -- alongside stories of the teachers who informed his ideas and often became friends and mentors, especially the colorful A. J. Ayer at Oxford.

Always elegant and probing, The Making of a Philosopher is for the student of contemporary philosophy as well as the general reader. Both will absorb every page.

Shakespeare's plays are usually studied by literary scholars and historians and the books about him from those perspectives are legion. It is most unusual for a trained philosopher to give us his insight, as Colin McGinn does here. In his brilliant commentary, McGinn explores Shakespeare's philosophy of life and illustrates how he was influenced, for example, by the essays of Montaigne that were translated into English while Shakespeare was writing.In addition to chapters on the great plays, there are also essays on Shakespeare and gender and his plays from the aspects of psychology, ethics, and tragedy. As McGinn says about Shakespeare, "There is not a sentimental bone in his body. He has the curiosity of a scientist, the judgement of a philosopher, and the soul of a poet." McGinn relates the ideas in the plays to the later philosophers such as David Hume and the modern commentaries of critics such as Harold Bloom. The book is an exhilarating reading experience about one of the greatest writers in English.

Whether it's conkers in the schoolyard, kicking a football in the park, or playing tennis on Wimbledon Centre Court, sport impacts all of our lives. But what is sport and why do we do it? Colin McGinn, renowned philosopher (and kiteboarder), reflects on our love of sport and explores the value it has for us and the part it plays in a life lived well. Written in the form of a memoir, McGinn discusses many of the sports he has engaged in - from pole-vaulting and gymnastics to windsurfing and tennis - and describes the athletic experience from the inside, as a participant, articulating what is uniquely valuable about sport as an activity. Sport, argues McGinn, takes us to our fullest potential as human beings, it's what we fling at mortality to keep it at bay, a holiday from the Unbearable Heaviness of Being. "Sport" expresses our nature, it bears upon our self-realization. If a happy life consists in one that expresses fully our natural faculties, then sports must play an essential role in our lifes. Mind-body unity, the nature of practical knowledge and physical skill, success and failure, the ethics of competition, peak experiences, the spectacle of professional sport, aesthetics and death, McGinn discusses these and many other issues while telling of his own sporting mishaps and adventures. To use the vernacular of philosophy, "Sport" captures the phenomenology of sport - what it's like to do it - and in doing so shows how sport is a way of expressing and understanding who and what we are, way beyond whether we are a good sportsman, a bad loser or a team-player. For anyone who has ever thought that there must be less humiliating ways to enjoy yourself than being thrashed on the tennis court, "Sport" will reassure you that it's time not wasted.

Whether it's conkers in the schoolyard, kicking a football in the park, or playing tennis on Wimbledon Centre Court, sport impacts all of our lives. But what is sport and why do we do it? Colin McGinn, renowned philosopher (and kiteboarder), reflects on our love of sport and explores the value it has for us and the part it plays in a life lived well. Written in the form of a memoir, McGinn discusses many of the sports he has engaged in - from pole-vaulting and gymnastics to windsurfing and tennis - and describes the athletic experience from the inside, as a participant, articulating what is uniquely valuable about sport as an activity. Sport, argues McGinn, takes us to our fullest potential as human beings, it's what we fling at mortality to keep it at bay, a holiday from the Unbearable Heaviness of Being. "Sport" expresses our nature, it bears upon our self-realization. If a happy life consists in one that expresses fully our natural faculties, then sports must play an essential role in our lifes. Mind-body unity, the nature of practical knowledge and physical skill, success and failure, the ethics of competition, peak experiences, the spectacle of professional sport, aesthetics and death, McGinn discusses these and many other issues while telling of his own sporting mishaps and adventures. To use the vernacular of philosophy, "Sport" captures the phenomenology of sport - what it's like to do it - and in doing so shows how sport is a way of expressing and understanding who and what we are, way beyond whether we are a good sportsman, a bad loser or a team-player. For anyone who has ever thought that there must be less humiliating ways to enjoy yourself than being thrashed on the tennis court, "Sport" will reassure you that it's time not wasted.

Dave Green arrives in London with nothing. He is an artist, in search of success. Success does not come easy. His sufferings may or may not bring him redemption.

How is watching a movie similar to dreaming? What goes on in our minds when we become absorbed in a movie? How does looking "into" a movie screen allow us to experience the thoughts and feelings of a movie's characters? These and related questions are at the heart of "The Power of Movies, "a thoughtful, invigorating, and remarkably accessible book about a phenomenon seemingly beyond reach of our understanding. Colin McGinn-"an ingenious philosopher who thinks like a laser and writes like a dream," according to Steven Pinker-enhances our understanding of both movies and ourselves in this book of rare and refreshing insight.

Alan Swift is an insurance man, a family man, and a space man. But he also has two alter egos: a high-flying imaginary self and a low-lying phobic self. These three selves coexist uneasily. Living at home, in Holloway, he succumbs to claustrophobia; traveling abroad he faces agoraphobia. What is he to do? The novel tracks Alan's movements and transformations, as he tries to deal with the conflicting pressures in his psyche. Moving through space, he is dogged by conscience, yet he must also respect his imagination. Should he stay or should he go?

"A great resource for beginning ethics courses. The book is short and yet it richly embodies the methods of ethical thinking about practical moral problems that are hard for students to learn unless they see them in action. McGinn perspicuously sets out a small set of basic principles and then attacks the problems of our treatment of animals, abortion, sex, censorship, and so on, with a masterful blend of attention to real-life cases and imaginary thought experiments. McGinn hardly claims to have the last word on the complex issues he discusses, and students will find many exciting problems and points to take up." -Owen Flanagan, Duke University

An introduction to philosophy of language through systematic and accessible explanations of ten classic texts by such thinkers as Frege, Kripke, Russell, and Putnam. Many beginning students in philosophy of language find themselves grappling with dense and difficult texts not easily understood by someone new to the field. This book offers an introduction to philosophy of language by explaining ten classic, often anthologized, texts. Accessible and thorough, written with a unique combination of informality and careful formulation, the book addresses sense and reference, proper names, definite descriptions, indexicals, the definition of truth, truth and meaning, and the nature of speaker meaning, as addressed by Frege, Kripke, Russell, Donnellan, Kaplan, Evans, Putnam, Tarski, Davidson, and Grice. The explanations aim to be as simple as possible without sacrificing accuracy; critical assessments are included with the exposition in order to stimulate further thought and discussion. Philosophy of Language will be an essential resource for undergraduates in a typical philosophy of language course or for graduate students with no background in the field. It can be used in conjunction with an anthology of classic texts, sparing the instructor much arduous exegesis. Contents Frege on Sense and Reference * Kripke on Names * Russell on Definite Descriptions * Donnellan's Distinction * Kaplan on Demonstratives * Evans on Understanding Demonstratives * Putnam on Semantic Externalism * Tarski's Theory of Truth * Davidson's Semantics for Natural Language * Grice's Theory of Speaker Meaning

Initially regarded as a cult figure with a strong following amongst sci-fi and horror film fans, Canadian filmmaker David Cronenberg emerged as a major and commercially viable film director with mainstream hits such as A History of Violence (2005) and Eastern Promises (2007). With his unique ability to present imagery that is both disturbing and provocative, Cronenberg creates striking films, noteworthy not just for their cinematic beauty but also for the philosophical questions they raise. The Philosophy of David Cronenberg examines Cronenberg's body of work, from his breakthrough Scanners (1981) through his most recognizable films such as The Fly (1986) and more recent works. Editor Simon Riches and a collaboration of scholars introduce the filmmaker's horrific storylines and psychologically salient themes that reveal his pioneering use of the concept of "body horror," as well as his continued aim to satirize the modern misuse of science and technology. The Philosophy of David Cronenberg also explores the mutation of self, authenticity and the human mind, as well as language and worldviews. While Cronenberg's films have moved from small-market cult classics to mainstream successes, his intriguing visions of humanity and the self endure.

What kind of subject is philosophy? Colin McGinn takes up this perennial question, defending the view that philosophy consists of conceptual analysis, construed broadly. Conceptual analysis is understood to involve the search for de re essences, but McGinn takes up various challenges to this meta-philosophy: that some concepts are merely family resemblance concepts with no definition in terms of necessary and sufficient conditions ("game," "language"); that it is impossible to provide sufficient conditions for some philosophically important concepts without circularity ("knowledge," "intentional action"); that there exists an unsolved paradox of analysis; that there is no well-defined analytic-synthetic distinction; that names have no definition; and that conceptual analysis is not properly naturalistic. Ultimately, McGinn finds none of these objections convincing: analysis emerges as both possible and fruitful.
At the same time, he rejects the idea of the "linguistic turn," arguing that analysis is not directed to language as such, but at reality. Going on to distinguish several types of analysis, with an emphasis on classical decompositional analysis, he shows different philosophical traditions to be engaged in conceptual analysis when properly understood. Philosophical activity has the kind of value possessed by play, McGinn claims, which differs from the kind of value possessed by scientific activity. The book concludes with an analytic discussion of the prospects for traditional ontology and the nature of instantiation.
McGinn's study of the nature of philosophy shows us how philosophy can maintain its connection to the past while looking forward to a bright future.

In Basic Structures of Reality, Colin McGinn deals with questions of metaphysics, epistemology, and philosophy of mind from the vantage point of physics. Combining general philosophy with physics, he covers such topics as the definition of matter, the nature of space, motion, gravity, electromagnetic fields, the character of physical knowledge, and consciousness and meaning. Throughout, McGinn maintains an historical perspective and seeks to determine how much we really know of the world described by physics. He defends a version of "structuralism": the thesis that our knowledge is partial and merely abstract, leaving a large epistemological gap at the center of physics. McGinn then connects this element of mystery to parallel mysteries in relation to the mind. Consciousness emerges as just one more mystery of physics. A theory of matter and space is developed, according to which the impenetrability of matter is explained as the deletion of volumes of space. McGinn proposes a philosophy of science that distinguishes physics from both psychology and biology, explores the ontology of energy, and considers the relevance of physics to seemingly remote fields such as the theory of meaning. In the form of a series of aphorisms, the author presents a metaphysical system that takes laws of nature as fundamental. With its broad scope and deep study of the fundamental questions at the heart of philosophy of physics, this book is not intended primarily for specialists, but for the general philosophical reader interested in how physics and philosophy intersect.

In recent years the nature of consciousness--our immediately known experiences--has taken its place as the most profound problem that science faces. Now in this brilliant and thoroughly accessible new book Colin McGinn takes a provocative position on this perplexing problem. Arguing that we can never truly "know" consciousness--that the human intellect is simply not equipped to unravel this mystery--he demonstrates that accepting this limitation in fact opens up a whole new field of investigation. In elegant prose, McGinn explores the implications of this Mysterian position--such as the new value it gives to the power of dreams and introspection--and challenges the reader with intriguing questions about the very nature of our minds and brains.

Knowledge and Reality brings together a selection of Colin McGinn's philosophical essays from the 1970s to the 1990s, whose unifying theme is the relation between the mind and the world. The essays range over a set of prominent topics in contemporary philosophy, including the analysis of knowledge, the a priori, necessity, possible worlds, realism, mental representation, appearance and reality, and colour. McGinn has written a new postscript to each essay, placing it in its philosophical context by sketching the background against which it was written, explaining its relations to other notable work, and offering his current reflections on the topic. The volume thus traces the development of McGinn's ideas and their role in some central philosophical debates. Seen together the essays offer a many-sided defence of realism, while emphasizing the epistemological price that realism exacts.

This book investigates subjective and objective representations of the world. Analogies between secondary qualities and indexical thoughts are developed, and subjective representations are argued to be ineliminable.

Ethics, Evil, and Fiction brings together moral philosophy and literary analysis in a way that offers new insights for both. Colin McGinn examines the relations between morality, art, and beauty; argues, controversially, that morality is an area of objective truth and genuine knowledge; and shows the value of literary texts as sources of moral illumination. This lucid and original book, which discusses a wide range of works of art, will be compelling reading for all who are interested in ethics or in the links between philosophy and literature.

In Minds and Bodies, one of philosophy's most dynamic and versatile thinkers gathers nearly forty review essays written over the past twenty years for non-specialized publications. They cover biography, particularly of Russell and Wittgenstein; philosophy of mind, especially consciousness; and ethics, with an emphasis on applied ethics. Taken together these essays form a vivid picture of contemporary philosophy for the general reader, and will be welcomed by those within the philosophical community for their crisp critical insights and rigorous assessments.

Ethics, Evil, and Fiction brings together moral philosophy and literary analysis in a way that offers new insights for both. Examining the relations between morality, art, and beauty, McGinn argues, controversially, that morality is an area of objective truth and genuine knowledge; and shows the value of literary texts as sources of moral illumination. Discussing a wide range of works, from Billy Budd to Lolita, this highly original book will be compelling reading for all who are interested in ethics or in the links between philosophy and literature.

In praise of the hand: A philosopher considers the crucial role of the hand in human evolution, particularly with respect to language. "McGinn is an ingenious philosopher who thinks like a laser and writes like a dream." -Steven Pinker This book is a hymn to the hand. In Prehension, Colin McGinn links questions from science to philosophical concerns to consider something that we take for granted: the importance of the hand in everything we do. Drawing on evolutionary biology, anatomy, archaeology, linguistics, psychology, and philosophy, among other disciplines, McGinn examines the role of the hand in shaping human evolution. He finds that the development of our capacity to grasp, to grip, to take hold (also known as prehension) is crucial in the emergence of Homo sapiens. The human species possesses language, rational thought, culture, and a specific affective capacity; but there was a time when our ancestors had none of these. How did we become what we so distinctively are, given our early origins? McGinn, following Darwin and others, calls the hand the source of our biological success. When our remote ancestors descended from trees, they adopted a bipedal gait that left the hands free for other work; they began to make tools, which led to social cooperation and increased brain capacity. But McGinn goes further than others in arguing for the importance of the hand; he speculates that the hand played a major role in the development of language, and presents a theory of primitive reference as an outgrowth of prehension. McGinn sings the praises of the hand, and evolution, in a philosophical key. He mixes biology, anthropology, analytical philosophy, existential philosophy, sheer speculation, and utter amazement to celebrate humans' achievement of humanity.

How to imagine the imagination is a topic that draws philosophers the way flowers draw honeybees. From Plato and Aristotle to Wittgenstein and Sartre, philosophers have talked and written about this most elusive of topics--that is, until contemporary analytic philosophy of mind developed. Perhaps it is the vast range of the topic that has scared off our contemporaries, ranging as it does from mental images to daydreams.

The guiding thread of this book is the distinction Colin McGinn draws between perception and imagination. Clearly, seeing an object is similar in certain respects to forming a mental image of it, but it is also different. McGinn shows what the differences are, arguing that imagination is a sui generis mental faculty. He goes on to discuss the nature of dreaming and madness, contending that these are primarily imaginative phenomena. In the second half of the book McGinn focuses on what he calls cognitive (as opposed to sensory) imagination, and investigates the role of imagination in logical reasoning, belief formation, the understanding of negation and possibility, and the comprehension of meaning. His overall claim is that imagination pervades our mental life, obeys its own distinctive principles, and merits much more attention.