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.

Stoicism has had a diverse reception in German philosophy. This is the first interpretive study of shared themes and dialogues between late nineteenth-century and twentieth-century experts on classical antiquity and philosophers. Assessing how modern philosophers have incorporated ancient resources with the context of German philosophy, chapters in this volume are devoted to philosophical giants such as Friedrich Nietzsche, Wilhelm Dilthey, Walter Benjamin, Martin Heidegger, Hannah Arendt, Hans Jonas, Hans Blumenberg, and Peter Sloterdijk. Among the ancient Stoics, the focus is on Seneca, Epictetus, and doxography, but reference will also be made to texts that have so far been neglected by non-specialists. Often references to Stoic texts are playful, making it hard for non-specialists to reconstruct their understanding of the sources; by illuminating and enhancing the philosophical significance of these receptions, this book argues that they can change our understanding of Greek and Roman Stoic doctrines and authors, twentieth-century continental philosophy, and the themes which coordinate their ongoing dialogues. Some of these themes are surprising for Stoicism, such as the poetics of tragic drama and the anthropological foundations of hermeneutics. Others are already central to Stoic reception, such as the constitution of the subject in relation to various ethical, ecological, and metaphysical powers and processes; among these are contemplation and knowledge; identity and plurality; temporality, facticity, and fate; and personal, social, and planetary forms of self-cultivation and self-appropriation. Addressing the need for a synoptic vision of related continental readings of Stoicism, this book brings ancient texts into new dialogues with up-to-date scholarship, facilitating increased understanding, critical evaluation, and creative innovation within the continental response to Stoicism.

In this important and highly original book, place, commonality and judgment provide the framework within which works central to the Greek philosophical and literary tradition are usefully located and reinterpreted. Greek life, it can be argued, was defined by the interconnection of place, commonality and judgment. Similarly within the Continental philosophical tradition topics such as place, judgment, law and commonality have had a pervasive centrality. Works by Jacques Derrida and Giorgio Agamben amongst others attest to the current exigency of these topics. Yet the ways in which they are interrelated has been barely discussed within the context of Ancient Philosophy. The conjecture of this book is that not only are these terms of genuine philosophical importance in their own right, but they are also central to Ancient Philosophy. Andrew Benjamin ultimately therefore aims to underscore the relevance of Ancient Philosophy for contemporary debates in Continental Philosophy.

This volume begins with a new essay by Julia Kristeva, 'The Adolescent Novel', in which she examines the relation between novelistic writing and the experience of adolescence as an 'open structure'. It is this blend of the literary with the psychoanalytic that places Kristeva's work central to current thinking, from semiotics and critical theory to feminism and psychoanalysis. The essays in this volume offer insight into the workings of Kristeva's thought, ranging from her analyses of sexual difference, female temporality and the perceptions of the body to the mental states of abjection and melancholia, and their representation in painting and literature. Kristeva's persistent humanity, her profound understanding of the dynamics of intention and creativity, mark her out as one of the leading theoreticians of desire. Each essay offers the reader a new insight into the many aspects that make up Kristeva's entire oeuvre.

A new direction in art criticism is laid out in this striking program for realigning the relationship between painting and criticism. Putting forth the idea that painting evolves and encounters new territory through a constant tension between art and criticism, this treatise draws on the work of philosophers Immanuel Kant and Walter Benjamin as well as critics Arthur Danto and Rosalind Krauss. Each argument is accompanied by a detailed analysis of a wide range of classical, modern, and postmodern art pieces.

Architectural Philosophy is the first book to outline a philosophical account of architecture and to establish the singularity of architectural practice and theory. This dazzling sequence of essays opens out the subject of architecture, touching on issues as wide ranging as the problem of memory and the dystopias of science fiction. Arguing for the indissolubility of form and function, Architectural Philosophy explores both the definition of the site and the possibility of alterity. The analysis of the nature of the present and the complex sructure of repetition allows for the possibility of judgement, a judgement that arises from a reworked politics of architecture.

What is the work of art? How does art work as art? Andrew Benjamin contends that the only way to address these questions is by developing a radically new materialist philosophy of art, and by rethinking the history of art from within that perspective. A materialist philosophy of art starts with the contention that meaning is only ever the after effect of the way in which materials work. Starting with the relation between history, materials and work (art's work), this book opens up a highly original reconfiguration of the philosophy of art. Benjamin undertakes a major project that seeks to develop a set of complex interarticulations between art history and an approach to art's work that emphasizes art's material presence. A philosophy of art emerges from the limitations of aesthetics.

What is the work of art? How does art work as art? Andrew Benjamin contends that the only way to address these questions is by developing a radically new materialist philosophy of art, and by rethinking the history of art from within that perspective. A materialist philosophy of art starts with the contention that meaning is only ever the after effect of the way in which materials work. Starting with the relation between history, materials and work (art's work), this book opens up a highly original reconfiguration of the philosophy of art. Benjamin undertakes a major project that seeks to develop a set of complex interarticulations between art history and an approach to art's work that emphasizes art's material presence. A philosophy of art emerges from the limitations of aesthetics.

Modern literary theory is increasingly looking to philosophy for its inspiration. After a wave of structural analysis, the growing influence of deconstruction and hermeneutic readings continues to bear witness to this. This exciting and important collection, first published in 1988, reveals the diversity of approaches that mark the post-structuralist endeavour, and provides a challenge to the conventional practice of classical studies and ancient philosophy. This book will be of interest to students of ancient philosophy, classical studies and literary theory.

Modern literary theory is increasingly looking to philosophy for its inspiration. After a wave of structural analysis, the growing influence of deconstruction and hermeneutic readings continues to bear witness to this. This exciting and important collection, first published in 1988, reveals the diversity of approaches that mark the post-structuralist endeavour, and provides a challenge to the conventional practice of classical studies and ancient philosophy. This book will be of interest to students of ancient philosophy, classical studies and literary theory.

This engrossing study, first published in 1989, explores the basic mutuality between philosophy and translation. By studying the conceptions of translation in Plato, Seneca, Davidson, Walter Benjamin and Freud, Andrew Benjamin reveals the interplay between the two disciplines not only in their relationship to language, but also at a deeper, cognitive level. Benjamin engages throughout with the central tenets of post-structuralism: the concept of a constant yet illusive 'true' meaning has lost authority, but remains a problem. The fact of translation seems to defy the notion that 'meaning' is reducible to its component words; yet, to say that the 'truth' is more than the sum of its parts, we are challenging the very foundations of what it is to communicate, to understand, and to know. In Translation and the Nature of Philosophy, the author sets out his own theory of language in light of these issues.

This collection explores, in Adorno's description, 'philosophy directed against philosophy'. The essays cover all aspects of Benjamin's writings, from his early work in the philosophy of art and language, through to the concept of history. The experience of time and the destruction of false continuity are identified as the key themes in Benjamin's understanding of history.

An understanding of what we mean by the present is one of the key issues in literature, philosophy, and culture today, but also one of the most neglected and misunderstood. Present Hope develops a fascinating philosophical understanding of the present, approaching this question via discussions of the nature of historical time, the philosophy of history, memory, and the role of tragedy.
Andrew Benjamin shows how we misleadingly view the present as simply a product of chronological time, ignoring the role of history and memory. Accordingly, discussion of what is meant by the present disappears from philosophical concern. To draw attention to this absence, Andrew Benjamin introduces the notion of hope and asks what this concept can tell us about the present.
At the heart of the outstanding work is an emphasis on the relation between hope and the Jewish tradition. Through discussions of philosophical responses to the Holocaust, the work of Walter Benjamin, Daniel Libeskind's Jewish Museum, and the poetry of Paul Celan, Present Hope shows how we must look beyond the purely philosophical horizon to understand the present we live in.

This collection explores Walter Benjamin's "philosophy directed against philosophy". The essays, from 11 contributors, aim to cover all aspects of Benjamin's writings. Subjects range from his early work in the philosphy of art and language, through his cultural criticism, to his final reflections on the concept of history. The experience of time and the destruction of false continuity are identified as the key themes in Benjamin's understanding of history.

Benjamin provides new and important readings of key canonical texts in the history of philosophy in this sustained philosophical reworking of ontology. Amongst texts included are Hegel's "Difference Essay" and the "Shorter Logic" and Heidegger's "Time and Being" and "The Question of Being". The effective presence of ontology, defined as "an original difference", should be familiar to readers of his earlier writings. This book represents a thorough and original contribution to contemporary philosophy to date.

Best known for his work "The Postmodern Condition", Jean-Francois Lyotard is one of the leading figures in contemporary French philosophy. This collection of articles offers an estimation and critique of his work. While the various chapters deal with different aspects of Lyotard's writings, they are all concerned with the question of judgement. The importance to Lyotard of judgement, and how it is to be judged, is a recurrent theme throughout the entire range of his work. It is particularly evident in his continuing engagement with the work of Kant. Lyotard's own essay, "Sensus Communis", which opens this volume, investigates through Kant the presuppositions of judgement. Other essays variously consider how in his writings Lyotard has rendered problematic existing forms of aesthetic, ethical, legal and political judgement. This book should be of interest to undergraduates, postgraduates and academics of philosophy, literary theory, cultural studies and French studies.

Best known for his work "The Postmodern Condition", Jean-Francois Lyotard is one of the leading figures in contemporary French philosophy. This collection of articles offers an estimation and critique of his work. While the various chapters deal with different aspects of Lyotard's writings, they are all concerned with the question of judgement. The importance to Lyotard of judgement, and how it is to be judged, is a recurrent theme throughout the entire range of his work. It is particularly evident in his continuing engagement with the work of Kant. Lyotard's own essay, "Sensus Communis", which opens this volume, investigates through Kant the presuppositions of judgement. Other essays variously consider how in his writings Lyotard has rendered problematic existing forms of aesthetic, ethical, legal and political judgement. This book should be of interest to undergraduates, postgraduates and academics of philosophy, literary theory, cultural studies and French studies.

Benjamin argues for a reappraisal of philosophy with reference to the centrality of ontology, offering original reinterpretations of contemporary painters including Lucien Freud, Francis Bacon and R.B. Kitaj.

"Art, Mimesis and the Avant-Garde" explores the relationship between art and philosophy. Andrew Benjamin argues for a reworking of the task of philosophy in terms of the centrality of ontology. It is in relation to this centrality, understood through the differences between modes of being, that art, mimesis, and the avant-garde come to be presented.
A fundamental part of this book is the original interpretations of important contemporary painters and their themes: Lucian Freud's self-portraits, Francis Bacon's use of mirrors, R. B. Kitaj and Jewish identity, Anselm Kiefer and iconoclasm. Apart from painting, Benjamin considers architecture, literature, and the philosophical writings of Walter Benjamin and Descartes in elaborating the various aspects of ontological difference. Benjamin develops the theory of the avant-garde as a philosophical category rather than a historical marker, thus bringing the worlds of contemporary art criticism and contemporary philosophy closer together.

As its title suggests, this collections of essays by one of the foremost theorists working today takes as its theme the edge or limit between language, time, history, and politics. These are essays that are all on the brink, about the edge, the very extreme at which one can no longer say where one is located, neither on the cliff, say, nor over the edge. To be on the brink, then, is to take up that extreme limit, the point of contamination or indetermination where language, time, history, and politics all converge upon one another. The book begins with a consideration of Kant's treatment of time as representation, before moving toward more explicitly political themes as it engages political theology and messianism in Hegel and Hoelderlin. The second section explores the questionof language in a variety of manifestations-from translation to complaint and greeting-and through a number of literary and cultural forms, from the work of Mallarme to email. The volume concludes with an interview in which Hamacher offers a revealing overview of his work, beginning with an account of his early writings and moving up to his most recent essays.

This volume begins with a new essay by Julia Kristeva, 'The Adolescent Novel', in which she examines the relation between novelistic writing and the experience of adolescence as an 'open structure'. It is this blend of the literary with the psychoanalytic that places Kristeva's work central to current thinking, from semiotics and critical theory to feminism and psychoanalysis. The essays in this volume offer insight into the workings of Kristeva's thought, ranging from her analyses of sexual difference, female temporality and the perceptions of the body to the mental states of abjection and melancholia, and their representation in painting and literature. Kristeva's persistent humanity, her profound understanding of the dynamics of intention and creativity, mark her out as one of the leading theoreticians of desire. Each essay offers the reader a new insight into the many aspects that make up Kristeva's entire oeuvre.

This engrossing study, first published in 1989, explores the basic mutuality between philosophy and translation. By studying the conceptions of translation in Plato, Seneca, Davidson, Walter Benjamin and Freud, Andrew Benjamin reveals the interplay between the two disciplines not only in their relationship to language, but also at a deeper, cognitive level. Benjamin engages throughout with the central tenets of post-structuralism: the concept of a constant yet illusive 'true' meaning has lost authority, but remains a problem. The fact of translation seems to defy the notion that 'meaning' is reducible to its component words; yet, to say that the 'truth' is more than the sum of its parts, we are challenging the very foundations of what it is to communicate, to understand, and to know. In Translation and the Nature of Philosophy, the author sets out his own theory of language in light of these issues.

Martin Heidegger is one of the most influential philosophers of the 20th Century, and a key philosophical resource for literary critics. Not only has he written about poetry, generations of poets have engaged his writings. And yet, for Heidegger poetry and literature are separate. An essential part of the project of this book therefore is to show how both the distinction and connection between literature and poetry is staged within Heidegger's thought. It offers Heidegger's perspective on a range of key themes, topics, poets, and writers, including Poetry and Poetics, Ancient Greek theatre and tragedies and then specifically Friedrich Hölderlin, Thomas Mann, Paul Celan, Euripides and Sophocles. As the Chapters comprising this book make clear, Heidegger's work remains indispensable for any serious engagement with either literature or poetry today.

Images have always stirred ambivalent reactions. Yet whether eliciting fascinated gazes or iconoclastic repulsion from their beholders, they have hardly ever been seen as true sources of knowledge. They were long viewed as mere appearances, placeholders for the things themselves or deceptive illusions. Today, the traditional critique of the spectacle has given way to an unconditional embrace of the visual. However, we still lack a persuasive theoretical account of how images work. Emmanuel Alloa retraces the history of Western attitudes toward the visual to propose a major rethinking of images as irreplaceable agents of our everyday engagement with the world. He examines how ideas of images and their powers have been constructed in Western humanities, art theory, and philosophy, developing a novel genealogy of both visual studies and the concept of the medium. Alloa reconstructs the earliest Western media theory-Aristotle's concept of the diaphanous milieu of vision-and the significance of its subsequent erasure in the history of science. Ultimately, he argues for a historically informed phenomenology of images and visual media that explains why images are not simply referential depictions, windows onto the world. Instead, images constantly reactivate the power of appearing. As media of visualization, they allow things to appear that could not be visible except in and through these very material devices.