Is mercy more important than justice? Since antiquity, mercy has been regarded as a virtue. The power of monarchs was legitimated by their acts of clemency, their mercy demonstrating their divine nature. Yet by the end of the eighteenth century, mercy had become "an injustice committed against society . . . a manifest vice." Mercy was exiled from political life. How did this happen? In this book, Malcolm Bull analyses and challenges the Enlightenment's rejection of mercy. A society operating on principles of rational self-interest had no place for something so arbitrary and contingent, and having been excluded from Hobbes's theory of the state and Hume's theory of justice, mercy disappeared from the lexicon of political theory. But, Bull argues, these idealised conceptions have proved too limiting. Political realism demands recognition of the foundational role of mercy in society. If we are vulnerable to harm from others, we are in need of their mercy. By restoring the primacy of mercy over justice, we may constrain the powerful and release the agency of the powerless. And if arguments for capitalism are arguments against mercy, might the case for mercy challenge the very basis of our thinking about society and the state? An important contribution to contemporary political philosophy from an inventive thinker, On Mercy makes a persuasive case for returning this neglected virtue to the heart of political thought.

Malcolm Bull offers a detailed analysis of nihilism in Nietzsche's works. Along with accompanying commentaries by Cascardi and Clark, he explores the significance of Nietzscheis views given the fact that a wide range of readers have come to embrace his ideas as new orthodoxy. There seem to be no anti-Nietzscheans today, but Bull demonstrates that this wide embrace of Nietzsche runs counter to the very meaning of nihilism as Nietzsche understood it.

What does political agency mean for those who don't know what to do or can't be bothered to do it? This book develops a novel account of collective emancipation in which freedom is achieved not through knowledge and action but via doubt and inertia. In essays that range from ancient Greece to the end of the Anthropocene, Bull addresses questions central to contemporary political theory in novel readings of texts by Aristotle, Machiavelli, Marx, and Arendt, and shows how classic philosophical problems have a bearing on issues like political protest and climate change. The result is an entirely original account of political agency for the twenty-first century in which uncertainty and idleness are limned with utopian promise.

Is mercy more important than justice? Since antiquity, mercy has been regarded as a virtue. Yet by the end of the eighteenth century, mercy had been exiled from political life. In this book, Malcolm Bull analyses and challenges the Enlightenment's rejection of mercy. Political realism, Bull argues, demands recognition of the foundational role of mercy in society. If we are vulnerable to harm from others, we are in need of their mercy. By restoring the primacy of mercy over justice, we may constrain the powerful and release the agency of the powerless. An important contribution to political philosophy from an inventive thinker, On Mercy makes a persuasive case for returning this neglected virtue to the heart of political thought.

Can painting transform philosophy? In "Inventing Falsehood, Making Truth," Malcolm Bull looks at Neapolitan art around 1700 through the eyes of the philosopher Giambattista Vico. Surrounded by extravagant examples of late Baroque painting by artists like Luca Giordano and Francesco Solimena, Vico concluded that human truth was a product of the imagination. Truth was not something that could be observed: instead, it was something made in the way that paintings were made--through the exercise of fantasy.

Juxtaposing paintings and texts, Bull presents the masterpieces of late Baroque painting in early eighteenth-century Naples from an entirely new perspective. Revealing the close connections between the arguments of the philosophers and the arguments of the painters, he shows how Vico drew on both in his influential philosophy of history, "The New Science." Bull suggests that painting can serve not just as an illustration for philosophical arguments, but also as the model for them--that painting itself has sometimes been a form of epistemological experiment, and that, perhaps surprisingly, the Neapolitan Baroque may have been one of the routes through which modern consciousness was formed.

Michael Hardt and Antonio Negri's book Empire has been hailed as a latter day Communist Manifesto. Its ability to develop a theoretical framework relevant to the current period of global neo-liberalism and international capitalism captured the imagination of the growing anti-capitalist movement and has been claimed as a turning point for the left. As much as it has seduced and delighted some, however, it has enraged and frustrated others. In this collection, a series of some of the most acute international theorists and commentators of our times subject the book to trenchant and probing analysis from political, economic and philosophical perspectives, and Hardt and Negri respond to their questions and criticisms.

Perhaps the single most revolutionary aspect of the Renaissance was the re-emergence of the gods and goddesses of antiquity. In the midst of Christian Europe, artists began to decorate luxury goods with scandalous stories from classical mythology, and rulers to identify themselves with the deities of ancient religion. The resulting fusion of erotic fantasy and political power changed the course of Western art and produced many of its most magical and subversive works. The first book ever to survey this extraordinary phenomenon in its entirety, The Mirror of the Gods takes the story from the Renaissance to the Baroque. Each chapter focuses on a particular god (Diana, Apollo, Hercules, Venus, Bacchus, Jupiter) and recounts the tales about that deity, not as they appear in classical literature but as they were re-created by artists such as Botticelli, Titian, Bernini and Rembrandt. And yet this is not a book simply about painting and sculpture. It is an attempt to re-imagine the entire designed world of the Renaissance, where the gods also appeared in carnival floats and in banquet displays, and entertained the public in the form of snow men and fireworks. This rich and original new portrait of the Renaissance will ensure that readers never see the period in quite the same way again.

The completely revised second edition further explores one of the most successful of America s indigenous religious groups. Despite this, the Adventist church has remained largely invisible. Seeking a Sanctuary casts light on this marginal religion through its socio-historical context and discusses several Adventist figures that shaped the perception of this Christian sect."

Nietzsche, the philosopher seemingly opposed to everyone, has met with remarkably little opposition himself. He remains what he wanted to be-- the limit-philosopher of a modernity that never ends. In this provocative, sometimes disturbing book, Bull argues that merely to reject Nietzsche is not to escape his lure. He seduces by appealing to our desire for victory, our creativity, our humanity. Only by 'reading like a loser' and failing to live up to his ideals can we move beyond Nietzsche to a still more radical revaluation of all values--a subhumanism that expands the boundaries of society until we are left with less than nothing in common. Anti-Nietzsche is a subtle and subversive engagement with Nietzsche and his twentieth-century interpreters--Heidegger, Vattimo, Nancy, and Agamben. Written with economy and clarity, it shows how a politics of failure might change what it means to be human.

The multiplicity of the self and the inaccessibility of truth are commonplaces of contemporary thought. But in Seeing Things Hidden they become key features of a philosophy of history that reunites emancipatory political theory with the apocalyptic tradition. Apocalyptic is the revelation of things hidden. But what does it mean to be hidden? And why are things hidden in the first place? By gently teasing out the meanings of hiddenness, this book develops a new theory of apocalyptic and explores its relation to the writings of Kant, Hegel, Benjamin and Derrida. Exploiting affinities between the work of Lukacs and recent American philosophers like Rorty and Cavell, Bull argues that the central dynamic of late modernity is the coming into hiding of the contradictory identities generated through political and social emancipation. Drawing on analytic and Continental philosophy he articulates the most ambitious philosophy of history since Francis Fukuyama's The End of History, presenting fresh interpretations of such icons of modernity as Hegel's master-slave dialectic, Benjamin's angel of history, Du Bois's concept of double consciousness, and Rawls's veil of ignorance.