The passions have long been condemned as a creator of disturbance and purveyor of the temporary loss of reason, but as Remo Bodei argues in Geometry of the Passions, we must abandon the perception that order and disorder are in a constant state of collision. By means of a theoretical and historical analysis, Bodei interprets the relationship between passion and reason as a conflict between two complementary logics. Geometry of the Passions investigates the paradoxical conflict-collaboration between passions and reason, and between individual and political projects. Tracing the roles passion and reason have played throughout history, including in the political agendas of Descartes, Hobbes, and the French Jacobins, Geometry of the Passions reveals how passion and reason may be used as a vehicle for affirmation rather than self-enslavement.

From prehistoric stone tools, to machines, to computers, things have traveled a long road along with human beings. Changing with the times, places, and methods of their production, emerging from diverse histories, and enveloped in multiple layers of meaning, things embody ideas, emotions, and symbols of which we are often unaware. The meaning of "thing" is richer than that of "object," which is something that is manipulated with indifference or according to impersonal technical procedures. Things also differ from merchandise, objects that can be sold or exchanged or seen as status symbols. Things, in the philosophical sense, are nodes of relationships with the life of others, chains of continuity among generations, bridges that connect individual and collective histories, junctions between human civilizations and nature. Things incite us to listen to reality, to make them part of ourselves, giving fresh life to an otherwise suffocating interiority. Things also reveal the hidden aspect of a "subject" in its most secret and least explored side. Things are the repositories of ideas, emotions, and symbols whose meaning we often do not understand. In an unexpected but coherent journey that includes the visions of classic philosophers from Aristotle to Husserl and from Hegel to Heidegger, along with the analysis of works of art, Bodei addresses issues such as fetishism, the memory of things, the emergence of department stores, consumerism, nostalgia for the past, the self-portraits of Rembrandt and Dutch still-lifes of the seventeenth century. The more we are able to recover objects in their wealth of meanings and integrate them into our mental and emotional horizons, he argues, the broader and deeper our world becomes.

From prehistoric stone tools, to machines, to computers, things have traveled a long road along with human beings. Changing with the times, places, and methods of their production, emerging from diverse histories, and enveloped in multiple layers of meaning, things embody ideas, emotions, and symbols of which we are often unaware. The meaning of "thing" is richer than that of "object," which is something that is manipulated with indifference or according to impersonal technical procedures. Things also differ from merchandise, objects that can be sold or exchanged or seen as status symbols. Things, in the philosophical sense, are nodes of relationships with the life of others, chains of continuity among generations, bridges that connect individual and collective histories, junctions between human civilizations and nature. Things incite us to listen to reality, to make them part of ourselves, giving fresh life to an otherwise suffocating interiority. Things also reveal the hidden aspect of a "subject" in its most secret and least explored side. Things are the repositories of ideas, emotions, and symbols whose meaning we often do not understand. In an unexpected but coherent journey that includes the visions of classic philosophers from Aristotle to Husserl and from Hegel to Heidegger, along with the analysis of works of art, Bodei addresses issues such as fetishism, the memory of things, the emergence of department stores, consumerism, nostalgia for the past, the self-portraits of Rembrandt and Dutch still-lifes of the seventeenth century. The more we are able to recover objects in their wealth of meanings and integrate them into our mental and emotional horizons, he argues, the broader and deeper our world becomes.

Benedetto Croce (1866-1952) was among the most important of those philosophers of the twentieth century who grappled with issues of pure aesthetics. The series of lectures written in 1912 as the inaugural address of the Rice Institute in Texas and collected under the title Breviario di estetica (Breviary of Aesthetics) is undoubtedly Croce's definitive study of the arts, and the work remains foundational in the philosophy of aesthetics to this day. It has been translated into several languages and continues to attract a wide readership. In this edition, the Breviary of Aesthetics is presented in a brand new English translation and accompanied by informative endnotes that discuss many of the philosophers, writers, and works cited by Croce in his original text. The new translation deliberately preserves the idiosyncratic use of language for which Croce was famous, and emphasizes his writing style, which, together with that of Galileo Galilei, is considered to be among the most lucid in Italian literature. An introduction by Remo Bodei discusses the broader impact of the work and places it in historical context. In short, this edition reintroduces a seminal text on aesthetics to a new generation of English-speaking readers, and represents a significant contribution to the Lorenzo Da Ponte Italian Library series.

El delirio se presenta tradicionalmente como sinonimo de irracionalidad (falta de fundamento, absurdo, error, caos), en tanto que la razon, su opuesto especular, se define por contraste mediante los atributos de evidencia, capacidad de demostracion, orden y verdad. Con el tiempo, ambos conceptos han llegado a complementarse. Podemos hablar de una o mas logicas del delirio entendiendo por tales ciertos modos concretos -aunque anomalos- de articular percepciones, imagenes, pensamientos, creencias, afectos o humores segun unos principios particulares que no siguen los criterios de argumentacion y expresion comunes a una determinada sociedad. El descubrimiento o aclaracion de esas logicas que dirigen la formacion de los delirios permitiria hallar la teoria que los encuadra, iluminar y rescatar partes de la existencia que nos parecen carentes de sentido y favorecer indirectamente un nuevo desembarco en fierra firme a quien se haya subido a la "nave de los locos."