Fourteen newly commissioned essays trace the historical development of the distinction between primary and secondary qualities, which lies at the intersection of issues in metaphysics, epistemology, and philosophy of perception. 'Primary and Secondary Qualities' focuses on the age of the Scientific Revolution, the 'locus classicus' of the distinction, but begins with chapters on ancient Greek and Scholastic accounts of qualities in an effort to identify its origins. The remainder of the volume is devoted to philosophical reflections on qualities from the (...) seventeenth century to the present day. Virtualliy every major figure is represented from Gassendi to Kant, and special attention is paid to Locke, Descartes, and Hume. The essays collected here cover a wide range of topics, including the foundation for the distinction, the question of whether it is lmetaphysical or merely epistemic, the status of secondary qualities, the nature of sensoriy representation, the relation between philosophy and science, the status of dispositions, and the semantics of sensible-quality terms"--Publisher's description, p. [4] of dust jacket. (shrink)

Editorial preface to the fourth edition and modified translation -- The text of the Philosophische Untersuchungen -- Philosophische untersuchungen = Philosophical investigations -- Philosophie der psychologie, ein fragment = Philosophy of psychology, a fragment.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

<Hylas> It is indeed something unusual; but my thoughts were so taken up with a subject I was discoursing of last night, that finding I could not sleep, ...

In chapters ranging from "The Beautiful, the Dainty, and the Dumpy" to "Skin-deep or In the Eye of the Beholder?" Nick Zangwill investigates the nature of beauty as we conceive it, and as it is in itself. The notion of beauty is currently attracting increased interest, particularly in philosophical aesthetics and in discussions of our experiences and judgments about art. In The Metaphysics of Beauty, Zangwill argues that it is essential to beauty that it depends on the ordinary features of (...) things. He uses this principle to defend the notion of the aesthetic, to call for a version of aesthetic formalism, and to reconsider the reality of beauty. The Metaphysics of Beauty brings beauty to the center of intellectual consciousness in a manner informed by contemporary metaphysics and engages with beauty as an enduring object of human thought and experience. (shrink)

A model of what an edition of a philosohic text for an introductory level should be. Introduction does an admirable job of putting Berkeley's thought in the intellectual context of its time. --Gary C. Hatfield.

In The Metaphysics of Beauty, Zangwill argues that it is essential to beauty that it depends on the ordinary features of things.

The central contention of this book is that second-order logic has a central role to play in laying the foundations of mathematics. In order to develop the argument fully, the author presents a detailed description of higher-order logic, including a comprehensive discussion of its semantics. He goes on to demonstrate the prevalence of second-order concepts in mathematics and the extent to which mathematical ideas can be formulated in higher-order logic. He also shows how first-order languages are often insufficient to codify (...) many concepts in contemporary mathematics, and thus that both first- and higher-order logics are needed to fully reflect current work. Throughout, the emphasis is on discussing the associated philosophical and historical issues and the implications they have for foundational studies. For the most part, the author assumes little more than a familiarity with logic comparable to that provided in a beginning graduate course which includes the incompleteness of arithmetic and the Lowenheim-Skolem theorems. All those concerned with the foundations of mathematics will find this a thought-provoking discussion of some of the central issues in the field today. (shrink)

By a `denoting phrase' I mean a phrase such as any one of the following: a man, some man, any man, every man, all men, the present King of England, the present King of France, the center of mass of the solar system at the first instant of the twentieth century, the revolution of the earth round the sun, the revolution of the sun round the earth. Thus a phrase is denoting solely in virtue of its form. We may distinguish (...) three cases: (1) A phrase may be denoting, and yet not denote anything; e.g., `the present King of France'. (2) A phrase may denote one definite object; e.g., `the present King of England' denotes a certain man. (3) A phrase may denote ambiguously; e.g. `a man' denotes not many men, but an ambiguous man. The interpretation of such phrases is a matter of considerably difficulty; indeed, it is very hard to frame any theory not susceptible of formal refutation. All the difficulties with which I am acquainted are met, so far as I can discover, by the theory which I am about to explain. (shrink)

Modern empiricism has been conditioned in large part by two dogmas. One is a belief in some fundamental cleavage between truths which are analytic, or grounded in meanings independently of matters of fact, and truth which are synthetic, or grounded in fact. The other dogma is reductionism: the belief that each meaningful statement is equivalent to some logical construct upon terms which refer to immediate experience. Both dogmas, I shall argue, are ill founded. One effect of abandoning them is, as (...) we shall see, a blurring of the supposed boundary between speculative metaphysics and natural science. Another effect is a shift toward pragmatism. (shrink)

Thanks to his unsurpassed eye and his fearless willingness to take a stand, Clement Greenberg (1909 1994) became one of the giants of 20th century art criticism a writer who set the terms of critical discourse from the moment he burst onto the scene with his seminal essays Avant Garde and Kitsch (1939) and Towards a Newer Laocoon (1940). In this work, which gathers previously uncollected essays and a series of seminars delivered at Bennington in 1971, Greenberg provides his most (...) expansive statement of his views on taste and quality in art, arguing for an esthetic that flies in the face of current art world fashions. Greenberg insists despite the attempts from Marcel Duchamp onwards to escape the jurisdiction of taste by producing an art so disjunctive that it cannot be judged that taste is inexorable. He argues that standards of quality in art, the artist's responsibility to seek out the hardest demands of a medium, and the critic's responsibility to discriminate, are essential conditions for great art. The obsession with innovation the epidemic of newness leads, in Greenbergs view, to the boringness of so much avant garde art. He discusses the interplay of expectation and surprise in aesthetic experience, and the exalted consciousness produced by great art. Homemade Esthetics allows us particularly in the transcribed seminar sessions, never before published to watch the critics mind at work, defending (and at times reconsidering) his theories. His views, often controversial, are the record of a lifetime of looking at and thinking about art as intensely as anyone ever has. (shrink)

The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington.

Degas, Manet, Picasso, Dali and Lipchitz produced works of art exemplifying a seeming impossibility: Not only combining incompatible attributes but doing so consistently with aesthetic strictures Horace formulated in Ars Poetica. The article explains how these artists were able to do this, achieving what some critics have called ‘a new art,’ ‘a miracle,’ and ‘a new metaphor.’ The article also argues that the author achieved the same result in sculpture by means of philosophical analysis – probably a first in the (...) history of art. (shrink)

An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to know (...) that something is beautiful and the path to an epistemology of art is effectively blocked. The article places the existence aesthetic properties in the proper context; presents a logically correct argument for the existence of such properties; identifies strategies for responding to this argument; explains why objections by Hume, Kant, and several other philosophers fail; and sketches a realization account of beauty influenced by Hogarth. (shrink)

According to Platonism, "Socrates is wise" expresses the exemplification by Socrates of the property of being wise; while "Simmias is taller than Socrates" expresses the exemplification by <Simmias, Socrates> of the relation of being taller than. What about "Socrates is as tall as Socrates"? Is this property or relation exemplification? I show there is an answer that solves Russell's Paradox, Plato's "Third Man" argument, and the Greeling-Nelson paradox of non-self-applying terms.

Generations of scholars have worked to clarify the structure and content of the TMA, one of the most famous arguments in the history of philosophy. Though progress has been made, I show that a premise crucial to the argument has yet to be stated openly. This premise holds the way out of the predicament that enables Plato to retain intact the foundations of the Theory of Forms.

Platonism considers existence as well as nonexistence as genuine properties. Kant and others have denied the former and the latter seems absurd. I reply that critics have forgotten that Platonism means accepting properties that are neither exemplified (like being a unicorn) nor exemplifiable (like nonexistence). I also present a Platonist analysis of negative existentials without appealing to nonexistence.

A theory purporting to solve the problem of universals must be able to explain predication, recurrence, and classification. How Platonism does this is well known. Here I take a hard look at an attempt by M.J. Cresswell to give an Aristotelian answer and show it to be a complete and utter failure. The answer does not eliminate commitment to universals and it is only half an answer anyway because it does not cover relational predicates, an omission that Russell noted dooms (...) answers by other philosophers as well. (shrink)

W.V.O. Quine has famously objected that (1) properties are philosophically suspect because (2) there is no entity without identity and (3) the synonymy criterion for property identity won't do because there's no such concept as synonymy. (2) and (3) may or may not be right but do not prove (1). I reply that Leiniz's Law handles property identity, as it does for everything else, then respond to a variety of objections and confusions.

Aesthetics has typically been regarded as an arena where claims about truth cannot be made as questions about art seem to involve more matters of taste than knowledge. In _Real Beauty_, however, Eddy Zemach maintains that beauty, ugliness, gracefulness, gaudiness, and similar aesthetic properties are real features of public things and argues that whether these features are present is a matter of fact that can be empirically investigated. By examining the opposing nonrealistic views of Subjectivism, Noncognitivism, and Relativism, Zemach attempts (...) to show how antirealistic interpretations of art generate absurd results and leave the realistic reading as the only cogent semantic interpretation of aesthetic statements. By discussing what inclines most people to hold nonrealistic views in aesthetics, such as the fluctuations of taste in fashion, Zemach argues that Realism can account for these fluctuations. He proposes that the aesthetic value of some things is due to their relations to other things and that relation may be temporal, resulting in the need for a temporal point for the correct temporal angle from which to view things. Zemach concludes that great art reveals significant truths about reality and that significantly true statements are aesthetically valuable, hence truth is an aesthetic merit. (shrink)

Danto considers the work of such young artists as John Currin and Renee Cox and older living masters including Gerhard Richter and Sol LeWitt.

Outstanding translations by leading contemporary scholars--many commissioned especially for this volume--are presented here in the first single edition to include the entire surviving corpus of works attributed to Plato in antiquity. In his introductory essay, John Cooper explains the presentation of these works, discusses questions concerning the chronology of their composition, comments on the dialogue form in which Plato wrote, and offers guidance on approaching the reading and study of Plato's works. Also included are concise introductions by Cooper and Hutchinson (...) to each translation, meticulous annotation designed to serve both scholar and general reader, and a comprehensive index. This handsome volume offers fine paper and a high-quality Smyth-sewn cloth binding in a sturdy, elegant edition. (shrink)

Introduction -- Plato -- Aristotle -- The rise of modernity -- Immanuel Kant -- Romanticism and historicism -- Phenomenology and hermeneutics -- Philosophes and philosophers -- Analytic philosophy -- Conclusion.