A fluent and accurate new translation of the dialogue that, all of Plato's works, has seemed to speak most directly to the interests of contemporary analytical philosophers. White's extensive introduction explores the dialogue's center themes, its connection with related discussions in other dialogues, and its implication for the interpretation of Plato's metaphysics.

In _Leviathan_, Thomas Hobbes's landmark work on political philosophy, James Martel argues that although Hobbes pays lip service to the superior interpretive authority of the sovereign, he consistently subverts this authority throughout the book by returning it to the reader. Martel demonstrates that Hobbes's radical method of reading not only undermines his own authority in the text, but, by extension, the authority of the sovereign as well. To make his point, Martel looks closely at Hobbes's understanding of religious and rhetorical (...) representation. In _Leviathan_, idolatry is not just a matter of worshipping images but also a consequence of bad reading. Hobbes speaks of the "error of separated essences," in which a sign takes precedence over the idea or object it represents, and warns that when the sign is given such agency, it becomes a disembodied fantasy leading to a "kingdom of darkness." To combat such idolatry, Hobbes offers a method of reading in which one resists the rhetorical manipulation of figures and tropes and recognizes the codes and structures of language for what they are-the only way to convey a fundamental inability to ever know "the thing itself." Making the leap to politics, Martel suggests that following Hobbes's argument, the sovereign can also be seen as idolatrous—a separated essence—a figure who supplants the people it purportedly represents, and that learning to be better readers enables us to challenge, if not defeat, the authority of the sovereign. (shrink)

Mimesis, the notion that art imitates reality, has long been recognized as one of the central ideas of Western aesthetics and has been most frequently associated with Aristotle. Less well documented is the great importance of mimetic theories of literature, theater, and the visual arts during the Renaissance and the Enlightenment. In this book, the most comprehensive overview of the theory of mimesis since Auerbach's monumental study, Gunter Gebauer and Christoph Wulf provide a thorough introduction to the complex and shifting (...) meanings of the term. Beginning with the Platonic doctrine of imitation, they chart the concept's appropriation and significance in the aesthetic theories of Aristotle, Molière, Shakespeare, Racine, Diderot, Lessing, and Rousseau. They examine the status of mimesis in the nineteenth-century novel and its reworking by such modern thinkers as Benjamin, Adorno, and Derrida. Widening the traditional understanding of mimesis to encompass the body and cultural practices of everyday life, their work suggests the continuing value of mimetic theory and will prove essential reading for scholars and students of literature, theater, and the visual arts. (shrink)

In a new introduction, the authors describe how science and its social context were understood when this book was first published, and how the study of the history of science has changed since then.

In this classic analysis, Leo Strauss pinpoints what is original and innovative in the political philosophy of Thomas Hobbes.

Are things ugly or are they just not beautiful? The answer to this and many other questions can be found in this encyclopedia, the first large-scale comprehensive English-language reference on aesthetics and destined to be a classic in the field. Drawing from experts in the areas of philosophy, art, history, psychology, feminist theory, legal theory, and many more, the encyclopedia presents 600 signed essays alphabetically arranged. Most entries include a headnote clarifying the topic. Entries range from the philosophical essay on (...) ugliness, to the more reality-based article on the impact of AIDS on the arts. Comprehensive coverage includes key figures, concepts, periods, theories, and movements in the history of aesthetics."--"Outstanding Reference Sources: the 1999 Selection of New Titles", American Libraries, May 1999. Comp. by the Reference Sources Committee, RUSA, ALA. (shrink)

It also follows from what has been said that it is not thc poct’s business to relate actual cvcms, but such things as might or could happen in accordance with probability or necessity. A poet differs from a historian, not bccausc 0nc writes vcrsc and thc othcr prose (thc work of Hcrodotus could bc put imo vcrsc, but it would still remain a history, whcthcr in vcrsc 0r prose), but because thc historian relates what happcncd, thc poet what might happen. (...) That is why poetry is more akin to philosophy and is 21 bcttcr thing than history; poetry deals with general truths, history with specific cvcnts. The latter arc, for example, what Alcibiadcs did or suffered, whilc general truths arc thc kind of thing.. (shrink)

It is now generally agreed that in Aristotle's Poetics, ch. 13 means ‘mistake of fact’. The moralizing interpretation favoured by our Victorian forebears and their continental counterparts was one of the many misunderstandings fostered by their moralistic society, and in our own enlightened erais revealed as an aberration. In challenging this orthodoxy I am not moved by any particular enthusiasm for Victoriana, nor do I want to revive the view that means simply ‘moral flaw’ or ‘morally wrong action’. I shall (...) try to show that the word has a range of applications, from ‘ignorance of fact’ at one end to ‘moral defect’, ‘moral error’, at the other, and that the modern orthodoxy, though not as clearly wrong as the moralizing interpretation it displaced, restricts Aristotle's meaning in a way he did not intend, and does lessthan justice to his analysis of classical drama. (shrink)

It is worthy the observing that there is no passion in the mind of man so weak but it mates and masters the fear of death.... Revenge triumphs over death, love slights it, honour aspireth to it, grief flieth to it, fear preoccupateth it. Francis Bacon, “Of Death”This fight being the more cruel, since both Love and Hatred conspired to sharpen their humours, that hard it was to say whether Love with one trumpet, or Hatred with another, gave the louder (...) alarum to their courages. Philip Sidney, The Countess of Pembroke's Arcadia. (shrink)

Hobbes' philosophy of geometry was eccentric to contemporary movements and worsted in specific controversy. But he laid down stipulations defining geometry and its method which might provide a significant and workable alternative "meta-geometry". Some of these are isolated and reinterpreted here, especially those concerned with describing magnitudes, motions and quantities, and with his use of proportions. Rather than refutation of commentaries and historical rehash, the effort here is to isolate definitive texts and to offer a reinterpretation of their arguments in (...) succinct form showing their coherence and their interdependence with his other philosophic principles. (shrink)

A four-volume reference work that surveys how philosophers, art historians, and others reflect critically on art and culture. The first comprehensive reference work on aesthetics that presents articles on the history of Western and non-Western aesthetics along with extensive accounts of the contemporary debates.

In this important new book, Quentin Skinner shows us, with rare precision and eloquence, a world with which we are undoubtedly far less familiar than he, that of humanist rhetoric, and uses his deep knowledge of it to illuminate the recesses of a thinker with whom we feel we are all too familiar. In so doing he opens our eyes to different ways of thinking about early modern political philosophy and provides us with a Hobbes quite different from the one (...) we thought we knew, and the context in which to understand him. (shrink)

Mimesis is one of the oldest, most fundamental concepts in Western aesthetics. This book offers a new, searching treatment of its long history at the center of theories of representational art: above all, in the highly influential writings of Plato and Aristotle, but also in later Greco-Roman philosophy and criticism, and subsequently in many areas of aesthetic controversy from the Renaissance to the twentieth century. Combining classical scholarship, philosophical analysis, and the history of ideas--and ranging across discussion of poetry, painting, (...) and music--Stephen Halliwell shows with a wealth of detail how mimesis, at all stages of its evolution, has been a more complex, variable concept than its conventional translation of "imitation" can now convey. Far from providing a static model of artistic representation, mimesis has generated many different models of art, encompassing a spectrum of positions from realism to idealism. Under the influence of Platonist and Aristotelian paradigms, mimesis has been a crux of debate between proponents of what Halliwell calls "world-reflecting" and "world-simulating" theories of representation in both the visual and musico-poetic arts. This debate is about not only the fraught relationship between art and reality but also the psychology and ethics of how we experience and are affected by mimetic art. Moving expertly between ancient and modern traditions, Halliwell contends that the history of mimesis hinges on problems that continue to be of urgent concern for contemporary aesthetics. (shrink)

Most critiques of modernity rest on an inadequate understanding of its complexity. Modernity should be seen in terms of the question that guides modern thought. 77ns is the question of divine omnipotence that arises out of the nominalist destruction of Scholasticism. Humanism, Reformation Christianity, empiricsim, and rationalism are different responses to this question.

In pursuit of a powerful, commonsense argument about realism, renowned scholar A. D. Nuttall discusses English eighteenth-century and French neoclassical conceptions of realism and considers Julius Caesar, Coriolanus, The Merchant of Venice, Othello, and both parts of King Henry IV as a prolonged feat of mimesis, with particular emphasis on Shakespeare's perception of society and culture as subject to historical change. Shakespeare is chosen as the great example of realism because he addresses not only the stable characteristics but also the (...) flux of things, and he is thus seen as a perceiver of that flux and not a mere specimen. An acknowledged classic of literary studies, A New Mimesis is reissued here with a new preface by the author. Book jacket. (shrink)

_The Laws_, Plato's longest dialogue, has for centuries been recognized as the most comprehensive exposition of the _practical_ consequences of his philosophy, a necessary corrective to the more visionary and utopian _Republic_. In this animated encounter between a foreign philosopher and a powerful statesman, not only do we see reflected, in Plato's own thought, eternal questions of the relation between political theory and practice, but we also witness the working out of a detailed plan for a new political order that (...) embodies the results of Plato's mature reflection on the family, the status of women, property rights, criminal law, and the role of religion and the fine arts in a healthy republic. "Because it succeeds in being both literal and comprehensive, it is by far superior to any translation available. By reproducing dramatic detail often omitted, such as oaths, hesitations, repetitions, and forms of address, Pangle allows the reader to follow the dialogue's interplay between argument and dramatic context.... Pangle's translation captures the excitement and the drama of Plato's text."—Mary P. Nichols, _Ancient Philosophy_ "Pangle's achievement is remarkable.... The accompanying interpretive essay is an excellent distillation of a dialogue three times its size. The commentary is thoughtful, even profound; and it amply demonstrates the importance of reading Plato carefully and from a translation that is true to his language."—Patrick Coby, _American Political Science Review_. (shrink)

Ever since Aristotle's Poetics, both the theory and the practice of theater have been governed by the assumption that it is a form of representation dominated by what Aristotle calls the muthos, or the "plot." This readable, thought-provoking, and multidisciplinary study explores theatrical writings that question this aesthetical-generic conception and seek instead to work with the medium of theatricality itself.

Thomas Hobbes is an iconic figure who serves as an easy reference for pundits commenting on the brutality of war as well as for critics of a distinctly modern individualism in which calculating and rapacious self-interest is the cause of the violence, destruction, and exploitation endemic to the contemporary world. Frost's reading of Hobbes's philosophy shows us that underlying such visions of self and politics is another iconic figure: that of the Cartesian subject. What gives the iconic Hobbes his hardcore (...) individualism and its corollary accounts of instrumentalism, conflict, and absolutism is a Cartesian rendering of the self as split into mind and body. Carefully elaborating Hobbes's materialist ontology, _Lessons from a Materialist Thinker_ challenges both our implicit Cartesian assumptions about the self and the commonplace Hobbes that so readily figures violence in our political imagination. Through his materialism, Hobbes presents an alternative modern account of self-consciousness, reason, agency, power, freedom, and responsibility. In doing so, he shows that our fundamental intersubjectivity and interdependence require that we pursue peace above all else. (shrink)

In this classic analysis, Leo Strauss pinpoints what is original and innovative in the political philosophy of Thomas Hobbes.

In recent years scholars from many disciplines have become interested in the "construction" of the human senses -- in how the human environment shapes both how and what we perceive. Taking a very different approach to the question of construction, Sites of Vision turns to language and explores the ways in which the rhetoric of philosophy has formed the nature of vision and how, in turn, the rhetoric of vision has helped to shape philosophical thought. The central role of vision (...) in relation to philosophy is evident in the vocabulary of the discipline -- in words such as "speculation," "observation," "insight," and "reflection"; in metaphors such as "mirroring," "perspective," and "point of view"; and in methodological concepts such as "reflective detachment" and "representation." Because the history of vision is so pervasively reflected in the history of philosophy, it is possible for both vision and thought to achieve a greater awareness of their genealogy through the history of philosophy. The fourteen contributors to _Sites of Vision_ explore the hypothesis that the nature of visual perception about which philosophers talk must be explicitly recognized as a discursive construction, indeed a historical construction, in philosophical discourse. (shrink)

Mimesis, the notion that art imitates reality, has long been recognized as one of the central ideas of Western aesthetics and has been most frequently associated with Aristotle. Less well documented is the great importance of mimetic theories of literature, theater, and the visual arts during the Renaissance and the Enlightenment. In this book, the most comprehensive overview of the theory of mimesis since Auerbach's monumental study, Gunter Gebauer and Christoph Wulf provide a thorough introduction to the complex and shifting (...) meanings of the term. Beginning with the Platonic doctrine of imitation, they chart the concept's appropriation and significance in the aesthetic theories of Aristotle, Molière, Shakespeare, Racine, Diderot, Lessing, and Rousseau. They examine the status of mimesis in the nineteenth-century novel and its reworking by such modern thinkers as Benjamin, Adorno, and Derrida. Widening the traditional understanding of mimesis to encompass the body and cultural practices of everyday life, their work suggests the continuing value of mimetic theory and will prove essential reading for scholars and students of literature, theater, and the visual arts. (shrink)