The Oxford Translation of Aristotle was originally published in 12 volumes between 1912 and 1954. It is universally recognized as the standard English version of Aristotle. This revised edition contains the substance of the original Translation, slightly emended in light of recent scholarship; three of the original versions have been replaced by new translations; and a new and enlarged selection of Fragments has been added. The aim of the translation remains the same: to make the surviving works of Aristotle readily (...) accessible to English speaking readers. (shrink)

Dorian Gray pays a hefty price for years of sin and vice in this completely unabridged edition of The Picture of Dorian Gray.

There was a time when, in the Liberal Arts, philosophy and education enjoyed the most intimate and productive relationship. Drawing together philosophy and nature they sought to understand the greatest of human mysteries. This meant thinking about both the macrocosm and the microcosm and especially the relation between them. In this relation lies the most fundamental vocation of Liberal Arts education—Know Thyself. In my article I attempt to retrieve the philosophical education that lies between the individual and the universe. I (...) explore the macrocosm through Newton and Einstein, the microcosm through Heisenberg and Zizek, and the relation between them in the structure of the modern Kant/Hegel philosophical experience. The result—only relatively overambitious—is an educational theory of the uncertainty of the universe and everything in it. (shrink)

This essay explores the thorny issue of theory and practice, partly in response to the special issue of the Journal of Philosophy of Education (37.2, 2003) but more especially as a way of offering a critique of Joseph Dunne’s book, Back to the Rough Ground (1993). It argues that Dunne’s notion of phronetic techne risks the reduction of philosophy to the merely instrumental, and, in turn, that this approach threatens the significance of philosophical character.

Kristeller's article ‘The Modern System of the Arts: A Study in the History of Aesthetics’ is a classic statement of the view, now widely adopted but rarely examined, that aesthetics became possible only in the eighteenth-century with the emergence of the fine arts. I wish to contest this view, for three reasons. Firstly, Kristeller's historical account can be questioned; alternative and equally plausible accounts are available. Secondly, ‘the modern system of the arts’ appears to have been neither a system nor (...) an agreed upon entity, but only a historical construct of Kristeller's own making that matches up with no known historical reality. Thirdly, while the concept of the fine arts existed in the eighteenth century, the assumption that it had an impact on the rise of aesthetic theory remains unproven and unnecessary. A more satisfactory account of aesthetic thought in antiquity can be given, once the ‘fine-arts’ objection has been cleared away. (shrink)

One of the cornerstone books of Western philosophy, Critique of Pure Reason is Kant's seminal treatise, where he seeks to define the nature of reason itself and builds his own unique system of philosophical thought with an approach known as transcendental idealism. He argues that human knowledge is limited by the capacity for perception and attempts a logical designation of two varieties of knowledge: a posteriori, the knowledge acquired through experience; and a priori, knowledge not derived through experience. This accurate (...) translation by J. M. D. Meiklejohn offers a simple and direct rendering of Kant's work that is suitable for readers at all levels. (shrink)

In the Critique of Judgement, Kant offers a penetrating analysis of our experience of the beautiful and the sublime. He discusses the objectivity of taste, aesthetic disinterestedness, the relation of art and nature, the role of imagination, genius and originality, the limits of representation, and the connection between morality and the aesthetic. He also investigates the validity of our judgements concerning the degree in which nature has a purpose, with respect to the highest interests of reason and enlightenment. The work (...) profoundly influenced the artists, writers, and philosophers of the classical and romantic period, including Hegel, Schelling, Schopenhauer, and Nietzsche. In addition, it has remained a landmark work in fields such as phenomenology, hermeneutics, the Frankfurt School, analytical aesthetics, and contemporary critical theory. Today it remains an essential work of philosophy, and required reading for all with an interest in aesthetics. (shrink)

Schiller's 1795 essay on the educative function of art is one of the most important contributions to the history of ideas in modern times. This English-German parallel text edition includes a long analytical introduction and extensive notes.

This collection, by one of the most challenging of contemporary thinkers, asks the question: why are there several arts and not just one? This question focuses on the point of maximal tension between the philosophical tradition and contemporary thinking about the arts: the relation between the plurality of the human senses and sense or meaning in general. Throughout the five essays, Nancy's argument hinges on the culminating formulation of this relation in Hegel's Aesthetics and The Phenomenology of Spirit - art (...) as the sensible presentation of the Idea. He considers the emergence of art as presentation rather than representation and looks at the contemporary situation of art, and the question of whether art today is still art. Other essays provide intricate and compelling readings of Caravaggio's Death of the Virgin and an analysis of a traced hand in the grotto of Lascaux as the essential mimetic gesture. (shrink)

This paper revisits how late 20th-century attempts to account for conceptual and other difficult art-work by defining the concept ‘art’ have failed to offer a useful strategy for educators seeking a non-instrumental justification for teaching the arts. It is suggested that this theoretical ground is nonetheless instructive and provides useful background in searching for a viable approach to justification. It is claimed that, though definition may fail and grand theories not coalesce, one would be wise to emulate Passmore (1954, 1990) (...) who argues for an aesthetic approach to works of art and who proceeds like the fox, from a specific work that becomes more complex through analysis. His approach is employed in describing a performance series by the Cellist of Sarajevo, which raises further questions regarding what it means to start from a specific art-work and how doing so exemplifies Fleming’s (2006) suggestion that in justifying the arts we connect them to our ethical lives. Passmore’s strategy is then extended to the aesthetic experience of reading this essay and the paper concludes with the author’s personal anecdote in response to Higgins’ (2008) call for genuinely aesthetic defences of aesthetic education. (shrink)

Negative Dialects is a phrase that flouts tradition. As early as Plato, dialectics meant to achieve something positive by means of negation; the thought figure of a 'negation of negation' later became the succinct term. This book seeks to free dialectics from such affirmative traits without reducing its determinacy.

Francesco Petrarca, translated by H. Nachod: Introduction. A self-portrait. The ascent of Mont Ventoux. On his own ignorance and that of many others. A disapproval of an unreasonable use of the discipline of dialectic. An Averroist visits Petrarca. Petraca's aversion to Arab science. A request to take up the fight against Averroes.--Lorenzo Valla, translated by C.E. Trinkaus, Jr.: Introduction by C.E. Trinkaus, Jr. Dialogue on free will.--Marsilio Ficino, translated by J.L. Burroughs: Introduction, by J.L. Burroughs. Five questions concerning the mind.-- (...) Giovanni Pico della Mirandola, translated by E.L. Forbes Introduction, by P.O. Kristeller. Oration on the dignity of man.--Pietro Pomponazzi, translated by W.H. Hay. Introduction, by J.H. Randall. On the immortality of the soul.--Juan Luis Vives, translated by N. Lenkeith: Introduction, by N. Lenkeith. A fable about man.--Selective bibliography (p. 397-400). (shrink)

Nietzsche referred to his critique of Judeo-Christian moral values as philosophizing with the hammer. On the Genealogy of Morals (originally subtitled A Polemic) is divided into three essays. The first is an investigation into the origins of our moral values, or as Nietzsche calls them moral prejudices. The second essay addresses the concept of guilt and its role in the development of civilization and religion. The third essay considers suffering and its role in human existence. What might be of most (...) value to today's reader is not necessarily Nietzsche's views on particular ethical issues, but rather his encouragement to think independently and to actualize the self. (shrink)

The eminent critic and scholar analyzes a wide range of topics, including Aldous Huxley's Brave New World, jazz, the music of Bach, and museums.

The Politics is one of the most influential texts in the history of political thought, and it raises issues which still confront anyone who wants to think seriously about the ways in which human societies are organized and governed. The work of one of the world's greatest philosophers, it draws on Aristotle's own great knowledge of the political and constitutional affairs of the Greek cities. By examining the way societies are run - from households to city states - Aristotle establishes (...) how successful constitutions can best be initiated and upheld. For this edition Sir Ernest Barker's fine translation, which has been widely used for nearly half a century, has been extensively revised to meet the needs of the modern reader. The accessible introduction and clear notes by R F Stalley examine the historical and philosophical background of the work and discuss its significance for modern political thought. (shrink)

This is a comprehensive collection of readings from the work of Theodor Adorno, one of the most influential German thinkers of the twentieth century. What took place in Auschwitz revokes what Adorno termed the “Western legacy of positivity,” the innermost substance of traditional philosophy. The prime task of philosophy then remains to reflect on its own failure, its own complicity in such events. Yet in linking the question of philosophy to historical occurrence, Adorno seems not to have abandoned his paradoxical, (...) life-long hope that philosophy might not be entirely closed to the idea of redemption. He prepares for an altogether different praxis, one no longer conceived in traditionally Marxist terms but rather to be gleaned from “metaphysical experience.” In this collection, Adorno's literary executor has assembled the definitive introduction to his thinking. Its five sections anatomize the range of Adorno's concerns: “Toward a New Categorical Imperative,” “Damaged Life,” “Administered World, Reified Thought,” “Art, Memory of Suffering,” and “A Philosophy That Keeps Itself Alive.” A substantial number of Adorno’s writings included appear here in English for the first time. This collection comes with an eloquent introduction from Rolf Tiedemann, the literary executor of Adorno’s work. (shrink)

This article critically examines current ways of justifying a place for the arts in general education and develops an alternative position. First, justifications relying on the positive non-artistic outcomes of art education are represented and problems exposed. Next, I discuss and criticise the position of John White, who takes the arts to promote self-knowledge, ethical contemplation and social cohesion. Then I develop a new account of artistic value based on the concept of fulfilment.

Kristeller's article ‘The Modern System of the Arts: A Study in the History of Aesthetics’ is a classic statement of the view, now widely adopted but rarely examined, that aesthetics became possible only in the eighteenth-century with the emergence of the fine arts. I wish to contest this view, for three reasons. Firstly, Kristeller's historical account can be questioned; alternative and equally plausible accounts are available. Secondly, ‘the modern system of the arts’ appears to have been neither a system nor (...) an agreed upon entity, but only a historical construct of Kristeller's own making that matches up with no known historical reality. Thirdly, while the concept of the fine arts existed in the eighteenth century, the assumption that it had an impact on the rise of aesthetic theory remains unproven and unnecessary. A more satisfactory account of aesthetic thought in antiquity can be given, once the ‘fine-arts’ objection has been cleared away. (shrink)