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Indiscernible Counterparts: The Invention of the Text in French Classical Drama
Gonzalo Rodriguez-Pereyra presents an original study of the place and role of the Identity of Indiscernibles in Leibniz's philosophy. The Principle of the Identity of Indiscernibles rules out numerically distinct but perfectly similar things; Leibniz derived it from more basic principles and used it to establish important philosophical theses. Rodriguez-Pereyra aims to establish what Leibniz meant by the Principle of Identity of Indiscernibles, what his arguments for and from it were, and to assess those arguments and Leibniz's claims about the Principle of Identity of Indiscernibles. He argues that Leibniz had a very strong version of the principle, according to which no possibilia (whether or not they belong to the same possible world) are intrinsically perfectly similar, where this excludes things that differ in magnitude alone. The book discusses Leibniz's arguments for the Identity of Indiscernibles in the Meditation on the Principle of the Individual, the Discourse on Metaphysics, Notationes Generales, Primary Truths, the letter to Casati of 1689, the correspondence with Clarke, as well as the use of the Identity of Indiscernibles in Leibniz's arguments against the Cartesian conception of the material world, atoms, absolute space and time, the Lockean conception of the mind as a tabula rasa, and freedom of indifference. Rodriguez-Pereyra argues that the Identity of Indiscernibles was a central but inessential principle of Leibniz's philosophy.
Danto argues that recent developments in art--in particular the production of works that cannot be told from ordinary things--make urgent the need for a new theory of art. He demonstrates the relationship between philosophy and art and the connections that hold between art, social institutions, and art history.
This comprehensive anthology of classic and contemporary readings by leading philosophers complements the second edition of Michael Loux's Metaphysics: A Contemporary Introduction (Routledge, 2001).
Aesthetics: The Key Thinkers offers a comprehensive historical overview of the field of aesthetics. Eighteen specially commissioned essays introduce and explore the contributions of those philosophers who have shaped the subject, from its origins in the work of the ancient Greeks to contemporary developments in the 21st Century. The book reconstructs the history of aesthetics, clearly illustrating the most important attempts to address such crucial issues as the nature of aesthetic judgment, the status of art, and the place of the arts within society. Ideal for undergraduate students, the book lays the necessary foundations for a complete and thorough understanding of this fascinating subject.
"[Art as Language] is in itself extremely valuable as an example of the still largely unappreciated relevance of Wittgenstein's work to traditional philosophical issues.... This book, as a more or less encyclopedic critique of aesthetic theories from a Wittgensteinian perspective, will be enlightening to aesthetic theorists who want to know, not what Wittgenstein said about art, but what the relevance of his work is to their use of language as a point of reference for interpreting art."—Choice"In a series of acute arguments, Hagberg dismantles the region of grand aesthetic theory that defines art in the terms philosophy has traditionally used to define language.... Written with excellence in argumentation, judiciousness, and a capacious knowledge of Wittgenstein."—Daniel Herwitz, Common Knowledge"A clear and intelligent book. Hagberg's strategy is to show the consequences of holding a Wittgensteinian view of language and mind for aesthetic theories which are either based on, or analogous to, other non-Wittgensteinian positions about language and mind. This is an important project."—Stanley Bates, Middlebury College
Updated and revised, the Second Edition of Danto and His Critics presents a series of essays by leading Danto scholars who offer their critical assessment of the influential works and ideas of Arthur C. Danto, the Johnsonian Professor Emeritus in the Department of Philosophy at Columbia University and long-time art critic for The Nation. Reflects Danto's revisions in his theory of art, reworking his views in ways that have not been systematically addressed elsewhere Features essays that critically assess the changes in Danto's thoughts and locate Danto's revised theory in the larger context of his work and of aesthetics generally Speaks in original ways to the relation of Danto's philosophy of art to his theory of mind Connects and integrates Danto's ideas on the nature of knowledge, action, aesthetics, history, and mind, as well as his provocative thoughts on the philosophy of art for the reader
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.
In The Written World: Space, Literature, and the Chorological Imagination in Early Modern France, Jeffrey N. Peters argues that geographic space may be understood as a foundational, originating principle of literary creation. By way of an innovative reading of chora, a concept developed by Plato in the Timaeus and often construed by philosophical tradition as “space,” Peters shows that canonical literary works of the French seventeenth century are guided by what he calls a “chorological” approach to artistic invention. The chorological imagination describes the poetic as a cosmological event that gives location to—or, more accurately, in Plato’s terms, receives—the world as an object of thought. In analyses of well-known authors such as Corneille, Molière, Racine, and Madame de Lafayette, Peters demonstrates that the apparent absence of physical space in seventeenth-century literary depiction indicates a subtle engagement with, rather than a rejection of, evolving principles of cosmological understanding. Space is not absent in these works so much as transformed in keeping with contemporaneous developments in early modern natural philosophy. The Written World will appeal to philosophers of literature and literary theorists as well as scholars of early modern Europe and historians of science and geography
Noting significant differences between the individual tragedies of Racine and the many current notions of what "Racinian tragedy" is deemed to imply, John Campbell explores the identity and meaning of the modern "Racine." He asks if any one critical parad