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Adam Smith, in his The Theory of Moral Sentiments, largely left his readers to develop his argument's full implications. Many philosophers famously did so, including Mary Wollstonecraft, Thomas Paine, and John Millar, among others, but less known are Sophie de Grouchy's own contributions, presented here alone in translation. Grouchy (1764-1822) published her Letters on Sympathy in 1798 together with her French translation of The Theory of Moral Sentiments. While Grouchy's Letters mainly engage critically with Smith's philosophical analysis of sympathy, they offer valuable perspectives and original thoughts about the relationship of emotional and moral development to legal, economic, and political reform. In particular, Grouchy sought to understand how the mechanisms of sympathy could help the development of new social and political institutions after the revolution. Her Letters further contain profound reflections on the dangers of demagoguery, the nature of tragedy, and the roles of love and friendship. Though ostensibly a commentary on Smith, the Letters stand in their own right as significant and original contributions to political philosophy. This new translation by Sandrine Bergès of a text by a forgotten female philosopher illuminates new inroads to Enlightenment and feminist thought and reveals insights that were far ahead of their time. The volume includes a critical introduction, explanatory notes, and a glossary of terms to provide critical and historical analysis for the novice reader.
On the 250th anniversary of Wordsworth’s birth comes a highly imaginative and vivid portrait of a revolutionary poet who embodied the spirit of his age Published in time for the 250th anniversary of William Wordsworth’s birth, this is the biography of a great poetic genius, a revolutionary who changed the world. Wordsworth rejoiced in the French Revolution and played a central role in the cultural upheaval that we call the Romantic Revolution. He and his fellow Romantics changed forever the way we think about childhood, the sense of the self, our connection to the natural environment, and the purpose of poetry. But his was also a revolutionary life in the old sense of the word, insofar as his art was of memory, the return of the past, the circling back to childhood and youth. This beautifully written biography is purposefully fragmentary, momentary, and selective, opening up what Wordsworth called "the hiding-places of my power."
Interest in the contribution made by women to the history of philosophy is burgeoning. Intense research is underway to recover their works which have been lost or overlooked. At the forefront of this revival is Mary Wollstonecraft. While she has long been studied by feminists, and later discovered by political scientists, philosophers themselves have only recently begun to recognise the value of her work for their discipline. This volume brings together new essays from leading scholars, which explore Wollstonecraft's range as a moral and political philosopher of note, both taking a historical perspective and applying her thinking to current academic debates. Subjects include Wollstonecraft's ideas on love and respect, friendship and marriage, motherhood, property in the person, and virtue and the emotions, as well as the application her thought has for current thinking on relational autonomy, and animal and children's rights. A major theme within the book places her within the republican tradition of political theory and analyses the contribution she makes to its conceptual resources.
The Visual Culture of Violence after the French Revolution traces four sites of spectatorship that exemplified the visual culture of violence in the late eighteenth and early nineteenth centuries, offering a new account of the significance of violent spectacle to the birth of modernity. Considerations of the execution scaffold, salon painting, print culture and the fait divers, and waxworks displays establish the centrality of spectatorial violence to experiences of selfhood in the wake of the French Revolution. Shedding critical light on previously neglected aspects of art and visual culture of the post-Revolutionary period, The Visual Culture of Violence after the French Revolution demonstrates how violent spectacle at this moment was profoundly shaped by shifting social attitudes, contemporary political practices, and rapidly accelerated technological developments. By attending to the formal and historical specificity of violent spectacle after the Revolution, Graybill affirms the historical contingency through which the visual culture of violence in the modern era has emerged. The Visual Culture of Violence after the French Revolution will be broadly relevant to scholars of art, media and visual studies, and particularly to historians of the French Revolution and eighteenth- and early nineteenth-century Europe. The book's concern with the representation of violence makes it of interest to scholars working in a variety of fields beyond its historical period, especially in art, literature, history, media and culture studies.