The Early Romantics met resistance from artists and academics alike in part because they defied the conventional wisdom that philosophy and the arts must be kept separate. Indeed, as the literary component of Romanticism has been studied and celebrated in recent years, its philosophical aspect has receded from view. This book, by one of the most respected scholars of the Romantic era, offers an explanation of Romanticism that not only restores but enhances understanding of the movement's origins, development, aims, and (...) accomplishments--and of its continuing relevance. Poetry is in fact the general ideal of the Romantics, Frederick Beiser tells us, but only if poetry is understood not just narrowly as poems but more broadly as things made by humans. Seen in this way, poetry becomes a revolutionary ideal that demanded--and still demands--that we transform not only literature and criticism but all the arts and sciences, that we break down the barriers between art and life, so that the world itself becomes "romanticized." Romanticism, in the view Beiser opens to us, does not conform to the contemporary division of labor in our universities and colleges; it requires a multifaceted approach of just the sort outlined in this book. (shrink)

In this comprehensive assessment of Kant's metaethics, Frederick Rauscher shows that Kant is a moral idealist rather than a moral realist and argues that Kant's ethics does not require metaphysical commitments that go beyond nature. Rauscher frames the argument in the context of Kant's non-naturalistic philosophical method and the character of practical reason as action-oriented. Reason operates entirely within nature, and apparently non-natural claims - God, free choice, and value - are shown to be heuristic and to reflect reason's (...) ordering of nature. The book shows how Kant hesitates between a transcendental moral idealism with an empirical moral realism and a complete moral idealism. Examining every aspect of Kant's ethics, from the categorical imperative to freedom and value, this volume argues that Kant's focus on human moral agency explains morality as a part of nature. It will appeal to academic researchers and advanced students of Kant, German idealism and intellectual history. (shrink)

This paper considers the debate over how we attribute beliefs, desires, and other mental states to our fellows. Do we employ a theory of mind? Or do we use simulational brain mechanisms, but employ no theory? One point of dispute between these theories focuses upon our ability to have empathic knowledge of the mind of another. I consider whether an argument posed by Ravenscroft settles the debate in favor of Simulation Theory. I suggest that the consideration of empathy does not (...) settle the dispute. Then I look at recent results from false memory research and other research employing neural imaging. I suggest that new discoveries there may help shape the future of the empirical dimension of the debate. (shrink)

Through a series of provocative conversations, Frederick Luis Aldama and Herbert Lindenberger, who have written widely on literature, film, music, and art, locate a place for the discomforting and the often painfully unpleasant within aesthetics. The conversational format allows them to travel informally across many centuries and many art forms. They have much to tell one another about the arts since the advent of modernism soon after 1900—the nontonal music, for example, of the Second Vienna School, the chance-directed music (...) and dance of John Cage and Merce Cunningham, the in-your-faceness of such diverse visual artists as Francis Bacon, Pablo Picasso, Willem de Kooning, Egon Schiele, Otto Dix, and Damien Hirst. They demonstrate as well a long tradition of discomforting art stretching back many centuries, for example, in the Last Judgments of innumerable Renaissance painters, in Goya’s so-called “black” paintings, in Wagner’s Tristan chord, and in the subtexts of Shakespearean works such as King Lear and Othello. This book is addressed at once to scholars of literature, art history, musicology, and cinema. Although its conversational format eschews the standard conventions of scholarly argument, it provides original insights both into particular art forms and into individual works within these forms. Among other matters, it demonstrates how recent work in neuroscience may provide insights in the ways that consumers process difficult and discomforting works of art. The book also contributes to current aesthetic theory by charting the dialogue that goes on—especially in aesthetically challenging works—between creator, artifact, and consumer. (shrink)

He demonstrates that a broad parallelism exists between developments in ethical theory among Continental philosophers of the phenomenological persuasion and the more analytically inclined philosophers of the English-speaking world.

Barnard argues that Western democracy, if it is to continue to exist as a legitimate political system, must maintain the integrity of its application of performative principles. Consequently, if both social and political democracy are legitimate goals, limitations designed to curb excessive political power may also be applicable in containing excessive economic power. Barnard stresses that whatever steps are taken to augment civic reciprocity, the observance and self-imposition of publicly recognized standards is vital. Democratic Legitimacy will appeal to political scientists (...) and philosophers, as well as specialists in democratic theory. (shrink)

Theoretical models propose that attentional biases might account for the maintenance of social anxiety symptoms. However, previous eye-tracking studies have yielded mixed results. One explanation i...

This pioneering work of psychology provides a fascinating analysis of the ways in which Christianity has shaped human thought, behavior, and emotion throughout history. A must-read for anyone interested in the intersection of religion and psychology. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, (...) you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)