Heidegger's thought has recently been made more available to English readers by the publication of two books: one a translation of one of Heidegger's works, the other, by Thomas Langan, an American scholar, described as a critical study of Heidegger. Heidegger's philosophy has had little or no influence in England; and this seems a good opportunity for considering whether this neglect is merited, or whether some defence can be offered of Heidegger's curious manipulations of the German and Greek tongues. Since (...) An Introduction to Metaphysics philosophises on a basis of Greek, though it purports to be philosophy, not history of philosophy, most of this article will be concerned with Heidegger's use and abuse of that language. I shall suggest, however, that the same conclusions hold good of Heidegger's use of German. (shrink)

This volume brings together eleven essays that address a range of issues extending from broader questions of social justice to the sexual intimacy that bears the mark of our fleshly existence. Collectively, these essays extend the reach of Paul Ricoeur’s early to late works by taking up some of the major social, political and religious challenges facing us in a postmodern, ultrapluralistic world.

I believe the time is come for a re-estimation of the status of minds in the universe. I use the word mind quite naïvely at first, in the belief that it has a nucleus of meaning that is sufficiently clear. I do not wish its meaning to be restricted to the phenomena of clear consciousness, still less of self-consciousness.

Philosophy of history is not a subject which has hitherto attracted much attention in this country. Preoccupation with the methods and achievements of the natural sciences, and distaste for the sort of rationale of history as a whole which Hegel and others offered under the title in the early nineteenth century, have served to make most British philosophers accord its problems only the most casual recognition. It is therefore all the more interesting to find an English writer of unusual powers (...) both of argument and expression, who was himself an historian of distinction in his special field, devoting a large part of his philosophical thinking to the problems of historical knowledge and their wider implications. Unfortunately, R. G. Collingwood was not able to begin the major work on philosophy of history, to writing which, as we are told in the introduction to the present book, he had looked forward for twenty-five years, until his powers were seriously affected by bad health, and he did not live to complete it. But though the full results of his thinking on the subject are lost, we are now able, thanks to the skilful work of his friend Professor T. M. Knox, to study what is in effect an extensive interim report on it. Professor Knox has produced The Idea of History largely on the basis of lectures which Collingwood prepared in 1936, supplemented by two essays already published which date from the same period and a certain amount of material from the unfinished Principles of History written in 1939. (shrink)

So much for the Aesthetic. We can now proceed to the Analytic, the philosophical importance of which is much greater. Kant's main contentions in this part of his work can be summed up in; two propositions: human understanding contains certain a priori concepts, and on these are based certain non-empirical principles; these concepts are only general concepts of a phenomenal object, and therefore the principles in question are only prescriptive to sense-experience. As has already been said, interest in the first (...) proposition has distracted attention from the fact that the important thing Kant has to say is contained in the second. (shrink)

The notion that music’s expressive force is the spring of its affective power calls for a consideration of the language music speaks. Hermann Kretzschmar’s effort to set out a method for explicating music’s affects through discursive means falls short in this regard. Conversely, Hans-Georg Gadamer’s reflections on the language of art opens the way to a hermeneutical consideration of music’s affective significance. Gadamer’s critique of Kant’s subjectivization of aesthetics disabuses us of the romantic conceit that music is a “language beyond (...) language.” Rather, music’s power to speak inheres in the communicability of the experiences occasioned by it. The hermeneutics of music I set out draws on Gadamer’s analysis of the phenomenon of play. Martin Heidegger’s reflections on the origin of the work of art complement Gadamer’s phenomenological account of the work of art’s mode of being. The truth expressed by a work, I accordingly argue, is one that it alone exemplifies. For a phenomenological hermeneutics of music, music’s communicability of feelings and moods to which it gives voice is consequently the spring of its worlding power. (shrink)

The prolific English poet John Lydgate has been known as the “monk of Bury” since the early fifteenth century. Both his popularity and perceptions of his literary merit have fluctuated wildly since his zenith as the famous laureate of Henry V, Henry VI and Duke Humphrey, but readers have been constant in their association of Lydgate with the Benedictine abbey from which the epithet derives. However, there has been remarkably little examination of the details of Lydgate's existence at Bury: the (...) critical emphasis has been on Lydgate's contact with Lancastrian society rather than on his quotidian life as a monk. “To trace in detail the connection between the Bury library and the characteristic configuration of Lydgate's thought and work, to see how his mind was formed and influenced by the books with which he was in such familiar contact” remains an unfulfilled desire. In particular, given the range of Lydgate's literary and intellectual allusions, it is surprising that there has been no full attempt to compare what we know of Bury's sizeable late medieval library, catalogued in the late fourteenth century by Henry Kirkstede, with Lydgate's poetic output. Likewise, few critics have attempted to trace connections between Lydgate's poetry and the intellectual and cultural atmosphere of a grand Benedictine abbey in the late medieval period. This article, a study of one manuscript from Bury that Lydgate certainly handled and that is typical of the type of book he would have encountered in great numbers in the monastic library, endeavours to reassert the importance to his poetry of the environment in which Lydgate spent most of his life. (shrink)