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"DESCARTES"
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Descartes' deontological turn : reason, will, and virtue in the later writings
\"This book offers a new way of approaching the place of the will in Descartes' mature epistemology and ethics. Departing from the widely accepted view, Noa Naaman-Zauderer suggests that Descartes regards the will, rather than the intellect, as the most significant mark of human rationality, both intellectual and practical. Through a close reading of Cartesian texts from the Meditations onward, she brings to light a deontological and non-consequentialist dimension of Descartes' later thinking, which credits the proper use of free will with a constitutive, evaluative role. She shows that the right use of free will, to which Descartes assigns obligatory force, constitutes for him an end in its own right rather than merely a means for attaining any other end, however valuable. Her important study has significant implications for the unity of Descartes' thinking, and for the issue of responsibility, inviting scholars to reassess Descartes' philosophical legacy\"-- Provided by publisher.
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The Mind-Body Stage
Descartes's notion of subjectivity changed the way characters would be written, performed by actors, and received by audiences. His coordinate system reshaped how theatrical space would be conceived and built. His theory of the passions revolutionized our understanding of the emotional exchange between spectacle and spectators. Yet theater scholars have not seen Descartes's transformational impact on theater history. Nor have philosophers looked to this history to understand his reception and impact. After Descartes, playwrights put Cartesian characters on the stage and thematized their rational workings. Actors adapted their performances to account for new models of subjectivity and physiology. Critics theorized the theater's emotional and ethical benefits in Cartesian terms. Architects fostered these benefits by altering their designs.
The Mind-Body Stage provides a dazzlingly original picture of one of the most consequential and confusing periods in the histories of modern theater and philosophy. Interdisciplinary and comparatist in scope, it uses methodological techniques from literary study, philosophy, theater history, and performance studies and draws on scores of documents (including letters, libretti, religious jeremiads, aesthetic treatises, and architectural plans) from several countries.
eBook
The philosopher, the priest, and the painter
In the Louvre museum hangs a portrait of a middle-aged man with long dark hair, a mustache, and heavy-lidded eyes, and he is dressed in the starched white collar and black coat of the typical Dutch burgher. The painting is now the iconic image of René Descartes, the great seventeenth-century French philosopher. And the painter of the work? The Dutch master Frans Hals--or so it was long believed, until the work was downgraded to a copy of an original. But where, then, is the authentic version located, and who painted it? Is the man in the painting--and in its original--really Descartes?
A unique combination of philosophy, biography, and art history,The Philosopher, the Priest, and the Painterinvestigates the remarkable individuals and circumstances behind a small portrait. Through this image--and the intersecting lives of a brilliant philosopher, a Catholic priest, and a gifted painter--Steven Nadler opens up a fascinating portal into Descartes's life and times, skillfully presenting an accessible introduction to Descartes's philosophical and scientific ideas, and an illuminating tour of the volatile political and religious environment of the Dutch Golden Age. As Nadler shows, Descartes's innovative ideas about the world, about human nature and knowledge, and about philosophy itself, stirred great controversy. Philosophical and theological critics vigorously opposed his views, and civil and ecclesiastic authorities condemned his writings. Nevertheless, Descartes's thought came to dominate the philosophical world of the period, and can rightly be called the philosophy of the seventeenth century.
Shedding light on a well-known image,The Philosopher, the Priest, and the Painteroffers an engaging exploration of a celebrated philosopher's world and work.
eBook
Descartes's method of doubt
Descartes thought that we could achieve absolute certainty by starting with radical doubt. He adopts this strategy in the Meditations on First Philosophy, where he raises sweeping doubts with the famous dream argument and the hypothesis of an evil demon. But why did Descartes think we should take these exaggerated doubts seriously? And if we do take them seriously, how did he think any of our beliefs could ever escape them? Janet Broughton undertakes a close study of Descartes's first three meditations to answer these questions and to present a fresh way of understanding precisely what Descartes was up to. Broughton first contrasts Descartes's doubts with those of the ancient skeptics, arguing that Cartesian doubt has a novel structure and a distinctive relation to the commonsense outlook of everyday life. She then argues that Descartes pursues absolute certainty by uncovering the conditions that make his radical doubt possible. She gives a unified account of how Descartes uses this strategy, first to find certainty about his own existence and then to argue that God exists.Drawing on this analysis, Broughton provides a new way to understand Descartes's insistence that he hasn't argued in a circle, and she measures his ambitions against those of contemporary philosophers who use transcendental arguments in their efforts to defeat skepticism. The book is a powerful contribution both to the history of philosophy and to current debates in epistemology.
eBook
Skepticism’s Pictures
In seventeenth-century northern Europe, as the Aristotelian foundations of scientia were rocked by observation, experiment, confessional strife, and political pressure, natural philosophers came to rely on the printed image to fortify their epistemologies—and none more so than René Descartes. In Skepticism’s Pictures , historian of science Melissa Lo chronicles the visual idioms that made, sustained, revised, and resisted Descartes’s new philosophy.
Drawing on moon maps, political cartoons, student notebooks, treatises on practical mathematics, and other sources, Lo argues that Descartes transformed natural philosophy with the introduction of a new graphic language that inspired a wide range of pictorial responses shaped by religious affiliation, political commitment, and cultural convention. She begins by historicizing the graphic vocabularies of Descartes’s Essais and Principia philosophiae and goes on to analyze the religious and civic volatility of Descartes’s thought, which compelled defenders (such as Jacques Rohault and Wolferd Senguerd) to reconfigure his pictures according to their local visual cultures—and stimulated enemies (such as Gabriel Daniel) to unravel Descartes’s visual logic with devastating irony. In the epilogue, Lo explains why nineteenth-century French philosophers divorced Descartes’s thought from his pictures, creating a modern image of reason and a version of philosophy absent visuality.
Engaging and accessible, Skepticism’s Pictures presents an exciting new approach to Descartes and the visual reception of seventeenth-century physics. It will appeal to historians of early modern European science, philosophy, art, and culture and to art historians interested in histories that give images their argumentative power.
eBook
Descartes' bones : a skeletal history of the conflict between faith and reason
The best-selling author of The Island at the Center of the World chronicles the more than three-hundred-year debate between religion and science as revealed through the long and momentous odyssey of the skeletal remains of French philosopher Renâe Descartes, creator of the famous phrase \"I think, therefore I am.\"
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Kant and the Scandal of Philosophy
InKant and the Scandal of Philosophy, Luigi Caranti corrects this omission, providing a thorough historical analysis of Kant's anti-sceptical arguments from the pre-critical period up to the 'Reflexionen zum Idealismus' (1788-93).
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