What do Einsteinian relativity, eighteenth-century field theory, Neoplatonism, and the overthrow of three-dimensional perspective have in common? The poet and artist William Blake's geometry—the conception of space-time that informs his work across media and genres. In this illuminating, inventive new study, Andrew M. Cooper reveals Blake to be the vehicle of a single imaginative vision in which art, literature, physics, and metaphysics stand united. Romantic-period physics was not, as others have assumed, materialist. Blake's cosmology forms part of his age's deep reevaluation of body and soul, of matter and Heaven, and even probes what it is to understand understanding, reason, and substance. Far from being anti-Newtonian, Blake was prophetically post-Newtonian. His poetry and art realized the revolutionary potential of Enlightened natural philosophy even as that philosophy still needed an Einstein for its physics to snap fully into focus. Blake's mythmaking exploits the imaginative reach of formal abstractions to generate a model of how sensation imparts physical extension to the world. More striking still, Cooper shows how Blake's art of vision leads us today to visualize four-dimensional concepts of space, time, and Man for ourselves.

Here we have, for the first time in a single volume, diverse perspectives on the meaning, conditions, and goals of critical reasoning in contemporary culture. Part One emphasizes critical reasoning and education, engaging the debate over the connection between critical reasoning skills and the learning of the content. Part Two offers analyses of the theoretical, methodological, and historical debates concerning critical reasoning abilities. The authors represent a variety of disciplines and theoretical approaches which lend the book valuable intellectual pluralism. The book evaluates other aspects of critical thinking such as creativity, insight, questioning, learning, practical thought, interpretation, intellectual prejudice, and the historical and temporary aspects of thought.

"T. A. Cavanaugh articulates and defends double-effect reasoning (DER), also known as the principle of double effect. Cavanaugh here offers the first book-length account of the history and issues surrounding this controversial, yet indispensable approach to hard cases."--BOOK JACKET.

Robert Bertholf and Annette Levitt have assembled thirteen essays that establish Blake as a "central voice molding modern literature and thought." The essays in this volume examine Blake's influence on modern poetry, the modern novel, and modern thought from various critical approaches. This collection maps out the lines of direct literary influences and indirect intellectual affinities that make up the tradition of enacted form. Through the use of various aspects of Blake's form and ideas, this book reasserts the idea of continuity, the drive for wholeness, and the arrival of new poetic forms. Blake is considered one of the major and most modern of Romantics. This collection positions him as a precursor of the modern, using his vision and poetry as a base for discussing a central issue in literary theory today—influence and the literary tradition—just how is the legacy of a literary artist passed on, and how is it resurrected in the works of subsequent generations.

This book explores how Ibn al-'Arabi (1165–1240) used the concept of barzakh (the Limit) to deal with the philosophical problem of the relationship between God and the world, a major concept disputed in ancient and medieval Islamic thought. The term "barzakh" indicates the activity or actor that differentiates between things and that, paradoxically, then provides the context of their unity. Author Salman H. Bashier looks at early thinkers and shows how the synthetic solutions they developed provided the groundwork for Ibn al-'Arabi's unique concept of barzakh. Bashier discusses Ibn al-'Arabi's development of the concept of barzakh ontologically through the notion of the Third Thing and epistemologically through the notion of the Perfect Man, and compares Ibn al-'Arabi's vision with Plato's.

This volume brings together Seth Benardete’s studies of Hesiod, Homer, and Greek tragedy, eleven Platonic dialogues, and Aristotle’s Metaphysics. The Argument of the Action spans four decades of Seth Benardete’s work, documenting its impressive range. Benardete’s philosophic reading of the poets and his poetic reading of the philosophers share a common ground, guided by the key he found in the Platonic dialogue: probing the meaning of speeches embedded in deeds, he uncovers the unifying intention of the work by tracing the way it unfolds through a movement of its own. Benardete’s original interpretations of the classics are the fruit of this discovery of the “argument of the action.”

Hierarchy amidst Anarchy is a study of state security provisions, explaining not only why states cooperate, and with whom, but also why they choose the specific types of cooperation they do. In contrast to competing theories that explain international cooperation in terms of the desire to be "bigger" or "stronger", Weber insists that the key to understanding countries' international institutional choices can be found by focusing on economic theories of organization and, more specifically, transaction costs. Cross-sectional studies of two historical periods, the final years of the Napoleonic Wars (1812-15) and the post-1945 period – such contrasting security structures as NATO and the European Defense Community - are used to illustrate the argument.

This companion to J. O. Urmson's translation in the same series of Simplicius' Corollaries on Place and Time contains Simplicius' commentary on the chapters on place and time in Aristotle's Physics book 4. It is a rich source for the preceding 800 years' discussion of Aristotle's views. Simplicius records attacks on Aristotle's claim that time requires change, or consciousness. He reports a rebuttal of the Pythagorean theory that history will repeat itself exactly. He evaluates Aristotle's treatment of Zeno's paradox concerning place. Throughout he elucidates the structure and meaning of Aristotle's argument, and all the more clearly for having separated off his own views into the Corollaries.

Maurice Blanchot and Theodor W. Adorno are among the most difficult but also the most profound thinkers in twentieth-century aesthetics. While their methods and perspectives differ widely, they share a concern with the negativity of the artwork conceived in terms of either its experience and possibility or its critical expression. Such negativity is neither nihilistic nor pessimistic but concerns the status of the artwork and its autonomy in relation to its context or its experience. For both Blanchot and Adorno negativity is the key to understanding the status of the artwork in post-Kantian aesthetics and, although it indicates how art expresses critical possibilities, albeit negatively, it also shows that art bears an irreducible ambiguity such that its meaning can always negate itself. This ambiguity takes on an added material significance when considered in relation to language as the negativity of the work becomes aesthetic in the further sense of being both sensible and experimental, and in doing so the language of the literary work becomes a form of thinking that enables materiality to be thought in its ambiguity. In a series of rich and compelling readings, William S. Allen shows how an original and rigorous mode of thinking arises within Blanchot’s early writings and how Adorno’s aesthetics depends on a relation between language and materiality that has been widely overlooked. Furthermore, by reconsidering the problem of the autonomous work of art in terms of literature, a central issue in modernist aesthetics is given a greater critical and material relevance as a mode of thinking that is abstract and concrete, rigorous and ambiguous. While examples of this kind of writing can be found in the works of Blanchot and Beckett, the demands that such texts place on readers only confirm the challenges and the possibilities that literary autonomy poses to thought.

Forms and Concepts is the first comprehensive study of the central role of concepts and concept acquisition in the Platonic tradition. It sets up a stimulating dialogue between Plato’s innatist approach and Aristotle’s much more empirical response. The primary aim is to analyze and assess the strategies with which Platonists responded to Aristotle’s (and Alexander of Aphrodisias’) rival theory. The monograph culminates in a careful reconstruction of the elaborate attempt undertaken by the Neoplatonist Proclus (6th century AD) to devise a systematic Platonic theory of concept acquisition.