This is the second volume of Edgar Wind's selected papers, a companion to The Elegance of Symbols. Of all the scholars associated with the early development of the Warbur Institute Edgar Wind was the first to apply different theoretical principles to the study of English Art, above all in his early study of English portraiture, now a classic art history text. As the seminal essay, it gives title to the present volume, and is here translated into English for the first time. In this essay, which marked a change of direction in Wind's own development, he argues that two opposing styles of portraiture, exemplified in the art of Gainsborough and Reynolds, can be related to the different notions of humanity subscribed to by the philosophers David Hume and James Beattie. Other important studies, also reprinted here, make this volume an excellent resource to Wind's tremendous contributions to art history.

This is the first general and theoretical study devoted entirely to portraiture. Drawing on a broad range of images from Antiquity to the twentieth century, which includes paintings, sculptures, prints, cartoons, postage stamps, medals, documents and photographs, Richard Brilliant investigates the genre as a particular phenomenon in Western art that is especially sensitive to changes in the perceived nature of the individual in society. The author's argument on behalf of portraiture (and he draws on examples by such artists as Botticelli, Rembrandt, Matisse, Warhol and Hockney) does not comprise a mere survey of the genre, nor is it a straightforward history of its reception. Instead, Brilliant presents a thematic and cogent analysis of the connections between the subject-matter of portraits and the beholder's response – the response he or she makes to the image itself and to the person it represents. Portraiture's extraordinary longevity and resilience as a genre is a testament to the power of this imaginative transaction between the subject, the artist and the beholder.

Davide Panagia’s Impressions of Hume: Cinematic Thinking and the Politics of Discontinuity is volume fifteen of Modernity and Political Thought, the Rowman & Littlefield series in contemporary political theory. Through close attention to Hume’s theories of sensation, Davide Panagia conceptualizes the modern even more radically (though also more literally) than many of the previous authors in this series. While devoting attention to how a historical thinker such as Hume is read and misread, used and abused in the modern intellectual world, Panagia also focuses on developing a theory of Humean perception and by so doing emphasizes the contemporaneity of Hume’s thought. In what at first seems to be an anachronistic as well as wildly curious claim about a philosopher of the eighteenth century, Panagia holds that Hume was a cinematic thinker.

Hume's Aesthetic Theory examines the neglected area of the development of aesthetics in empiricist thinking, exploring the link between the empiricist background of aesthetics in the eighteenth century and the work of David Hume. This is a major contribution to our understanding of Hume's general philosophy and provides fresh insights into the history of aesthetics.

An interdisciplinary examination of the Enlightenment character and its broader significance. Whilst the main focus of the book is the Scottish Enlightenment, contributors also employ a transatlantic scope by considering parallel developments in Europe, and America.

Although best known for his contributions to the theory of knowledge, metaphysics, and philosophy of religion, Hume also influenced developments in the philosophy of mind, psychology, ethics, political and economic theory, political and social history, and aesthetic theory. The fifteen essays in this volume address all aspects of Hume's thought. The picture of him that emerges is that of a thinker who, though often critical to the point of scepticism, was nonetheless able to build on that scepticism a constructive, viable, and profoundly important view of the world. Also included in this volume are Hume's two brief autobiographies and a bibliography suited to those beginning their study of Hume. This second edition of one our most popular Companions includes six new essays and a new introduction, and the remaining essays have all been updated or revised.

Rejecting a morality based on religious sanctions and appeals to a spiritual order of being, David Hume advocated a wholehearted immersion in worldliness. Contemtus mundi is replaced with amor mundi, an orientation that Hume saw as fostering virtue and socially beneficial relationships.

Versified dinner parties; the cultural significance of wild fruit; a dreamlike trip to Russia on the eve of the breakup of the Soviet Union; parallel lines in Euclid’s geometry; grotesque episodes in recent Jewish history; the role of religion in the 17th-century origins of modern science: all these and many other topics are explored in essays, half of them never published before, composed during a long scholarly career.

As Plato&’s tripartite division of the soul, Descartes&’s criterion of clear and distinct ideas, and Kant&’s notion of the categorical imperative attest, philosophy has traditionally been wedded to rationalism and its &“intellectualist&” view of persons. In this book Christopher Williams seeks to wean his fellow philosophers away from an overly rationalistic self-understanding by using resources that are available within the philosophical tradition itself, including some that anticipate strands of Nietzsche&’s thought. The book begins by developing Hume&’s critique of rationalism, with reference especially to the section of the Treatise that deals with the continuing existence of bodies (an argument that subverts intellectualist criteria by attempting to satisfy them) and to his neglected essay &“The Sceptic&” where Hume reveals the importance of our embodiment through a comic portrayal of philosophers&’ efforts to &“correct our sentiments.&” Then it moves on to ward off charges of irrationalism by showing that, although our powers of self-correction are more limited than the rationalist thinks they are, a Humean position is able both to sustain a commitment to reflection and to sensitize us to a version of irrationalism, manifest in monotheistic theologies, that is otherwise difficult to detect. The book concludes, more speculatively, with a comparison of persons to artworks in order to show how our aesthetic dimension is the source of some of the normative work previously assigned to rationalist reason. Ranging as it does across subfields from epistemology and history of philosophy to ethics and aesthetics, A Cultivated Reason should appeal to a wide audience of philosophers and to scholars in other fields as well.

This engaging and insightful book explores the fate of eloquence in a period during which it both denoted a living oratorical art and served as a major factor in political thought. Seeing Hume's philosophy as a key to the literature of the mid-eighteenth century, Adam Potkay compares the staus of eloquence in Hume's Essays and Natural History of Religion to its status in novels by Sterne, poems by Pope and Gray, and Macpherson's Poems of Ossian. Potkay explains the sense of urgency that the concept of eloquence evoked among eighteenth-century British readers, for whom it recalled Demosthenes exhorting Athenian citizens to oppose tyranny. Revived by Hume and many other writers, the concept of eloquence resonated deeply for an audience who perceived its own political community as being in danger of disintegration. Potkay also shows how, beginning in the realm of literature, the fashion of polite style began to eclipse that of political eloquence. An ethos suitable both to the family circle and to a public sphere that included women, "politeness" entailed a sublimation of passions, a "feminine modesty as opposed to "masculine" display, and a style that sought rather to placate or stabilize than to influence the course of events. For Potkay, the tension between the ideals of ancient eloquence and of modern politeness defined literary and political discourses alike between 1726 and 1770: although politeness eventually gained ascendancy, eloquence was never silenced.