This book presents an extended dialogue in essay form between specialists in the work of Moses Mendelssohn, and experts in important trends in related late-seventeenth and eighteenth century thought. The first group of contributors explores themes in Mendelssohn’s metaphysics and aesthetics, presenting both their internal argumentative coherence and their historical context. The second outlines the context of Mendelssohn’s views on specific topics, and describes his contribution to the discussion of them. The essays are organized in four sections. The first pairs two essays on Mendelssohn’s theory of language and writing. The second section offers three essays addressing a number of topics in Mathematics and philosophy in Mendelssohn. A group of eight essays follows, dealing with Metaphysics in a historical context. The fourth section presents five essays discussing Mendelssohn’s Aesthetics in a historical context. Moses Mendelssohn’s Metaphysics and Aesthetics arises from a conference held in Amsterdam in 2009, which gathered numerous authorities to address the central theme. Taken together, these eighteen essays present a sophisticated portrait of Mendelssohn, packed with detail and rich in complexity.

Mendelssohn's Philosophical Writings, helped propel its author to the forefront of the Berlin Enlightenment.

No Religion without Idolatry offers an interpretation of Mendelssohn's general philosophy and discusses for the first time his semiotic interpretation of idolatry in his commentaries.

The last work published by Moses Mendelssohn during his lifetime, Morning Hours (1785) is also the most sustained presentation of his mature epistemological and metaphysical views, all elaborated in the service of presenting proofs for the existence of God. But Morning Hours is much more than a theoretical treatise. It also plays a central role in the drama of the Pantheismusstreit, Mendelssohn's "dispute" with F. H. Jacobi over the nature and scope of Lessing's attitude toward Spinoza and "pantheism". As the latest salvo in a war of texts with Jacobi, Morning Hours is also Mendelssohn's attempt to set the record straight regarding his beloved Lessing in this connection, not least by demonstrating the absence of any practical (i.e., religious or moral) difference between theism and a "purified pantheism".

Professor Altmann quotes widely from personal letters and other contemporary documents in this biographical study of one of the most celebrated figures of the German Enlightenment. A considerable amount of the primary source material is offered in English translation.

Over the last fifty years the life and work of Edmund Burke (1729-1797) has received sustained scholarly attention and debate. The publication of the complete correspondence in ten volumes and the nine volume edition of Burke's Writings and Speeches have provided material for the scholarly reassessment of his life and works. Attention has focused in particular on locating his ideas in the history of eighteenth-century theory and practice and the contexts of late eighteenth-century conservative thought. This book broadens the focus to examine the many sided interest in Burke's ideas primarily in Europe, and most notably in politics and aesthetics. It draws on the work of leading international scholars to present new perspectives on the significance of Burke's ideas in European politics and culture.

This is the first English-language anthology to provide a compendium of primary source material on the sublime. The book takes a chronological approach, covering the earliest ancient traditions up through the early and late modern periods and into contemporary theory. It takes an inclusive, interdisciplinary approach to this key concept in aesthetics and criticism, representing voices and traditions that have often been excluded. As such, it will be of use and interest across the humanities and allied disciplines, from art criticism and literary theory, to gender and cultural studies and environmental philosophy. The anthology includes brief introductions to each selection, reading or discussion questions, suggestions for further reading, a bibliography and index – making it an ideal text for building a course around or for further study. The book's apparatus provides valuable context for exploring the history and contemporary views of the sublime.

The first annotated English translation of the Hebrew writings of the great eighteenth-century Berlin philosopher

Reason and Experience in Mendelssohn and Kant provides the first in-depth examination of the lifelong intellectual relationship between two of the greatest figures of the European Enlightenment, Immanuel Kant (1724-1804) and Moses Mendelssohn (1729-1786). Both were engaged in a common project of striking the right balance between rationalism and empiricism. They sometimes borrowed from one another, often disagreed with one another, and can usefully be compared even when they did not directly interact. Guyer examines a series of comparisons and contrasts: their arguments and conclusions on a range of metaphysical issues, including proofs of the existence of God, immortality, and idealism; their shared interests in aesthetics; and their path-breaking work on the "religion of reason" and the separation of church and state. Setting the work of both philosophers in historical context, Guyer shows that, where Kant sometimes provides deeper insight into the underlying structure of human thought, Mendelssohn is often the deeper student of the variety of human experience. This is evident above all in their treatments of aesthetics and religion: Mendelssohn recognizes more deeply than Kant the emotional impact of art, and while Kant imagines that organized religion will one day be superseded by pure morality, Mendelssohn argued that organized religion in all its varieties seems here to stay, and so toleration for religious variety is an inescapable requirement of human morality. Based on an exhaustive study of a wide range of texts, this study demonstrates the on-going relevance of Kant and Mendelssohn to modern thought.

The Ugliness of Moses Mendelssohn examines the idea of ugliness through four angles: philosophical aesthetics, early anthropology, physiognomy and portraiture in the eighteenth-century. Highlighting a theory that describes the benefit of encountering ugly objects in art and nature, eighteenth-century German Jewish philosopher Moses Mendelssohn recasts ugliness as a positive force for moral education and social progress. According to his theory, ugly objects cause us to think more and thus exercise—and expand—our mental abilities. Known as ugly himself, he was nevertheless portrayed in portraits and in physiognomy as an image of wisdom, gentility, and tolerance. That seeming contradiction—an ugly object (Mendelssohn) made beautiful—illustrates his theory’s possibility: ugliness itself is a positive, even redeeming characteristic of great opportunity. Presenting a novel approach to eighteenth century aesthetics, this book will be of interest to students and scholars in the fields of Jewish Studies, Philosophy and History.