The concept of self-motion is not only fundamental in Aristotle's argument for the Prime Mover and in ancient and medieval theories of nature, but it is also central to many theories of human agency and moral responsibility. In this collection of mostly new essays, scholars of classical, Hellenistic, medieval, and early modern philosophy and science explore the question of whether or not there are such things as self-movers, and if so, what their self-motion consists in. They trace the development of (...) the concept of self-motion from its formulation in Aristotle's metaphysics, cosmology, and philosophy of nature through two millennia of philosophical, religious, and scientific thought. This volume contains "Self-Movers" (David Furley), "Aristotle on Self-Motion" (Mary Louise Gill), "Aristotle on Perception, Appetition, and Self-Motion" (Cynthia Freeland), "Self-Movement and External Causation" (Susan Sauvé Meyer), "Aristotle on the Mind's Self-Motion" (Michael Wedin), "Mind and Motion in Aristotle" (Christopher Shields), "Aristotle's Prime Mover" (Aryeh Kosman), "The Transcendence of the Prime Mover" (Lindsay Judson), "Self-Motion in Stoic Philosophy" (David Hahm), "Duns Scotus on the Reality of Self-Change" (Peter King), "Ockham, Self-Motion, and the Will" (Calvin Normore), and "Natural Motion and Its Causes: Newton on the 'Vis Insita' of Bodies" (J. E. McGuire). Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Near the end of the Protagoras there is a famous argument in which Socrates appears to deny the possibility of weakness of will. The passage is part of a longer examination of whether virtue can be taught and of the unity of the virtues. Socrates and Protagoras discuss whether it makes sense to say, as people commonly do, that they sometimes choose to do things they know are not best for them because they are “overcome by pleasure.” Supposedly “the many” (...) hold that the good is pleasure, and that one chooses what is less good because it is most pleasant. Socrates takes Protagoras through a kind of elenctic examination that purports to show that the many’s claim to being overcome by pleasure in akrasia is absurd or ridiculous. They can’t really do what they claim to do, choose the less good for the more good; thus, and the claim that they do is a misdescription of what really happens. People act in these cases due to ignorance of what is truly the most good. In order to prevent people from choosing things that are not best for them, or to save them, Socrates says that what is needed is an art or science of measurement. In this paper I want to focus on the idea of such an art or science of measurement. (shrink)

This essay explores the central place of Aristotle’s views of the sense of touch within his empiricist epistemology and general physical theory. It argues that Aristotle was not committed to a ‘literalist’ view of the nature of sensory representation, according to which an organ literally becomes ‘like’ the said object. It suggests an interpretation of Aristotle’s defence of the objectivity of tactile representation, which shows a deep and complex link between his theory of sense-knowledge and his project of scientific explanation.

Kant’s critique/doctrine distinction tracks the difference between a canon for the understanding’s proper use and an organon for its dialectical misuse. The latter reflects the dogmatic use of reason to attain a doctrine of knowledge with no antecedent critique. In the 1790s, Fichte collapses Kant’s distinction and redefines dogmatism. He argues that deriving a canon is essentially dialectical and thus yields an organon: critical idealism is properly a doctrine of science or Wissenschaftslehre. Criticism is furthermore said to refute dogmatism, by (...) which Fichte means Spinozism. Schelling repudiates Fichte’s position in his Philosophical Letters by reviving Kant’s distinction. First, ‘critique’ for Schelling names a canon that is valid for all systems—including Spinozism—and thus favours none—not even the Wissenschaftslehre. Second, Schelling coins ‘dogmaticism’ to refer to what Kant calls ‘dogmatism’: reason’s uncritical claim to doctrine. Hence, he says all systems—even Fichte’s—are susceptible to the ‘enthusiasm’ of mistaking themselves for doctrines or ‘objects of knowledge’, instead of subjectively valid ‘objects of freedom’. I reconstruct Schelling’s argument for reviving Kant’s distinction, while noting two consequences for German idealism. First, if criticism favours no system, a system’s origin cannot be an act of knowledge, e.g., intellectual intuition, but only an act of endorsement. Second, if dogmaticism entails enthusiasm, a system’s goal cannot be absolute knowledge, but only infinite striving. Hence, by retrieving Schelling’s notion of dogmaticism, we can both gain a better understanding of the Letters and register the impact of a core Kantian distinction on the German idealist project. (shrink)

Meillassoux seeks knowledge of transcendental reality, blaming Kant for the ‘correlationist’ proscription of independent access to either thought or being. For Meillassoux, correlationism blocks an account of the meaning of ‘ancestral statements’ regarding reality prior to humans. I examine three charges on which Meillassoux’s argument depends: (1) Kant distorts ancestral statements’ meaning; (2) Kant fallaciously infers causality’s necessity; (3) Kant’s transcendental idealism cannot grasp ‘the great outdoors’. I reject these charges: (1) imposes a Cartesian misreading, hence Meillassoux’s false assumption that, (...) for Kant, objects don’t exist without subjects; (2) misreads Kant, who infers causality’s necessity from the possibility of experience; (3) casts Kant’s idealism as subjective, ignoring his perspectival portrayal of it. (shrink)

Preface This book, based on my doctoral dissertation, is a study in and of critical philosophy. Critical philosophy is committed to finding the limits of ...

From Andy Warhol's Brillo boxes to provocative dung-splattered madonnas, in today's art world many strange, even shocking, things are put on display. This often leads exasperated viewers to exclaim--is this really art? In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition that (...) stretch from modern often sensational works, back to the ancient halls of the Parthenon, to the medieval cathedral of Chartres, and to African nkisi nkondi fetish statues. She explores the difficulties of interpretation, examines recent scientific research into the ways the brain perceives art, and looks to the still-emerging worlds of art on the web, video art, art museum CD-ROMS, and much more. She also guides us through the various theorists of art, from Aristotle and Kant to Baudrillard. Throughout this nuanced account of theories, artists, and works, Freeland provides us with a rich understanding of how cultural significance is captured in a physical medium, and why challenging our perceptions is, and always has been, central to the whole endeavor. It is instructive to recall that Henri Matisse himself was originally derided as a "wild beast." To horrified critics, his bold colors and distorted forms were outrageous. A century later, what was once shocking is now considered beautiful. And that, writes Freeland, is art. (shrink)

Featuring more than fifty halftones, this is an exhilarating philosophical exploration of portraiture that highlights its important contribution to the complex ...

ABSTRACTThis paper examines Mohan Matthen's account of aesthetic pleasure. The first part explores implications of Matthen's notion of ‘fit’ between features of art objects and our pleasurable contemplation of them. Through historical comparisons with Plato and Dewey, I challenge his claim not to be offering a theory of aesthetic norms. The second part of my paper sketches how Matthen might address two important problems of contemporary aesthetics: the first concerning interpretation, and the second concerning genres of art that evoke negative (...) or painful emotions such as tragedy, melodrama, and horror. (shrink)

The horizon for feminists studying horror films appears bleak. Since _Psycho_'s infamous shower scene, the big screen has treated us to Freddie's long razor-nails emerging between Nancy's legs in the bathtub (_A Nightmare on Elm Street I_), De Palma's exhibitionist heroine being power-drilled into the floor (_Body Double_), and Leather-face hanging women from meat hooks (_The Texas Chain Saw Massacre_). Even in a film with a strong heroine like _Alien_, any feminist point is qualified by the monstrousness of the alien (...) mother, the objectification of Sigourney Weaver in her underwear, and her character Ripley's forced assumption of a maternal role. Despite all this, there has been some feminist work on horror, and I believe there is room for more. In the first part of this paper I shall survey and criticize currently dominant psychodynamic feminist approaches to horror. In the second part, I propose an alternative framework for constructing feminist interpretations of horror films by critically interrogating their gender ideologies. My proposal focuses less on the psychology of viewers than on the nature of films as artifacts with particular structures and functions. In the third part I illustrate my recommended framework by sketching readings of _Jurassic Park_ (Spielberg 1993), _The Fly_ (Cronenberg 1986), and _Repulsion_ (Polanski 1965). (shrink)

_Philosophy and Film_ moves from broad theoretical reflections on film as a medium to concrete examinations of individual films.

A study of Lacan’s engagement with the Western philosophical traditions of ethical and political thought in his seventh seminar and later work.

This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image’s power to show a person: accuracy, testimony of presence, emotional characterization, (...) or revelation of the essential “air” (to use Roland Barthes’ term). In the second half of my paper this typology is applied to examples from painting and photography to explore how the two media might differ. I argue that, despite photography’s alleged ‘realism’ and ‘transparency,’ it allows for artistic portraiture and presents the same basic conflict between portraiture’s two aims, the revelatory and the expressive. (shrink)

MORAL virtues, as described in Aristotle's Nicomachean Ethics, bear certain important similarities to such human capacities as knowledge of medicine or artistic skill, as described in the Metaphysics. First, all of these qualities must be developed from inborn capacities, such as the senses. Whereas people are born with the capacities of vision and touch, they must acquire the abilities to use geometrical theorems, build houses, or act courageously. Second, both sorts of qualities--skills or knowledge on the one hand, virtue on (...) the other--are manifested in action. Aristotle treats knowledge and art as types of potentialities in Metaphysics IX, where he defines them by reference to the actions in which they are realized. Virtues, too, are fully manifested in actions; Aristotle never tires of stressing the superiority of the person who actualizes his virtue in use. (shrink)

This article criticizes what I call "Raunchy" feminist art by employing discussions of pornography and objectification from Eaton and Nussbaum. Artists considered include Carolee Schneeman, Cindy Sherman, Lisa Yuskavage, and Jenny Saville. The article includes by citing examples of feminist art dealing with erotic material in a more productive manner: Eija-Liisa Ahtila, Kiki Smith, and Marlene Dumas.

This chapter contains sections titled: Introduction Pre‐Socratic Cosmologies and the Phaedo The Soul and the Universe in the Phaedrus Timaeus Later Developments Note.

This review examines a collection of essays that engage with the thought of Antonio Gramsci in relation to the postcolonial. I argue that some of the chapters display a symptomatic tendency to read into Gramsci’s concepts a moral charge that detracts from their theoretical value, and that on the whole here Gramsci is either read in a post-Marxist key or dismissed as inoperable for the globalised postcolony of the present.