The Problems of Philosophy is a 1912 book by Bertrand Russell, in which Russell attempts to create a brief and accessible guide to the problems of philosophy. Focusing on problems he believes will provoke positive and constructive discussion, Russell concentrates on knowledge rather than metaphysics: If it is uncertain that external objects exist, how can we then have knowledge of them but by probability. There is no reason to doubt the existence of external objects simply because of sense data. Russell (...) guides the reader through his famous 1910 distinction between knowledge by acquaintance and knowledge by description and introduces important theories of Plato, Aristotle, René Descartes, David Hume, John Locke, Immanuel Kant, Georg Wilhelm Friedrich Hegel and others to lay the foundation for philosophical inquiry by general readers and scholars alike. "In the following pages I have confined myself in the main to those problems of philosophy in regard to which I thought it possible to say something positive and constructive, since merely negative criticism seemed out of place. For this reason, theory of knowledge occupies a larger space than metaphysics in the present volume, and some topics much discussed by philosophers are treated very briefly, if at all. (shrink)

A transcript of three lectures, given at Princeton University in 1970, which deals with (inter alia) debates concerning proper names in the philosophy of language.

This is a revised and expanded edition of a seminal work in the logic and philosophy of time, originally published in 1968. Arthur N. Prior (1914-1969) was the founding father of temporal logic, and his book offers an excellent introduction to the fundamental questions in the field. Several important papers have been added to the original selection, as well as a comprehensive bibliography of Prior's work and an illuminating interview with his widow, Mary Prior. In addition, the Polish logic which (...) made Prior's writings difficult for many readers has been replaced by standard logical notation. This new edition will secure the classic status of the book. (shrink)

In this book the author treats art as an action performed by the artist as agent, rather than examining it from the point of view of its audience as ...

Mathematicians tend to think of themselves as scientists investigating the features of real mathematical things, and the wildly successful application of mathematics in the physical sciences reinforces this picture of mathematics as an objective study. For philosophers, however, this realism about mathematics raises serious questions: What are mathematical things? Where are they? How do we know about them? Offering a scrupulously fair treatment of both mathematical and philosophical concerns, Penelope Maddy here delineates and defends a novel version of mathematical realism. (...) She answers the traditional questions and poses a challenging new one, refocusing philosophical attention on the pressing foundational issues of contemporary mathematics. (shrink)

What Is Aesthetic Pleasure? When is pleasure in an object properly denominated aesthetic? The characterization of aesthetic pleasure is something that ...

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects (...) are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...) type can be interchanged and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, (1) and (2) seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas (3) and (4) just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, and the implications (...) of the dominance of recorded over live music. (shrink)

This volume contains all of Frege's extant unpublished writings on philosophy and logic other than his correspondence, written at various stages of his career.

We can best begin from Wilson's "simple little puzzle" about Caesar and Antony: "What would the world be like if Julius Caesar had all the properties of Mark Antony and Mark Antony had all the properties of Julius Caesar?" Wilson's own approach to an answer is indirect--he begins by telling us not what such a world would be like but what it would look like. "Clearly the world would look exactly the same under our supposition." But this assumes that the (...) question "What would such a world look like?" is a proper one; which it surely is not. For his answer to it is meaningless until he specifies to whom this supposed world would look as he says it would. It would look exactly the same to him or to me; but would it have looked the same to Caesar or to Antony? In fact Julius Caesar had the experiences of being called "Julius Caesar," being murdered on the Ides of March, and so on, and these are very different experiences from being called "Mark Antony," dallying on the Nile with Cleopatra, and so on; so I don't see how this alternative course of events could possibly have looked the same to Julius Caesar; or--using a similar line of argument--to Mark Antony. So I cannot agree that, as Wilson goes on to say, "our attempt to describe a distinct possible world has produced just the same old world all over again." I am not, indeed, convinced that even a world which looked to everyone just as the actual one does would necessarily be the same world ; but even putting this doubt aside, since the world mentioned wouldn't look to everyone as the actual world does, it wouldn't be the same even by Wilson's own standards. (shrink)