Tijdens zijn bewogen leven schreef Dirck Volckertsz Coornhert (1522-1590) vele teksten en voerde hij talloze gesprekken. Zijn doel: zijn medemensen overtuigen van het belang om niet slaafs achter anderen aan te lopen maar zélf na te denken. Want elk mens heeft voldoende redelijke vermogens om het leven zelfstandig vorm te geven en het goede te doen. De Kruidhofjes bevat twee bundels met dialogen – gesprekken die Coornhert zelf voerde of onderweg heeft gehoord. De dialogen zijn te zien (...) als medicijnen tegen wat Coornhert zag als de ziekte van zijn tijd: onnadenkendheid en religieuze scherpslijperij. Enerzijds probeert Coornhert obstakels voor een goed en gelukkig persoonlijk leven weg te halen. Hier gaat het vooral om het bestrijden van onbegrip en onwetendheid. Anderzijds probeert Coornhert obstakels voor vreedzaam samenleven op te ruimen. Dat is de reden waarom nogal wat dialogen ingaan op religieuze kwesties als kerkbezoek, de mis en kerkelijke ceremonies; onenigheid over deze onderwerpen vormde immers de belangrijkste oorzaak van de heftige onderdrukking, vervolging en oorlog in de zestiende eeuw. Dit verklaart ook de felheid van veel van de dialogen. Discussies over religieuze denkbeelden en gebruiken waren niet zomaar interessant tijdverdrijf voor bij de borrel. Het ging ergens om: om de waarheid, je zielenheil en de inrichting van de maatschappij. In 45 dialogen probeert Coornhert zo zijn medemens te motiveren tot eerlijkheid naar zichzelf en verdraagzaamheid naar de ander. (shrink)

Dirck Coornhert was a Dutch humanist whose seminal 1587 book, Boeven-tucht, redefined issues of poverty, charity, development and crime. A transitionary document, Boeven-tucht lies on the cusp of what Michel Foucault called the 'great confinement', which took place between about 1600 and 1750 and which was the common response by local and national authorities to the social disorder concomitant upon population expansion, a widening gap between rich and poor, religious discord and war. Inspired by Boeventucht, the Amsterdam Rasphuis (...) and Spinhuis were the European prototypes of houses of correction which sprang up all over Europe, intended to apply 'a punishment more bitter than death' to all 'criminal idlers'. This introduction to the first-ever English translation of Boeven-tucht situates Coornhert's text in the space between unmediated absolutist sovereignty and full-blown modern discipline, when disciplinary techniques were as yet only gradually emerging from the monasteries and lay fraternities in which they had been incubated, and before they spread into all facets of modern society. (shrink)

The sixteenth-century Dutch spiritualist and controversialist, Dirck Volckertszoon Coornhert (1522-1590), is increasingly recognized as a pivotal figure in the cultural and political life of the early Dutch Republic. With the appearance of Henk Bonger's widely acclaimed biography (1978), the first complete account of Coornhert's life became available in the Dutch language. Today this biography is still the starting point of any serious research on Coornhert and his circle. This translation now makes this standard biography available in (...) English for the first time. The translator profited from Henk Bonger's comments on the translated chapters, and the author approved of adaptations and changes where these were deemed necessary. The structure and most of the chapters of the book are as they were in the original. The chief changes are: the abridgment and combination into one chapter of the two original chapters on Coornhert's creative work and his translations. The ample quotes from Coornhert contained in the text enable the reader to attain a first hand acquaintance with Coornhert's profound thought and inimitable style. References have been updated and some explanatory remarks intended for a non-Dutch readership were added. The translation is complemented with a full bibliography of Coornhert's writings, as well as an up-to-date bibliography of the secondary literature; with 25 illustrations. (shrink)

The sixteenth-century Dutch spiritualist and controversialist, Dirck Volckertszoon Coornhert, is increasingly recognized as a pivotal figure in the cultural and political life of the early Dutch Republic. With the appearance of Henk Bonger’s widely acclaimed biography, the first complete account of Coornhert’s life became available in the Dutch language. Today this biography is still the starting point of any serious research on Coornhert and his circle. This translation now makes this standard biography available in English for (...) the first time. The translator profited from Henk Bonger’s comments on the translated chapters, and the author approved of adaptations and changes where these were deemed necessary. The structure and most of the chapters of the book are as they were in the original. The chief changes are: the abridgment and combination into one chapter of the two original chapters on Coornhert’s creative work and his translations. The ample quotes from Coornhert contained in the text enable the reader to attain a first hand acquaintance with Coornhert’s profound thought and inimitable style. References have been updated and some explanatory remarks intended for a non-Dutch readership were added. The translation is complemented with a full bibliography of Coornhert’s writings, as well as an up-to-date bibliography of the secondary literature; with 25 illustrations. (shrink)

In his article about utilitarianism and Mo‐tzu's thought, Dennis Ahem has argued that we should distinguish between two types of utilitarianism. The first he calls “strong utilitarianism”. Ahern says that the distinctive characteristic of this type of utilitarianism is the notion that the final criterion for an action, value, etc. is its utility .1.

As interest in Huayan thought among Western scholars has grown over the last few decades, a number of individuals have noted similarities between A. N. Whitehead's ideas of reality as a process of arising actual occasions and Huayan doctrines concerning the interdependent arising of dharmas. Comparisons of the two systems do show striking similarities, but as Steve Odin has pointed out, one area of noteworthy difference may be their views of temporal passage.1 There seems to be clear agreement among Whitehead (...) scholars that his view requires temporal asymmetry such that the present arises as a creative advance toward an open future. In contrast, Huayan is well known for advocating a symmetrical view of reality, and the Huayan view of time, it has been argued, is no exception. On this basis some have suggested that in accounting for and even requiring an open future, Whitehead's views effectively allow for a free advance of becoming that may not be possible within the context of Huayan views. But is this the case? -/- By examining sections of Fazang's works that specifically deal with tense and temporal passage, we will see that the typical view of Huayan as advocating a temporally symmetrical notion of passage is only partially accurate. Even further, it is apparent in light of that material that the Whiteheadian critique of Huayan is partly inaccurate as well. It is this latter point that may mean Huayan views allow for a type of becoming that Whitehead's cannot. To see how this is the case, it will be helpful to briefly summarize the Whiteheadian critique before focusing on key elements of Fazang's view. (shrink)

Ethics, published (anonymously) by Coornhert in 1586, is a remarkable publication for a number of reasons: it is the first work on ethics written in a European vernacular; it is a mature work, appearing four years before Coornhert’s death, and summarizes a lifetime of writing and thinking about the good life; it is considered to be fundamentally pagan because of the absence in Zedekunst of biblical references or any direct mention of Christ. Asked why he did not write (...) about such things as the future establishment of God’s kingdom on earth, Coornhert answered: ‘Because I have a greater desire to learn how to live well, than to learn how to know much.’ This is the first English translation of this important work. It will enhance our insight into the ethical outlook of this prominent freethinker and controversialist of the early Dutch Republic. Also available in E-book: ISBN 9789087045586. (shrink)

Verhandeling door de zestiende-eeuwse Nederlandse denker over ethiek en het leiden van een deugdzaam leven.

Dōgen's views of time are descriptively compared to the modern western philosophical view called "B-theory" and found to contain elements of each of the four main tenets of the B-theory. Furthermore, a fundamental incongruency is discovered. Even accounting for traditional Buddhist approaches to apparent contradictions, Dōgen's problems in this regard call into question the assumption of consistency that has characterized modern interpretations of his views on time.

Translation of Nagarjuna's -Treatise on the Twelve Gates- as well as fazang's commentary on that treatise.

This paper focuses on chronology, structure and purpose of Dirck Canter’s edition of comic fragmentary poets, Aristophanes and Menander in mss. Par. suppl. gr. 1013 and D’Orville 123. It studies the history of the texts and offers unpublished conjectures of Dirck Canter and Joseph Justus Scaliger to the text of the comic poets and Machon’s “Chreiai”.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.2 (2001) 313-333 [Access article in PDF] Vestige of the Third Force: Willem Bilderdijk, Poet, Anti-Skeptic, Millenarian Joris van Eijnatten One of the unfortunate consequences of Babel is that only the Dutch read Dutch poetry. 1 Although English-speaking historians may have heard of the seventeenth-century poet Joost van den Vondel, who generally qualifies as the greatest literary artist of the Netherlands, virtually no (...) one outside Holland knows Willem Bilderdijk (1756-1831), poet, jurist, and man of learning. Robert Southey, having met the poet at his home in Leiden in 1825, lamented several years later the fact that Bilderdijk's fame had not traversed national boundaries: "And who is Bilderdyk?" methinks thou sayest: A ready question; yet which, trust me, Allan, Would not be asked, had not the curse that came From Babel, clipt the wings of Poetry. 2When Southey sojourned in the Netherlands, Bilderdijk had already established his reputation as one of the few unconventional figures in Dutch history, comparable, in this sense, to Coornhert and Spinoza. The most outstanding poet of his age, he dominated nineteenth-century Dutch literature through his versatility, rhetorical prowess and sheer output. He is reputed to have written 300,000 lines of verse, not counting his unpublished poems. He practiced virtually all literary genres, from Pindaric odes and erotic rhyme to didactic poetry. Versed in the classics, he wrote numerous translations of, among many others, Homer, Sophocles, Anacreon, Callimachus, Horace, and Ovid. Bilderdijk was a prolific [End Page 313] writer of essays on subjects ranging from moral philosophy, epistemology, and natural law to aesthetics, architecture, and botany. He translated theological and devotional works, including Thomas Chalmers's Evidence and Authority of the Christian Revelation, Chrysostome's sermons, and books on freemasonry and pneumatology. Besides contributing to perspective drawing, he wrote the first geological study in Dutch. His History of the Fatherland appeared posthumously in thirteen volumes. He himself regarded his linguistic studies and literary essays as his main achievement. Bilderdijk filled thousands of pages with his idiosyncratic views on the gender of nouns, the alphabet, grammar, spelling, medieval manuscripts, tragedy, and drama in general.Not surprisingly, Bilderdijk's varied interests and comprehensive mind have led to different interpretations of his thought. Most are one of two kinds. Writers subscribing to the first interpretation regard him as a somewhat strange but devout apologist for Calvinist orthodoxy. They stress the fact that Bilderdijk was the only intellectual who, in the midst of the soul-destroying rationalism propounded by a complacent liberal establishment, dared to cry out against Revolution and Enlightenment, thus revivifying the religious heart of the nation. 3 Those who follow the second interpretation emphasize the Romantic nature of his thought. This group tends to look upon Bilderdijk as the only true Dutch Romantic, a Wordsworth and Coleridge combined, a metaphysical if rather erratic genius who outgrew the intellectual marshlands of his native country. Writers in this tradition stress his definition of poetry as a spontaneous overflow of feeling, his linguistic achievements, his preoccupation with geology, and his visionary view of Dutch history. 4 One major interpreter, commenting on Bilderdijk's "real position as a philosopher," has stated that "to me there can be no doubt that Bilderdijk should be placed among the post-Kantian idealists like Fichte and Schelling (cf., again, Coleridge!)." 5Such statements are largely products of wishful thinking. Bilderdijk was not a devout Calvinist. He hardly ever went to church, his theology exhibits suspiciously heterodox leanings, and his professed adherence to the doctrine of predestination had less to do with a profound knowledge of the articles of Dort than mystical resignation. Similarly, the depiction of Bilderdijk as a post-Kantian idealist is sympathetic but lacks any evidence. Some literary historians have [End Page 314] tried to salvage the "Romantic" nature of his poetry, but the result is not particularly convincing. 6"And who is Bilderdijk," to echo Southey, if he was neither a Calvinist nor a Romantic? How should one interpret his thought? What should one do... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.2 (2001) 313-333 [Access article in PDF] Vestige of the Third Force: Willem Bilderdijk, Poet, Anti-Skeptic, Millenarian Joris van Eijnatten One of the unfortunate consequences of Babel is that only the Dutch read Dutch poetry. 1 Although English-speaking historians may have heard of the seventeenth-century poet Joost van den Vondel, who generally qualifies as the greatest literary artist of the Netherlands, virtually no (...) one outside Holland knows Willem Bilderdijk (1756-1831), poet, jurist, and man of learning. Robert Southey, having met the poet at his home in Leiden in 1825, lamented several years later the fact that Bilderdijk's fame had not traversed national boundaries: "And who is Bilderdyk?" methinks thou sayest: A ready question; yet which, trust me, Allan, Would not be asked, had not the curse that came From Babel, clipt the wings of Poetry. 2When Southey sojourned in the Netherlands, Bilderdijk had already established his reputation as one of the few unconventional figures in Dutch history, comparable, in this sense, to Coornhert and Spinoza. The most outstanding poet of his age, he dominated nineteenth-century Dutch literature through his versatility, rhetorical prowess and sheer output. He is reputed to have written 300,000 lines of verse, not counting his unpublished poems. He practiced virtually all literary genres, from Pindaric odes and erotic rhyme to didactic poetry. Versed in the classics, he wrote numerous translations of, among many others, Homer, Sophocles, Anacreon, Callimachus, Horace, and Ovid. Bilderdijk was a prolific [End Page 313] writer of essays on subjects ranging from moral philosophy, epistemology, and natural law to aesthetics, architecture, and botany. He translated theological and devotional works, including Thomas Chalmers's Evidence and Authority of the Christian Revelation, Chrysostome's sermons, and books on freemasonry and pneumatology. Besides contributing to perspective drawing, he wrote the first geological study in Dutch. His History of the Fatherland appeared posthumously in thirteen volumes. He himself regarded his linguistic studies and literary essays as his main achievement. Bilderdijk filled thousands of pages with his idiosyncratic views on the gender of nouns, the alphabet, grammar, spelling, medieval manuscripts, tragedy, and drama in general.Not surprisingly, Bilderdijk's varied interests and comprehensive mind have led to different interpretations of his thought. Most are one of two kinds. Writers subscribing to the first interpretation regard him as a somewhat strange but devout apologist for Calvinist orthodoxy. They stress the fact that Bilderdijk was the only intellectual who, in the midst of the soul-destroying rationalism propounded by a complacent liberal establishment, dared to cry out against Revolution and Enlightenment, thus revivifying the religious heart of the nation. 3 Those who follow the second interpretation emphasize the Romantic nature of his thought. This group tends to look upon Bilderdijk as the only true Dutch Romantic, a Wordsworth and Coleridge combined, a metaphysical if rather erratic genius who outgrew the intellectual marshlands of his native country. Writers in this tradition stress his definition of poetry as a spontaneous overflow of feeling, his linguistic achievements, his preoccupation with geology, and his visionary view of Dutch history. 4 One major interpreter, commenting on Bilderdijk's "real position as a philosopher," has stated that "to me there can be no doubt that Bilderdijk should be placed among the post-Kantian idealists like Fichte and Schelling (cf., again, Coleridge!)." 5Such statements are largely products of wishful thinking. Bilderdijk was not a devout Calvinist. He hardly ever went to church, his theology exhibits suspiciously heterodox leanings, and his professed adherence to the doctrine of predestination had less to do with a profound knowledge of the articles of Dort than mystical resignation. Similarly, the depiction of Bilderdijk as a post-Kantian idealist is sympathetic but lacks any evidence. Some literary historians have [End Page 314] tried to salvage the "Romantic" nature of his poetry, but the result is not particularly convincing. 6"And who is Bilderdijk," to echo Southey, if he was neither a Calvinist nor a Romantic? How should one interpret his thought? What should one do... (shrink)

1. Cornelius Valerius en Sebastianus Foxius Morzillus als bronnen van Coornhert.

The author of The Philosophy of Invention, Henry Dircks (1806–1873), was an English civil engineer, inventor and historian of technology. The Philosophy of Invention is a forgotten classic of the philosophy of technology, and its author a forgotten pioneer. This new discovery will correct the disciplinary consensus in the philosophy of technology.

The author of The Philosophy of Invention, Henry Dircks (1806–1873), was an English civil engineer, inventor and historian of technology. The Philosophy of Invention is a forgotten classic of the philosophy of technology, and its author a forgotten pioneer. This new discovery will correct the disciplinary consensus in the philosophy of technology.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.2 (2001) 313-333 [Access article in PDF] Vestige of the Third Force: Willem Bilderdijk, Poet, Anti-Skeptic, Millenarian Joris van Eijnatten One of the unfortunate consequences of Babel is that only the Dutch read Dutch poetry. 1 Although English-speaking historians may have heard of the seventeenth-century poet Joost van den Vondel, who generally qualifies as the greatest literary artist of the Netherlands, virtually no (...) one outside Holland knows Willem Bilderdijk (1756-1831), poet, jurist, and man of learning. Robert Southey, having met the poet at his home in Leiden in 1825, lamented several years later the fact that Bilderdijk's fame had not traversed national boundaries: "And who is Bilderdyk?" methinks thou sayest: A ready question; yet which, trust me, Allan, Would not be asked, had not the curse that came From Babel, clipt the wings of Poetry. 2When Southey sojourned in the Netherlands, Bilderdijk had already established his reputation as one of the few unconventional figures in Dutch history, comparable, in this sense, to Coornhert and Spinoza. The most outstanding poet of his age, he dominated nineteenth-century Dutch literature through his versatility, rhetorical prowess and sheer output. He is reputed to have written 300,000 lines of verse, not counting his unpublished poems. He practiced virtually all literary genres, from Pindaric odes and erotic rhyme to didactic poetry. Versed in the classics, he wrote numerous translations of, among many others, Homer, Sophocles, Anacreon, Callimachus, Horace, and Ovid. Bilderdijk was a prolific [End Page 313] writer of essays on subjects ranging from moral philosophy, epistemology, and natural law to aesthetics, architecture, and botany. He translated theological and devotional works, including Thomas Chalmers's Evidence and Authority of the Christian Revelation, Chrysostome's sermons, and books on freemasonry and pneumatology. Besides contributing to perspective drawing, he wrote the first geological study in Dutch. His History of the Fatherland appeared posthumously in thirteen volumes. He himself regarded his linguistic studies and literary essays as his main achievement. Bilderdijk filled thousands of pages with his idiosyncratic views on the gender of nouns, the alphabet, grammar, spelling, medieval manuscripts, tragedy, and drama in general.Not surprisingly, Bilderdijk's varied interests and comprehensive mind have led to different interpretations of his thought. Most are one of two kinds. Writers subscribing to the first interpretation regard him as a somewhat strange but devout apologist for Calvinist orthodoxy. They stress the fact that Bilderdijk was the only intellectual who, in the midst of the soul-destroying rationalism propounded by a complacent liberal establishment, dared to cry out against Revolution and Enlightenment, thus revivifying the religious heart of the nation. 3 Those who follow the second interpretation emphasize the Romantic nature of his thought. This group tends to look upon Bilderdijk as the only true Dutch Romantic, a Wordsworth and Coleridge combined, a metaphysical if rather erratic genius who outgrew the intellectual marshlands of his native country. Writers in this tradition stress his definition of poetry as a spontaneous overflow of feeling, his linguistic achievements, his preoccupation with geology, and his visionary view of Dutch history. 4 One major interpreter, commenting on Bilderdijk's "real position as a philosopher," has stated that "to me there can be no doubt that Bilderdijk should be placed among the post-Kantian idealists like Fichte and Schelling (cf., again, Coleridge!)." 5Such statements are largely products of wishful thinking. Bilderdijk was not a devout Calvinist. He hardly ever went to church, his theology exhibits suspiciously heterodox leanings, and his professed adherence to the doctrine of predestination had less to do with a profound knowledge of the articles of Dort than mystical resignation. Similarly, the depiction of Bilderdijk as a post-Kantian idealist is sympathetic but lacks any evidence. Some literary historians have [End Page 314] tried to salvage the "Romantic" nature of his poetry, but the result is not particularly convincing. 6"And who is Bilderdijk," to echo Southey, if he was neither a Calvinist nor a Romantic? How should one interpret his thought? What should one do... (shrink)