In Portraits of American Philosophy, eight of America’s most prominent philosophers offer autobiographical narratives that remind us that the life of a scholar is both a tale of personal struggle and an adventure in ideas.

Portraits of Integrity depicts more than 20 historical, fictional and contemporary figures whose character or life raises questions about what integrity is and how it is perceived. Integrity might be culturally bound, but this diverse set of portraits demonstrates that it is not the special preserve of any one culture. Portraits of Socrates, Mencius, Rama and Job, alongside the aspirational 16th-century couple John and Dorothy Kaye, civil rights activist Ella Baker and an anonymous banker, highlight the persisting (...) – sometimes conflicting – features of a life lived with integrity. An introduction identifies and discusses the key questions and themes raised by the case studies, encouraging the reader to determine for themselves the weight and significance of the recurring topics integrity brings up - truth, awkwardness, goodness, and charisma. For anyone looking to learn more about this elusive virtue, Portraits of Integrity is an essential collection. It uncovers the manifold aspects of integrity, illustrates the various possibilities for its expression in a life and asks whether living a life of integrity means living a life of isolation and hardship, or if it is possible to live with integrity without jeopardising all else. (shrink)

With few remarkable exceptions, portraiture has been a very much neglected topic in philosophy in general, and in aesthetics in particular. This might be due to.

This paper offers a composite portrait of the concept of magnanimity in nineteenth-century America, focusing on Ralph Waldo Emerson, Margaret Fuller, and Henry David Thoreau. A composite portrait, as a method in the history of philosophy, is designed to bring out characteristic features of a group's philosophizing in order to illuminate characteristic features that may still resonate in today's philosophy. Compared to more standard methods in the historiography of philosophy, the construction of a composite portrait de-privileges the views of individual (...) authors. These philosophers saw the virtue of magnanimity as a remedy for a number of modern ills. American philosophers suggest that the best sort of magnanimity is acquired by adopting the correct relation to the natural world, including new forms of inquiry, or by adopting a life of voluntary poverty. Magnanimous individuals are critics of capitalism and offer themselves as exemplars of a better, experimental life. (shrink)

The Boston Colloquium for the Philosophy of Science began 2S years ago as an interdisciplinary, interuniversity collaboration of friends and colleagues in philosophy, logic, the natural sciences and the social sciences, psychology, religious studies, arts and literature, and often the celebrated man-in-the street. Boston University came to be the home base. Within a few years, pro ceedings were seen to be candidates for publication, first suggested by Gerald Holton for the journal Synthese within the Synthese Library, both from the D. (...) Reidel Publishing Company of Dordrecht, then and now in Boston and Lancaster too. Our colloquium was inheritor of the Institute for the Unity of Science, itself the American transplant of the Vienna Circle, and we were repeatedly honored by encouragement and participation of the Institute's central figure, Philipp Frank. The proceedings were selected, edited, revised in the light of the discussions at our colloquia, and then other volumes were added which were derived from other symposia, in Boston or elsewhere. A friendly autonomy, in dependent of the Synthese Library proper, existed for more than a decade and then the Boston Studies became fully separate. We were grateful to Jaakko Hintikka for his continued encouragement within that Library. The series Boston Studies in the Philosophy of Science was conceived in the broadest framework of interdisciplinary and international concerns. Natural scientists, mathematicians, social scientists and philosophers have contributed to the series, as have historians and sociologists of science, linguists, psychologists, physicians, and literary critics. (shrink)

In Portraits of American Philosophy, eight of America’s most prominent philosophers offer autobiographical narratives that remind us that the life of a scholar is both a tale of personal struggle and an adventure in ideas.

In Portraits of American Philosophy, eight of America's most prominent philosophers offer autobiographical narratives that remind us that the life of a scholar is both a tale of personal struggle and an adventure in ideas.

Portraits are everywhere. One finds them not just in museums and galleries, but also in newspapers and magazines, in the homes of people and in the boardrooms of companies, on stamps and coins, on millions of cell phones and computers. Despite its huge popularity, however, portraiture hasn’t received much philosophical attention. While there are countless art historical studies of portraiture, contemporary philosophy has largely remained silent on the subject. This book aims to address that lacuna. It brings together philosophers (...) (and philosophically minded historians) with different areas of expertise to discuss this enduring and continuously fascinating genre. The chapters in this collection are ranged under five broad themes. Part I examines the general nature of portraiture and what makes it distinctive as a genre. Part II looks at some of the subgenres of portraiture, such as double portraiture, and at some special cases, such as sport card portraits and portraits of people not present. How emotions are expressed and evoked by portraits is the central focus of Part III, while Part IV explores the relation between portraiture, fiction, and depiction more generally. Finally, in Part V, some of the ethical issues surrounding portraiture are addressed. The book closes with an epilogue about portraits of philosophers. Portraits and Philosophy tangles with deep questions about the nature and effects of portraiture in ways that will substantially advance the scholarly discussion of the genre. It will be of interest to scholars and students working in philosophy of art, history of art, and the visual arts. (shrink)

Bien qu'il soit critique à son endroit, Deleuze invente une nouvelle histoire de la philosophie conçue comme un art du portrait conceptuel, une forme de collage et de théâtre, où il ne s'agit pas de brosser un tableau fidèle, mais de produire la ressemblance en éprouvant la puissance des concepts.

This is an attempt to demonstrate that in early China anecdotes and biographical scenes are not to be despised in philosophical examination but, on the contrary, merit close attention. By analyzing the encounter between the monarch Helü of the state of Wu and the celebrated strategist Sun Wu, as it is described in various ancient written sources, an attempt will be made to show that this event, far from being a trivial story, concentrates and explains some of the most important (...) ideas to be found in the work traditionally credited to the latter, The Art of War, as well as in other military treatises of the time. (shrink)

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

This book offers an unprecedented quantitative portrait of analytic philosophy focusing on two seemingly marginal features of philosophical texts: citations and acknowledgements in academic publications. Originating from a little network of philosophers based in Oxford, Cambridge, and Vienna, analytic philosophy has become during the Twentieth century a thriving philosophical community with thousands of members worldwide. Leveraging the most advanced techniques from bibliometrics, citations and acknowledgments are used in this book to shed light on both the epistemology and the sociology of (...) this philosophical field, illuminating the intellectual trajectory of analytic philosophy as well as the social characteristics of the analytic community. Special attention is dedicated to the last forty years, providing insights into a phase of analytic philosophy which is still understudied by historians of philosophy. In the eight chapters of the book, readers will find not only numerous quantitative investigations and technical explanations, but also a robust theoretical framework and epistemological reflections on the strengths and limitations of quantitative methods for the study of philosophy. With its strong interdisciplinary appeal, this book will engage a wide range of scholars, including historians of philosophy seeking new methodologies, analytic philosophers interested in a new look at their discipline, and scholars in digital humanities, bibliometrics, and quantitative studies of science, who will find many innovative techniques for investigating disciplinary fields. (shrink)

Who can say "I am Jewish?" What does "Jew" mean? What especially does it mean for Jacques Derrida, founder of deconstruction, scoffer at boundaries and fixed identities, explorer of the indeterminate and undecidable? In _Portrait of Jacques Derrida as a Young Jewish Saint_, French feminist philosopher Hélène Cixous follows the intertwined threads of Jewishness and non-Jewishness that play through the life and works of one of the greatest living philosophers. Cixous is a lifelong friend of Derrida. They both grew up (...) as French Jews in Algeria and share a "belonging constituted of exclusion and nonbelonging"--not Algerian, rejected by France, their Jewishness concealed or acculturated. In Derrida's family "one never said 'circumcision'but 'baptism,'not 'Bar Mitzvah'but 'communion.'" Judaism cloaked in Catholicism is one example of the undecidability of identity that influenced the thinker whom Cixous calls a "Jewish Saint." An intellectual contemporary of Derrida, Cixous's ideas on writing have an affinity with his philosophy of deconstruction, which sought to overturn binary oppositions--such as man/woman, or Jew/non-Jew--and blur boundaries of exclusion inherent in Western thought. In portraying Derrida, Cixous uses metonymy, alliteration, rhyme, neologisms, and puns to keep the text in constant motion, freeing language from any rigidity of meaning. In this way she writes a portrait of "Derrida in flight," slipping from one appearance to the next, unable to be fixed in one spot, yet encompassing each point he passes. From the circumcision act to family relationships, through Derrida's works to those of Celan, Rousseau, and Beaumarchais, Cixous effortlessly merges biography and textual commentary in this playful portrait of the man, his works, and being (or not being) Jewish. (shrink)

Portraits are defined in part by their aim to reveal and represent the inner ‘character’ of a person. Because landscapes are typically viewed as lacking such an ‘inner life,’ one might assume that landscapes cannot be the subject of portraiture. However, the notion of landscape character plays an important role in landscape aesthetics and preservation. In this essay, I argue that landscape artworks can thus share in portraiture’s goal of capturing character, and in doing so present us with essential (...) tools for revealing the often ineffable character of place. I explain the implications of this view for debates about scientific cognitivism in environmental aesthetics, representing the narrative dimension of landscape character and integrity, and appeals to the character of place in historic and environmental preservation. (shrink)

Si nul ne sait ce que peut un environnement, nul ne sait sans doute davantage ce que peut être de nos jours une philosophie de l’environnement. Aussi est-il souhaitable de faire dialoguer des philosophes d’ici et d’ailleurs, d’hier et d’aujourd’hui, que nous avons tendance à tenir pour étrangers aux problèmes environnementaux parce que nous négligeons le plus souvent de les interroger sur ce chapitre où les questions et les réponses semblent connues d’avance. En tirant le portrait sur fond de crise (...) écologique de plus d’une quinzaine de penseurs différents (d’Edmund Husserl à Peter Sloterdijk, en passant par Martin Heidegger, Arne Næss et Gilles Deleuze), dont les voix et les visages parfois se mêlent, cet ouvrage voudrait modifier l’éclairage sous lequel ces penseurs sont perçus et, par là, contribuer à jeter une autre lumière sur ce que peuvent être les enjeux et les défis d’une pensée de l’environnement dont l’identité reste à construire. (shrink)

Machine generated contents note: -- Part I -- 1. Portrait of the psychiatrist as a young man 1927-1960 -- 2. Portrait of the psychiatrist as an intellectual. Laing's early, notebooks, personal library, essays, papers, and talks -- 3. Laing and psychiatric theory -- 4. Laing and existential-phenomenology -- 5. Laing and Religion -- 6. Laing and the Arts -- Part II -- 7. Laing in the Army -- 8. Gartnavel Hospital and the 'Rumpus Room' -- 9. Individual patients at Gartnavel (...) -- 10. Laing at the Southern General Hospital -- 11. Laing in London -- 12. The Divided Self. (shrink)

The aim of this paper is to explore what could be meant by modernist portraiture. On the face of it, there is a real tension about the very idea of modernist portraiture inasmuch as one key idea of modernism is negativity and self-negation, whereas portraiture is, in some very obvious sense, not negation. It is the depiction of the sitter. So there are reasons to think that modernist portraiture, in the strong sense of the term, is a contradiction in terms. (...) Nonetheless, I argue that there is such a thing as genuine modernist portraiture – modernist portraiture in the strong sense. But it is not easy to pull it off. And the modernist act of creating portraits of people not present also reveals something important about the nature of depiction and the importance of mental imagery in picture perception. (shrink)

Portraits of Wittgenstein is a major collection of memoirs and reflections on one of the most influential and yet elusive personalities in the history of modern philosophy, Ludwig Wittgenstein. Featuring a wealth of illuminating and profound insights into Wittgenstein's extraordinary life, this unique collection reveals Wittgenstein's character and power of personality more vividly and comprehensively than ever before. With portraits from more than seventy-five figures, Portraits of Wittgenstein brings together the personal recollections of philosophers, students, friends and (...) acquaintances, including Bertrand Russell, G. E. Moore, F. R. Leavis, A. J. Ayer, Karl Popper, Friedrich von Hayek, G. H. von Wright, Rush Rhees, Freeman Dyson, G. E. M. Anscombe, Iris Murdoch, Mary Midgley and Mary Warnock. These authors testify to the life-long influence Wittgenstein had on the lives of those he met. Their fascinating memoirs, reflections and commentaries, often at odds with each other, reveal Wittgenstein's kindness, and how much genuine friendship meant to him, as well as his suffering and despair. They show too how the philosopher's ruthless honesty and uncompromising integrity often resulted in stern advice and harsh rebukes to friends and foes alike. Now available in a single, revised and updated volume, Portraits of Wittgenstein includes new selections, revised contributions, photographs, maps and introductory overviews that provide historical context to Wittgenstein's relationships with his intellectual and social circle. This collection of valuable and hard-to-find material is an indispensable resource for scholars and students of the life and work of Ludwig Wittgenstein. (shrink)

In the history of philosophy, Jean-Jacques Rousseau is mainly considered as an atypical philosopher of the Enlightenment, as a pioneer of the revolutionary idea of a free civilian state and natural law; in literary history, he is considered the forerunner of Romanticism, the writer who perfected the form of an epistolary novel, as well as a sentimentalist. However, this paper focuses on the biographical approach, which was mostly excluded in observation of those works revealing Rousseau as the originator of the (...) autobiographical novelistic genre. The subject of this paper is the issue of credibility of self-portraits, and through this problem it highlights the facts from the author?s life. This paper relies on a biographical approach, not in the positivistic sense but in the phenomenological key. This paper is mainly inspired by the works of the Geneva School theorists - Starobinski, Poulet and Rousset. Zan-Zak Ruso uglavnom je u istoriji filozofije promatran kao netipican filozof epohe prosvetiteljstva, kao zacetnik revolucionarnih ideja o slobodnoj gradjanskoj drzavi i prirodnom pravu; u istoriji knjizevnosti kao preteca romantizma, pisac koji je usavrsio epistolarnu formu romana i sentimentalista. Medjutim, u ovom radu fokus je na prenebregavanom biografskom pristupu onim delima u kojima se Ruso otkriva kao zacetnik autobiografskog romanesknog zanra. Preispitan je problem verodostojnosti autoportreta i kroz taj problem osvetljene su cinjenice iz autorovog zivota. Pristup u ovom tekstu oslonjen je na biografski, ali ne u pozitivistickom vec u fenomenoloskom kljucu. Osnovna inspiracija za tekst bili su radovi teoreticara zenevske skole - Starobinskog, Pulea i Rusea. (shrink)

Portraits of Confucius presents a major collection of Western perspectives on Confucius and Confucianism, stretching from the Jesuit missions of the 16th-century to the dawn of modern cross-cultural scholarship in the early 20th-century. With selections from over 100 figures covering the 1580s to the 1950s, this two-volume work features writing from American and European sources including Benjamin Franklin, Thomas Paine, Friedrich Nietzsche, Ralph Waldo Emerson, Henry David Thoreau and Bertrand Russell. Arranged chronologically, they represent methodologies that span philosophy, political (...) science, religious studies, sociology, anthropology, economic theory, linguistics, missionary texts, and works of popular moralism. Together they reveal important ideological trends in Western attitudes toward China-with Confucius becoming positioned at different times as anti-Christian or nearly Christ-like, while Confucianism is interpreted as something positive the West needs to adopt or as something negative that must be opposed. For scholars and students interested in the life, work and teachings of Confucius and the West's reception of Chinese philosophy, this is an indispensable reference resource. (shrink)

Many works of fiction include portraits in their storyworlds. Some of these portraits are themselves fictional, such as the portrait of Dorian Gray in Oscar Wilde's novel. Others are real, such as the Darnley portrait of Elizabeth I in A. S. Byatt's The Virgin in the Garden. When authors invent portraits, they expect us to visualise them. When they refer to real portraits, they exploit our familiarity with how they actually look. Like representations of other real (...) entities in fiction, references to real portraits function to ground the story in the real world. But portraits are more than material entities; they are also representational in their own right. In contrasting the ways real portraits are used in Josephine Tey's The Daughter of Time and Orhan Pamuk's My Name is Red, I argue that authors can be criticised when they mischaracterise the representational features of real portraits. (shrink)

The following is a reflection on the possibility of teaching by example, and especially as the idea of teaching by example is developed in the work of Jean-Jacques Rousseau. My thesis is that Rousseau created a literary version of himself in his writings as an embodiment of his philosophy, rather in the same way and with the same purpose that Plato created a version of Socrates. This figure of Rousseau—a sort of philosophical portrait of the man of nature—is represented as (...) an example for us to follow. This would appear to have been dangerous and destabilizing work, given the mental distress that it caused Rousseau in striving to live up to his fictional self. Rousseau's own ideas on the nature of teaching by example are presented in a discussion of the section in ‘Emile’ which Rousseau takes from an incident in his own life—the story of his meeting with a young Savoyard priest who befriended him and influenced him through the power of his example. (shrink)

This article will contrast two portrayals of Protagoras: one in the "Theaetetus," where Socrates discusses Protagorean theory and even comes to his defense by imitating the deceased sophist; and another in the "Protagoras," where Socrates recounts his encounter with the sophist. I suggest that Plato wants listeners and readers of the dialogues to hear the dissonance between the two portraits and to wonder why Socrates so distorts Protagoras in the "Theaetetus." Protagoras in the "Protagoras" behaves and speaks in ways (...) that are incompatible with the Protagorean position presented in the "Theaetetus." . (shrink)

Who can say "I am Jewish?" What does "Jew" mean? What especially does it mean for Jacques Derrida, founder of deconstruction, scoffer at boundaries and fixed identities, explorer of the indeterminate and undecidable? In _Portrait of Jacques Derrida as a Young Jewish Saint_, French feminist philosopher Hélène Cixous follows the intertwined threads of Jewishness and non-Jewishness that play through the life and works of one of the greatest living philosophers. Cixous is a lifelong friend of Derrida. They both grew up (...) as French Jews in Algeria and share a "belonging constituted of exclusion and nonbelonging" -- not Algerian, rejected by France, their Jewishness concealed or acculturated. In Derrida's family "one never said 'circumcision'but 'baptism,'not 'Bar Mitzvah'but 'communion.'" Judaism cloaked in Catholicism is one example of the undecidability of identity that influenced the thinker whom Cixous calls a "Jewish Saint." An intellectual contemporary of Derrida, Cixous's ideas on writing have an affinity with his philosophy of deconstruction, which sought to overturn binary oppositions -- such as man/woman, or Jew/non-Jew -- and blur boundaries of exclusion inherent in Western thought. In portraying Derrida, Cixous uses metonymy, alliteration, rhyme, neologisms, and puns to keep the text in constant motion, freeing language from any rigidity of meaning. In this way she writes a portrait of "Derrida in flight," slipping from one appearance to the next, unable to be fixed in one spot, yet encompassing each point he passes. From the circumcision act to family relationships, through Derrida's works to those of Celan, Rousseau, and Beaumarchais, Cixous effortlessly merges biography and textual commentary in this playful portrait of the man, his works, and being Jewish. (shrink)

Who can say "I am Jewish?" What does "Jew" mean? What especially does it mean for Jacques Derrida, founder of deconstruction, scoffer at boundaries and fixed identities, explorer of the indeterminate and undecidable? In _Portrait of Jacques Derrida as a Young Jewish Saint_, French feminist philosopher Hélène Cixous follows the intertwined threads of Jewishness and non-Jewishness that play through the life and works of one of the greatest living philosophers. Cixous is a lifelong friend of Derrida. They both grew up (...) as French Jews in Algeria and share a "belonging constituted of exclusion and nonbelonging" -- not Algerian, rejected by France, their Jewishness concealed or acculturated. In Derrida's family "one never said 'circumcision'but 'baptism,'not 'Bar Mitzvah'but 'communion.'" Judaism cloaked in Catholicism is one example of the undecidability of identity that influenced the thinker whom Cixous calls a "Jewish Saint." An intellectual contemporary of Derrida, Cixous's ideas on writing have an affinity with his philosophy of deconstruction, which sought to overturn binary oppositions -- such as man/woman, or Jew/non-Jew -- and blur boundaries of exclusion inherent in Western thought. In portraying Derrida, Cixous uses metonymy, alliteration, rhyme, neologisms, and puns to keep the text in constant motion, freeing language from any rigidity of meaning. In this way she writes a portrait of "Derrida in flight," slipping from one appearance to the next, unable to be fixed in one spot, yet encompassing each point he passes. From the circumcision act to family relationships, through Derrida's works to those of Celan, Rousseau, and Beaumarchais, Cixous effortlessly merges biography and textual commentary in this playful portrait of the man, his works, and being Jewish. (shrink)

Berkeley is popular in the philosophical tradition as the philosopher who denied the existence of matter in favor of spiritual substance. His esse est percipi thesis is understandably seen as a recipe for subjective idealism. While there is a point to this reading of Berkeley, it remains to be seen whether it does justice to the full significance of Berkeley’s philosophy. In Berkeley’s scholarship consequently the traditional understanding of Berkeley as a subjective idealist has been challenged by scholars such as (...) Jessop and Ardley who argue that Berkeley is better understood as a common sense realist. In approaching Berkeley’s Immaterialism from the standpoint of the philosophical issues raised by the emergence of modern science, this book is a sympathetic reconstruction of Berkeley’s philosophy. The contention is that if approached in this manner, Berkeley’s opposition to philosophical materialism not only emerges as an attempt to overcome false abstractions but it also becomes possible to make sense of Berkeley’s claimed alliance with common sense in his battle against philosophical materialism. While the realist portrait of Berkeley that emerges from this exercise is not free of difficulties, it arguably offers us a fuller conspectus of Berkeley’s immaterialism. (shrink)

To what extent are artists and sitters (or researchers and “objects” of investigation) implicated in their representations of others? How implicated are we when we identify with the way different cultures or perspectives represent ourselves? Understanding how specific forms of representation reveal differently authored perceptions of the individual is a critical concern. My overarching concern, as an artist, is to start mapping contemporary practices of identity formation and expression through the investigation of specific non- Western and subcultural modes that prioritise (...) different codes and social processes of cultural production – modes that do not privilege the gaze. Crucially, the case studies operate a strategic reversal of the classical artistic and scientific approaches: both sides in this dialogue of interpretation and representation involving the artist/researcher and the cultural actor are equally subject and object. The resulting artworks present distinct cultural practices as new possibilities for portrayal, and acts of selection, interpretation and definition as forms of cultural production. (shrink)

For the modern-day jihadist, the digital self-portrait or, more specifically, battlefield selfie is a popular tool for identity building. Similarly to the selfies taken by non-violent practitioners of self-capture culture, the jihadist selfie represents an alternative to the Cartesian formulation of a unitary and indivisible self. Rather, it is a product of social relations and performative actions, constituted in dialogue with others through very specific socio-cultural frameworks and expectations. However, unlike its non-violent Doppelganger, the expectations of this dialogue are centred (...) around a larger political agenda which actively seeks to reformat collective memories of imperial Islamic conquests and co-opt religion as a way to impose a moral order on its violence. Importantly, the battlefield selfie allows the jihadist easily to traverse the boundaries between two seemingly opposing belief systems. Although there exists a wealth of scholarship of self-capture culture, image sharing sites and micro-celebritism, their pervasive influence and practice on battlefield is understudied. This article draws from the personal histories of key Islamic extremists who were both lionized and demonized as a result of their battlefield micro-influencer practices. Today, however, the same individuals can achieve internet fame by participating in self-capture culture – posting selfies, videos or blogging. In other words, never before has a soldier’s public communication been so personal yet collective. (shrink)

Il n'est pas habituel de considérer un philosophe comme un ogre. Mais que faire si l'on entend la voix d'un ogre dans la voix d'un philosophe? Et quel sens donner à ce phénomène oratoire saisissant quand on le perçoit non seulement dans la voix de Gilles Deleuze, mais aussi dans celles de Michel Foucault ou de Vladimir Jankélévitch? La philosophie se présente à son public comme forme raisonnante par excellence. Mais l'archivage sonore des séminaires de Gilles Deleuze nous oblige à (...) un tout autre portrait du philosophe et de l'activité philosophique elle-même. (shrink)

‘The portraits of disease’ explores the link between the symbolic use of diseases and the propagation of ideologies. It traces the origins of the term ‘Sick Man of Asia’ back to British newspapers in the mid-eighteenth century and its development into a metaphor for actual pathogens. The author contends that coloniality and pathogens share similarities, as both are highly transmissible and cannot be seen with the naked eye. The text also examines the influence of German-influenced microbiological research in the (...) Japanese Empire on the expansion of public health methods and institutions in Taiwan, Korea and north-eastern China. This study calls for a broader conversation about the intersections between science, ideology and power in our contemporary global context. (shrink)

Philosopher Jean-Paul Sartre counted among his friends and associates some of the most esteemed intellectuals, writers, and artists of the twentieth century. In _Portraits_, Sartre collected his impressions and accounts of many of his notable acquaintances, in addition to some of his most important writings on art and literature during the early 1950s. _Portraits_ includes Sartre’s preface to Nathalie Sarraute’s _Portrait of a Man Unknown_ and his homages to André Gide, Albert Camus, and Maurice Merleau-Ponty. The essay on Merleau-Ponty casts (...) considerable light on the recent history of French philosophy, particularly with regard to dominant post-war political conceptions. Featured as well are lengthy studies of Sartre’s close friend Paul Nizan and of the young André Gorz that are no less revealing, as well as Sartre’s “Reply to Albert Camus,” which sealed the ideological and personal break between the two writers on its publication in 1952. Alongside these major writings are fascinating articles on Tintoretto and a number of contemporary artists, including Giacometti and Masson. Finally, _Portraits _concludes with two travelogue-style accounts of Sartre’s time in Italy. This new translation by Chris Turner presents these essays in their complete form as originally intended by Sartre when he first published _Situations IV_ in France and is thus essential reading for anyone interested in the artistic and intellectual history of the time. (shrink)

In my opinion, the two main topics in the philosophy of mind are content and consciousness. As the title of my first book, _Content and Consciousness_ (1969) suggested, that is the order in which they must be addressed: first, a theory of content or intentionality--a phenomenon more fundamental than consciousness--and then, building on that foundation, a theory of consciousness. Over the years I have found myself recapitulating this basic structure twice, partly in order to respond to various philosophical objections, but (...) more importantly, because my research on foundational issues in cognitive science led me into different aspects of the problems. The articles in the first half of. (shrink)

A key introduction to Aristotle, emphasizing the importance of his biological thinking to the study of his thought. Written for students and the general reader with little prior knowledge of Aristotle, this edition features a new preface by Professor Grene.

Le portrait de l'homme -- Le Cabinet inestimable de la femme.

This book conveys an understanding of China’s educational development from within and provides unique insights into Chinese society. It does so through portraits of eleven influential educators whose ideas have shaped the educational reforms initiated by Deng Xiaoping in 1978. The book makes Chinese civilization concrete through the drama of the real lives of educators and provides glimpses into the educational context of China’s recent move onto the world stage.

This paper presents a close analysis of Steve Pyke’s famous series of portraits of philosophers. By comparing his photographs to other well-known series of portraits and to other portraits of philosophers we will seek a better understanding of the distinctiveness and fittingness of Pyke’s project. With brief nods to Roland Barthes, Jean Baudrillard, G.W.F. Hegel, and Arthur Schopenhauer and an extensive critical investigation of Cynthia Freeland’s ideas on portraiture in general and her reading of Steve Pyke’s (...) class='Hi'>portraits in particular, this paper will also aim to make a contribution to the philosophical debate on portraiture. (shrink)

Philosopher Jean-Paul Sartre counted among his friends and associates some of the most esteemed intellectuals, writers, and artists of the twentieth century. In Portraits, Sartre collected his impressions and accounts of many of his notable acquaintances, in addition to some of his most important writings on art and literature during the early 1950s. Portraits includes Sartre's preface to Nathalie Sarraute's Portrait of a Man Unknown and his homages to André Gide, Albert Camus, and Maurice Merleau-Ponty. The essay on (...) Merleau-Ponty casts considerable light on the recent history of French philosophy, particularly with regard to dominant post-war political conceptions. Featured as well are lengthy studies of Sartre's close friend Paul Nizan and of the young André Gorz that are no less revealing, as well as Sartre's "Reply to Albert Camus," which sealed the ideological and personal break between the two writers on its publication in 1952. Alongside these major writings are fascinating articles on Tintoretto and a number of contemporary artists, including Giacometti and Masson. Finally, Portraits concludes with two travelogue-style accounts of Sartre's time in Italy. This new translation by Chris Turner presents these essays in their complete form as originally intended by Sartre when he first published Situations IV in France and is thus essential reading for anyone interested in the artistic and intellectual history of the time. (shrink)

Self-portrait photography presents an elucidatory range of cases for investigating the relationship between automatism and artistic agency in photography— a relationship that is seen as a problem in the philosophy of art. I discuss self-portraits by photographers who examine and portray their own identities as artists working in the medium of photography. I argue that the automatism inherent in the production of a photograph has made it possible for artists to extend the tradition of self-portraiture in a way that (...) is radically different from previous visual arts. In Section I, I explain why self-portraiture offers a way to address the apparent conflict between automatism and agency that is debated in the philosophy of art. In Section II, I explain why mirrors play an important function in the production of a traditional self-portrait. In Sections III and IV, I discuss how photographers may create self-portraits with and without the use of mirrors to show how photography offers unique and important new forms of self-portraiture. (shrink)