This book is the fruit of twenty-five years of study of Spinoza by the editor and translator of a new and widely acclaimed edition of Spinoza's collected works. Based on three lectures delivered at the Hebrew University of Jerusalem in 1984, the work provides a useful focal point for continued discussion of the relationship between Descartes and Spinoza, while also serving as a readable and relatively brief but substantial introduction to the Ethics for students. Behind the Geometrical Method is actually two books in one. The first is Edwin Curley's text, which explains Spinoza's masterwork to readers who have little background in philosophy. This text will prove a boon to those who have tried to read the Ethics, but have been baffled by the geometrical style in which it is written. Here Professor Curley undertakes to show how the central claims of the Ethics arose out of critical reflection on the philosophies of Spinoza's two great predecessors, Descartes and Hobbes. The second book, whose argument is conducted in the notes to the text, attempts to support further the often controversial interpretations offered in the text and to carry on a dialogue with recent commentators on Spinoza. The author aligns himself with those who interpret Spinoza naturalistically and materialistically.
In recent years many influential philosophers have advocated that philosophy is an a priori science. Yet very few epistemology textbooks discuss a priori knowledge at any length, focusing instead on empirical knowledge and empirical justification. As a priori knowledge has moved centre stage, the literature remains either too technical or too out of date to make up a reasonable component of an undergraduate course. Edwin Mares book aims to rectify this. This book seeks to make accessible to students the standard topics and current debates within a priori knowledge, including necessity and certainty, rationalism, empiricism and analyticity, Quine's attack on the a priori, Kantianism, Aristotelianism, mathematical knowledge, moral knowledge, logical knowledge and philosophical knowledge.
There are a bewildering variety of ways the terms "realism" and "anti-realism" have been used in philosophy and furthermore the different uses of these terms are only loosely connected with one another. Rather than give a piecemeal map of this very diverse landscape, the authors focus on what they see as the core concept: realism about a particular domain is the view that there are facts or entities distinctive of that domain, and their existence and nature is in some important sense objective and mind-independent. The authors carefully set out and explain the different realist and anti-realist positions and arguments that occur in five key domains: science, ethics, mathematics, modality and fictional objects. For each area the authors examine the various styles of argument in support of and against realism and anti-realism, show how these different positions and arguments arise in very different domains, evaluate their success within these fields, and draw general conclusions about these assorted strategies. Error theory, fictionalism, non-cognitivism, relativism and response-dependence are taken as the most important positions in opposition to the realist and these are explored in depth. Suitable for advanced level undergraduates, the book offers readers a clear introduction to a subject central to much contemporary work in metaphysics, epistemology and philosophy of language.
Containing a complete history of the county, with sketches of the various towns and mining camps . also, full statistics of mining and all other industrial resources
The most memorable Hollywood musicals of 1930s showcased the talents of stars like Fred Astaire, Jeanette MacDonald, Bing Crosby and Alice Faye. The less memorable ones didn't. This book takes a look at the unsung songfests of the '30s--secondary or forgotten features with short-lived or unlikely stars from major studios and Poverty Row. Through analysis of films such as Lord Byron of Broadway (1930), Shoot the Works (1934), Bottoms Up (1934), Moonlight and Pretzels (1933) and The Music Goes 'Round (1936), the author profiles such performers as Dorothy Dell, Lee Dixon, Peggy Fears, Lawrence Gray, Joe Morrison and the mother-daughter team of Myrt and Marge. Behind-the-scenes figures are discussed, like the infamously profligate producer Lou Brock, whose flops Down to Their Last Yacht (1934) and Top of the Town (1937) cost him his career. Filmographies and production information are included, with background on key participants.
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