The origin of transcendental thought is to be sought in medieval philosophy. This book provides for the first time a complete history of the doctrine of the transcendentals and shows its importance for the understanding of philosophy in the Middle Ages. Winner of the Journal of the History of Philosophy Book Prize competition for the best book in the history of western philosophy published in 2013.
Students of Thomas Aquinas have so far lacked a comprehensive study of his doctrine of the transcendentals. This volume fills this lacuna, showing the fundamental character of the notions of being, one, true and good for his thought. The book inquires into the beginnings of the doctrine in the thirteenth century and explains the relation of the transcendental way of thought to Aquinas's conception of metaphysics. It analyzes "Being," "One," "True," "Good" and "Beautiful" individually and discusses their importance for the philosophical knowledge of God. Medieval Philosophy and the Transcendentals: The Case of Thomas Aquinas is intended as a contribution to the question "What is philosophy in the Middle Ages?". It argues that the doctrine of the transcendentals is essential for understanding medieval philosophy.
Rembrandt’s extraordinary paintings of female nudes—Andromeda, Susanna, Diana and her Nymphs, Danaë, Bathsheba—as well as his etchings of nude women, have fascinated many generations of art lovers and art historians. But they also elicited vehement criticism when first shown, described as against-the-grain, anticlassical—even ugly and unpleasant. However, Rembrandt chose conventional subjects, kept close to time-honored pictorial schemes, and was well aware of the high prestige accorded to the depiction of the naked female body. Why, then, do these works deviate so radically from the depictions of nude women by other artists? To answer this question Eric Jan Sluijter, in Rembrandt and the Female Nude, examines Rembrandt’s paintings and etchings against the background of established pictorial traditions in the Netherlands and Italy. Exploring Rembrandt’s intense dialogue with the works of predecessors and peers, Sluijter demonstrates that, more than any other artist, Rembrandt set out to incite the greatest possible empathy in the viewer, an approach that had far-reaching consequences for the moral and erotic implications of the subjects Rembrandt chose to depict. In this richly illustrated study, Sluijter presents an innovative approach to Rembrandt’s views on the art of painting, his attitude towards antiquity and Italian art of the Renaissance, his sustained rivalry with the works of other artists, his handling of the moral and erotic issues inherent in subjects with female nudes, and the nature of his artistic choices.
The questions as to why most languages appear to have more trouble borrowing verbs than nouns, and as to the possible mechanisms and paths by which verbs can be borrowed or the obstacles for verb borrowing, have been a topic of interest since the late 19th century. However, no truly substantial typological research had been undertaken in this field before the present study. The present work is the first in-depth cross-linguistic study on loan verbs and the morphological, syntactic and sociolinguistic aspects of loan verb accommodation. It applies current methodologies on database management, quantitative analysis and typological conventions and it is based on a broad global sample of data from over 400 languages and the typological data from the World Atlas of Language Structures (WALS). One major result of the present study is the falsification, on empirical grounds, of long-standing claims that verbs generally are more difficult to borrow than other parts of speech, or that verbs could never be borrowed as verbs and always needed a re-verbalization in the borrowing language.
Students of Thomas Aquinas have so far lacked a comprehensive study of the transcendentals. This volume fills this lacuna, arguing that the notions of being, one, true and good are both fundamental for his thought and essential for understanding medieval philosophy.
Issued in connection with an exhibition held Oct. 5, 2010-Jan. 17, 2011, Metropolitan Museum of Art, New York, and Feb. 23-May 30, 2011, National Gallery, London (selected paintings only).
This comprehensive reference is clearly destined to become the definitive anatomical basis for all molecular neuroscience research. The three volumes provide a complete overview and comparison of the structural organisation of all vertebrate groups, ranging from amphioxus and lamprey through fishes, amphibians and birds to mammals. This thus allows a systematic treatment of the concepts and methodology found in modern comparative neuroscience. Neuroscientists, comparative morphologists and anatomists will all benefit from: * 1,200 detailed and standardised neuroanatomical drawings * the illustrations were painstakingly hand-drawn by a team of graphic designers, specially commissioned by the authors, over a period of 25 years * functional correlations of vertebrate brains * concepts and methodology of modern comparative neuroscience * five full-colour posters giving an overview of the central nervous system of the vertebrates, ideal for mounting and display This monumental work is, and will remain, unique; the only source of such brilliant illustrations at both the macroscopic and microscopic levels.
This book offers a much-needed consideration of Melusine within medieval and contemporary theories of space, memory, and gender. The Middle English Melusine offers a particularly rich source for such a study, as it presents the story of a powerful fairy/human woman who desires a full human life—and death—within a literary tradition that is more friendly to women’s agency than its continental counterparts. After establishing a “textual habitus of wonder,” Jan Shaw explores the tale in relation to a range of Middle English traditions including love and marriage, the spatial practices of women, the operation of individual and collective memory, and the legacies of patrimony. Melusine emerges as a complex figure, representing a multifaceted feminine subject that furthers our understanding of Middle English women’s sense of self in the world.
The origin of transcendental thought is to be sought in medieval philosophy. This book provides for the first time a complete history of the doctrine of the transcendentals and shows its importance for the understanding of philosophy in the Middle Ages. Winner of the Journal of the History of Philosophy Book Prize competition for the best book in the history of western philosophy published in 2013.
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