Solomon and Higgins have chosen excerpts from the great philosophical texts and combined them with the most exciting new work of philosophers writing today. It examines the mysteries of erotic love from a variety of philosophical perspectives and provides an impressive display of wisdom that the world's best thinkers have brought, and continue to bring, to the study of love.
Why is 'love' taken for granted as a part of human experience? And why is sexual or romantic love in particular so important to us? This book aims to find out, tracing the intellectual history of sexual love, from the ancient Greeks to the modern day. Erotic Love in Sociology, Philosophy and Literature shows how discourses of love have intersected with social and cultural trends, as well as with personal events and experiences. Beginning with the queering of love in Greek antiquity, it looks at how sexual love has been sung about, fictionalized and theorized as a cornerstone of the formation of Western culture. From the courtly love of twelfth-century troubadours and the rise of affective individualism in the eighteenth century, to the way the novel helped catalyze and crystallize the hopes and contradictions of love and marriage, these are decisive episodes in the history of romantic love. Lastly, the book deals with how sociologists and feminist theorists have made sense of the liberalization of sexuality over the last fifty years, especially given the post-romantic pragmatism of commercialized dating practices. Arguing against the over-rationalism of intimate life, Erotic Love in Sociology, Philosophy and Literature recognizes the need to liberate love from patriarchal, racist and homophobic prejudices, and highlights the value of literary and sociological traditions to emphasize how they dignify the rhapsodies and the sufferings of love.
This is a book about how film encountered love in the course of its history. It is also a book about the philosophy of love. Since Plato, erotic love has been praised for leading the soul to knowledge. The vast tradition of poetry devoted to love has emphasized that love is a feeling. Love in Motion presents a new metaphysics and ontology of love as a reciprocal erotic relationship. The book argues that film has been particularly well suited for depicting love in this way, in virtue of its special narrative language. This is a language of expression that has developed in the course of film history. The book spans this history from early silent directors such as Joseph von Sternberg to contemporary filmmakers like Sophia Coppola. At the centre of this study is a comparison between Classical French and American love films of the forties and a series of modernist films by Luis Buñuel, François Truffaut and Wong Kar Wai.
Solomon and Higgins have chosen excerpts from the great philosophical texts and combined them with the most exciting new work of philosophers writing today. It examines the mysteries of erotic love from a variety of philosophical perspectives and provides an impressive display of wisdom that the world's best thinkers have brought, and continue to bring, to the study of love.
While humanists have pondered the subject of love to the point of obsessiveness, philosophers have steadfastly ignored it. One might wonder whether the discipline of philosophy even recognizes love. The word philosophy means “love of wisdom,” but the absence of love from philosophical discourse is curiously glaring. So where did the love go? In The Erotic Phenomenon, Jean-Luc Marion asks this fundamental question of philosophy, while reviving inquiry into the concept of love itself. Marion begins his profound and personal book with a critique of Descartes’ equation of the ego’s ability to doubt with the certainty that one exists—“I think, therefore I am”—arguing that this is worse than vain. We encounter being, he says, when we first experience love: I am loved, therefore I am; and this love is the reason I care whether I exist or not. This philosophical base allows Marion to probe several manifestations of love and its variations, including carnal excitement, self-hate, lying and perversion, fidelity, the generation of children, and the love of God. Throughout, Marion stresses that all erotic phenomena, including sentimentality, pornography, and even boasts about one’s sexual conquests, stem not from the ego as popularly understood but instead from love. A thoroughly enlightening and captivating philosophical investigation of a strangely neglected subject, The Erotic Phenomenon is certain to initiate feverish new dialogue about the philosophical meanings of that most desirable and mysterious of all concepts—love.
Rather than see love as a natural form of affection, Love As Human Freedom sees love as a practice that changes over time through which new social realities are brought into being. Love brings about, and helps us to explain, immense social-historical shifts—from the rise of feminism and the emergence of bourgeois family life, to the struggles for abortion rights and birth control and the erosion of a gender-based division of labor. Drawing on Hegel, Paul A. Kottman argues that love generates and explains expanded possibilities for freely lived lives. Through keen interpretations of the best known philosophical and literary depictions of its topic—including Shakespeare, Plato, Nietzsche, Ovid, Flaubert, and Tolstoy—his book treats love as a fundamental way that we humans make sense of temporal change, especially the inevitability of death and the propagation of life.
Despite increasing interest in the figure of Socrates and in love in ancient Greece, no recent monograph studies these topics in all four of Plato's dialogues on love and friendship. This book provides important new insights into these subjects by examining Plato's characterization of Socrates in Symposium, Phaedrus, Lysis and the often neglected Alcibiades I. It focuses on the specific ways in which the philosopher searches for wisdom together with his young interlocutors, using an art that is 'erotic', not in a narrowly sexual sense, but because it shares characteristics attributed to the daimon Eros in Symposium. In all four dialogues, Socrates' art enables him, like Eros, to search for the beauty and wisdom he recognizes that he lacks and to help others seek these same objects of erôs. Belfiore examines the dialogues as both philosophical and dramatic works, and considers many connections with Greek culture, including poetry and theater.
Intimate love opens us up to suffering, sacrifice, and loss. Is it always worth the risk? Consulting philosophers, writers, and poets who draw insights from material life, Diane Enns shines a light on the limits of erotic love, exploring its paradoxes through personal and philosophical reflections. Situating experience at the center of her inquiry, Enns conducts philosophy "by another name," elaborating the ambiguities and risks of love with visceral clarity. Love in the Dark claims that intimacy must accept risk as long as love does not destroy the self. Erotic love inspires an inexplicable affirmation of another but can erode autonomy and vulnerability. There is a limit to love, and appreciating it requires a rethinking of love's liberal paradigms, which Enns traces back to the hostility toward the body and eros in Christianity and the Western philosophical tradition. Against a legacy of an abstract and sanitized love, Enns recasts erotic attachment as an event linked to conditional circumstances. The value of love lies in its intensity and depth, and its end does not negate love's truth or significance. Writing in a lyrical, genre-defying style, Enns delineates the paradoxes of love in its relations to lust, abuse, suffering, and grief to reach an account faithful to human experience.
This book brings together a sensitive understanding of love and an unusually careful, even painstaking, analysis of the enormous but often neglected role of morality and the virtues in love. Martin's discussions of such virtues as caring, courage, fidelity, and honesty are superb, the examples well-chosen, the argument personal but nevertheless rigorous, the prose accessible and enjoyable to read.
This book systematically explores the moral issues surrounding self-deception. While many articles and books have been written on the concept of self-deception in recent years, Martin's gives much greater emphasis to self-deception as a significant topic for both ethical theory and applied ethics. "Self-deception is . . . perplexing from a moral point of view. It seems tailor-made to camouflage and foster immorality. . . . Does all self-deception involve some guilt, and is it among the most abhorrent evils. as some moralists and theologians have charged? Or is it only wrong sometimes, such as when it has bad consequences? Could it on occasion be permissible or even desirable to deceive ourselves, just as we are sometimes justified in deceiving other people? Are self-deceivers perhaps more like innocent victims than perpetrators of deceit, and as such deserving of compassion and help? Or, paradoxically, are they best viewed with ambivalence: culpable as deceivers and simultaneously innocent as victims of deception?" (from the introduction) Martin develops a conception of self-deception as the purposeful evasion of acknowledging to oneself truths or one's view of truth. He details a systematic framework for understanding the main moral perspectives and traditions concerning self-deception that have emerged in western philosophy. In so doing, he clarifies related concepts like sincerity, authenticity, honesty, hypocrisy, weakness of will, and self-understanding. Ranging across traditions both philosophical (Kant, Kierkegaard, and Sartre) and non-philosophical (Freud, Eugene O'Neill, and Henrik Ibsen), Martin shows why self-deception is as morally complex as any other major form of behavior. The appeal of this book is broad. The volume will challenge professional philosophers and psychologists, yet it is organized and written to be accessible to students in courses on ethics, philosophy of mind, and philosophy of literature. Martin's numerous literary examples should also interest literary critics.
