"A work of major importance for the interpretation of Descartes's development and for the understanding of the function of the imagination in Descartes's early works. Descartes's Imagination will be a must in Descartes and imagination studies. It is long overdue."--Eva T. H. Brann, author of The World of Imagination: Sum and Substance "A significant contribution to our understanding of the development of Descartes's philosophy."--William R. Shea, author of The Magic of Numbers and Motion: The Scientific Career of Rene Descartes
Explore the importance of happiness with the youngest readers in a wonderfully accessible way. Even little children have big questions about life. Finding happiness is a lifelong goal and Aristotle thought deeply about it. Why are we here? What is the best way to live a happy life? Having friends who are fun and adventurous is important, but it's also important to have true friends who will help us be good people and tell us when we're straying from that. He also believed we have to love ourselves in order to love others and be happy. This book will prompt readers to concentrate on what makes them happy and how they can be a good friend to others and themselves. Look for all six Big Ideas for Little Philosophers board books: Equality with Simone de Beauvoir, Truth with Socrates, Happiness with Aristotle, Imagination with René Descartes, Kindness with Confucius, Love with Plato, and Truth with Socrates.
Winner of the 2009 International Conference on Romanticism's Jean-Pierre Barricelli Award for the best book in Romanticism studies As the mental faculty that mediates between self and world, mind and body, the senses and the intellect, imagination is indispensable for modern models of subjectivity. From René Descartes's Meditations to the aesthetic and philosophical systems of the Romantic period, to think about the subject necessarily means to address the problem of imagination. In close readings of Descartes, Kant, Fichte, Hardenberg (Novalis) and Coleridge, and with a sustained return to the origins of the discourse about imagination in Greek antiquity, Alexander Schlutz demonstrates that neither the unity of the subject itself, nor the unity of the philosophical systems that are based on it, can be conceptualized without recourse to imagination. Yet, philosophers like Descartes and Kant must deny imagination any such foundational role because of its dangerous connection to the body, the senses and the unruly passions, which threatens the desired autonomy of the rational subject. The modern subject is simultaneously dependent upon and constructed in opposition to imagination, and the resulting ambivalence about the faculty is one of the fundamental conditions of modern models of subjectivity. Schlutz's readings of the Romantic poet-philosophers Coleridge and Hardenberg highlight that also their texts are not free of fears about the faculty's disruptive potential and its connection to the body. While imagination is now openly enlisted to produce the aesthetic unity of subjectivity, it still threatens to unravel and destroy a subject that needs to keep the body and its desires at bay in order to secure its rational and moral autonomy. The dark abyss of a self not in control of its thoughts, feelings, and desires is not overcome by the philosophical glorification of the subject's powers of imagination.
This book discusses that imagination is as important to thinking and reasoning as it is to making and acting. By reexamining our philosophical and psychological heritage, it traces a framework, a conceptual topology, that underlies the most disparate theories: a framework that presents imagination as founded in the placement of appearances. It shows how this framework was progressively developed by thinkers like Plato, Aristotle, Descartes, and Kant, and how it is reflected in more recent developments in theorists as different as Peirce, Saussure, Wittgenstein, Benjamin, and Bachelard. The conceptual topology of imagination incorporates logic, mathematics, and science as well as production, play, and art. Recognizing this topology can move us past the confusions to a unifying view of imagination for the future.
Descartes's works are often treated as a unified, unchanging whole. But in Descartes's Changing Mind, Peter Machamer and J. E. McGuire argue that the philosopher's views, particularly in natural philosophy, actually change radically between his early and later works--and that any interpretation of Descartes must take account of these changes. The first comprehensive study of the most significant of these shifts, this book also provides a new picture of the development of Cartesian science, epistemology, and metaphysics. No changes in Descartes's thought are more significant than those that occur between the major works The World (1633) and Principles of Philosophy (1644). Often seen as two versions of the same natural philosophy, these works are in fact profoundly different, containing distinct conceptions of causality and epistemology. Machamer and McGuire trace the implications of these changes and others that follow from them, including Descartes's rejection of the method of abstraction as a means of acquiring knowledge, his insistence on the infinitude of God's power, and his claim that human knowledge is limited to that which enables us to grasp the workings of the world and develop scientific theories.
"This book considers conditions of applicability of mathematics to the study of natural phenomena. The possibility of such an application is one of the fundamental assumptions underlying the enormous theoretical and practical success of modern science. Addressing problems of matter, substance, infinity, number, structure of cognitive faculties, imagination, and of construction of mathematical object, Dmitri Nikulin examines mathematical (geometrical) objects in their relation to geometrical or intelligible matter and to imagination. The author explores questions in the history of philosophy and science, particularly in late antiquity and early modernity. The focus is on key thinkers Plotinus and Descartes (with the occasional appearance of Plato, Aristotle, Euclid, Proclus, Newton and others), in whom the fundamental presuppositions of ripe antiquity and of early modernity find their definite expression."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Descartes is possibly the most famous of all writers on the mind, but his theory of mind has been almost universally misunderstood, because his philosophy has not been seen in the context of his scientific work. Desmond Clarke offers a radical and convincing rereading, undoing the received perception of Descartes as the chief defender of mind/body dualism. For Clarke, the key is to interpret his philosophical efforts as an attempt to reconcile his scientific pursuits with the theologically orthodox views of his time.
Joining these topics together within the context of Cartesian doctrine, Schouls opens up a substantially new reading of the Meditations and a more complete picture of Descartes as a scientist."--BOOK JACKET.
Recreative Minds develops a philosophical theory of imagination that draws upon recent theories and results in psychology. Ideas about how we read the minds of others have put the concept of imagination firmly back on the agenda for philosophy and psychology. Currie and Ravenscroft present atheory of what they call imaginative projection; they show how it fits into a philosophically motivated picture of the mind and of mental states, and how it illuminates and is illuminated by recent developments in cognitive psychology. They argue that we need to recognize a category ofdesire-in-imagination, and that supposition and fantasy should be classed as forms of imagination. They accommodate some of the peculiarities of perceptual forms of imagining such as visual and motor imagery, and suggest that they are important for mind-reading. They argue for a novel view about therelations between imagination and pretence, and suggest that imagining can be, but need not be, the cause of pretending. They show how the theory accommodates but goes beyond the idea of mental simulation, and argue that the contrast between simulation and theory is neither exclusive nor exhaustive.They argue that we can understand certain developmental and psychiatric disorders as arising from faulty imagination. Throughout, they link their discussion to the uses of imagination in our encounters with art, and they conclude with a chapter on responses to tragedy. The final chapter also offersa theory of the emotions that suggests that these states have much in common with perceptual states.Currie and Ravenscroft offer a lucid exploration of a fascinating subject, for readers in philosophy, psychology, and aesthetics.
