The Imagination

Use your imagination! The demand is as important as it is confusing. What is the imagination? What is its value? Where does it come from? And where is it going in a time when even the obscene mseems overdone and passé? This book takes up these questions and argues for the centrality of imagination in humanmcognition. It traces the development of the imagination in Kant’s critical philosophy (particularly the Critique of Aesthetic Judgment) and claims that the insights of Kantian aesthetic theory, especially concerning the nature of creativity, common sense, and genius, influenced the development of nineteenth-century American philosophy. The book identifies the central role of the imagination in the philosophy of Peirce, a role often overlooked in analytic treatments of his thought. The final chapters pursue the observation made by Kant and Peirce that imaginative genius is a type of natural gift (ingenium) and must in some way be continuous with the creative force of nature. It makes this final turn by way of contemporary studies of metaphor, embodied cognition, and cognitive neuroscience.

Carlo Pietzner speaks, out of his own ego-directed, inner experiences, about several motifs inherent to inner striving: the problem of self in relationship to the world, the disintegration of the three soul forces, the transition from sense perception to spiritual perception, the reality of evil, the condition of loneliness, and more.

The Pleasures of the Imagination examines the birth and development of English "high culture" in the eighteenth century. It charts the growth of a literary and artistic world fostered by publishers, theatrical and musical impresarios, picture dealers and auctioneers, and presented to th public in coffee-houses, concert halls, libraries, theatres and pleasure gardens. In 1660, there were few professional authors, musicians and painters, no public concert series, galleries, newspaper critics or reviews. By the dawn of the nineteenth century they were all aprt of the cultural life of the nation. John Brewer's enthralling book explains how this happened and recreates the world in which the great works of English eighteenth-century art were made. Its purpose is to show how literature, painting, music and the theatre were communicated to a public increasingly avid for them. It explores the alleys and garrets of Grub Street, rummages the shelves of bookshops and libraries, peers through printsellers' shop windows and into artists' studios, and slips behind the scenes at Drury Lane and Covent Garden. It takes us out of Gay and Boswell's London to visit the debating clubs, poetry circles, ballrooms, concert halls, music festivals, theatres and assemblies that made the culture of English provincial towns, and shows us how the national landscape became one of Britain's greatest cultural treasures. It reveals to us a picture of English artistic and literary life in the eighteenth century less familiar, but more suprising, more various and more convincing than any we have seen before.

Today, when it seems like everything has been privatized, when austerity is too often seen as an economic or political problem that can be solved through better policy, and when the idea of moral values has been commandeered by the right, how can we re-imagine the forces used as weapons against community, solidarity, ecology and life itself? In this stirring call to arms, Max Haiven argues that capitalism has colonized how we all imagine and express what is valuable. Looking at the decline of the public sphere, the corporatization of education, the privatization of creativity, and the power of finance capital in opposition to the power of the imagination and the growth of contemporary social movements, Haiven provides a powerful argument for creating an anti-capitalist commons. Capitalism is not in crisis, it is the crisis, and moving beyond it is the only key to survival. Crucial reading for all those questioning the imposition of austerity and hoping for a fairer future beyond it.

Grounded in medical, juridical, and philosophical texts of sixteenth- and seventeenth-century France, this innovative study tells the story of how the idea of woman contributed to the emergence of modern science. Rebecca Wilkin focuses on the contradictory representations of women from roughly the middle of the sixteenth century to the middle of the seventeenth, and depicts this period as one filled with epistemological anxiety and experimentation. She shows how skeptics, including Montaigne, Marie de Gournay, and Agrippa von Nettesheim, subverted gender hierarchies and/or blurred gender difference as a means of questioning the human capacity to find truth; while "positivists" who strove to establish new standards of truth, for example Johann Weyer, Jean Bodin, and Guillaume du Vair, excluded women from the search for truth. The book constitutes a reevaluation of the legacy of Cartesianism for women, as Wilkin argues that Descartes' opening of the search for truth "even to women" was part of his appropriation of skeptical arguments. This book challenges scholars to revise deeply held notions regarding the place of women in the early modern search for truth, their role in the development of rational thought, and the way in which intellectuals of the period dealt with the emergence of an influential female public.