David Hume's Dialogues concerning Natural Religion, first published in 1779, is one of the most influential works in the philosophy of religion and the most artful instance of philosophical dialogue since the dialogues of Plato. It presents a fictional conversation between a sceptic, an orthodox Christian, and a Newtonian theist concerning evidence for the existence of an intelligent cause of nature based on observable features of the world. This new edition presents it together with several of Hume's other, shorter writings about religion, and with brief selections from the work of Pierre Bayle, who influenced both Hume's views on religion and the dialectical style of the Dialogues. The volume is completed by an introduction which sets the Dialogues in its philosophical and historical contexts.

Friedrich Nietzsche (1844-1900) is one of the most important philosophers of the last two hundred years, whose writings, both published and unpublished, have had a formative influence on virtually all aspects of modern culture. This volume offers introductory essays on all of Nietzsche's completed works and also his unpublished notebooks. The essays address such topics as his criticism of morality and Christianity, his doctrines of the will to power and the eternal recurrence, his perspectivism, his theories of tragedy and nihilism and his thoughts on ancient and modern culture. Written by internationally recognized scholars, they provide the interested reader with an up-to-date and authoritative overview of the thought of this fascinating figure.

Exploring the full range of Husserl's work, these essays reveal just how systematic his philosophy is. There are treatments of his most important contributions to phenomenology, intentionality and the philosophy of mind, epistemology, the philosophy of language, ontology, and mathematics. An underlying theme of the volume is a resistance to the idea, current in much intellectual history, of a radical break between "modern" and "postmodern" philosophy, with Husserl as the last of the great Cartesians.

'Mr Bennett, as was to be expected, has written a first-rate book on Kant's Analytic. It is vivid, entertaining, and extremely instructive. It will be found of absorbing interest both by those who already know the Critique and by those - if there are any such - who have a developed interest in philosophy, yet no direct acquaintance with Kant. These last it will surely drive to the text and, as surely, will drive them to approach it in a truly philosophical spirit. Bennett's Kant is not a giant immersed, or frozen, in time. He is a great contemporary - a little out of touch, admittedly, with recent developments in mathematics and physics - but one with whom we can all argue, against him, at his side, or obliquely to him. And so Bennett does argue, continuously, fiercely, and fruitfully; and summons to join in the argument, at appropriate moments, those older contemporaries, Locke, Leibniz, Berkeley, and Hume, and those younger contemporaries, Wittgenstein, Ryle, Ayler, Quine, Quinton, Warnock, and others. This is splendid, and a necessary corrective to that extraordinary isolation in which Kant tends to be islanded, partly indeed, by his own unique qualities, but partly by oceans of the wrong kind of respect. Bennett, continuously engaging his great antagonist, shows the right kind.'

Thomas Hobbes 'the infamous author of Leviathan' is remembered chiefly for his political philosophy but his contemporaries were more concerned with the moral and materialistic views which formed the basis of his doctrines. He was a notable literary figure of his time, and his powerful and lucid style had its effect on all manner of arguments with his opponents. With Hobbes rationalism came into its own. Mintz, in examining these seventeenth-century reactions to Hobbes, sets him against his intellectual background and so gives an added dimension to his thought. Mintz succeeds in capturing the ideological excitement of the seventeenth-century critics and in reawakening the crucial issues which were at stake. His study has much to offer historians, philosophers and theologians, and anyone with a general interest in the man or his period.

When Shakespeare gave up tragedy around 1607 and turned to the new form we call romance or tragicomedy, he created a distinctive poetic idiom that often bewildered audiences and readers. The plays of this period, Pericles, Cymbeline, The Winter's Tale, The Tempest, as well as Shakespeare's part in the collaborations with John Fletcher (Henry VIII and The Two Noble Kinsmen), exhibit a challenging verse style - verbally condensed, metrically and syntactically sophisticated, both conversational and highly wrought. In Shakespeare's Late Style, McDonald anatomizes the components of this late style, illustrating in a series of topically organized chapters the contribution of such features as ellipsis, grammatical suspension, and various forms of repetition. Resisting the sentimentality that frequently attends discussion of an artist's 'late' period, Shakespeare's Late Style shows how the poetry of the last plays reveals their creator's ambivalent attitude towards art, language, men and women, the theatre, and his own professional career.

What do we mean when we speak of the 'late style' of a given writer, artist or composer? And what exactly do we mean by 'late Shakespeare'? Gordon McMullan argues that, far from being a natural phenomenon common to a handful of geniuses in old age or in proximity to death, late style is in fact a critical construct. Taking Shakespeare as his exemplar, he maps the development of the 'discourse of lateness' from the eighteenth century to the present, noting not only the mismatch between that discourse and the actual conditions for authorship in early modern theatre but also its generativity for subsequent projections of creative selfhood. He thus offers the first critique of the idea of late style, which will be of interest not only to literature specialists but also to art historians, musicologists and anyone curious about the relationship of creativity to old age and to death.

John Searle's Speech Acts (1969) and Expression and Meaning (1979) developed a highly original and influential approach to the study of language. But behind both works lay the assumption that the philosophy of language is in the end a branch of the philosophy of the mind: speech acts are forms of human action and represent just one example of the mind's capacity to relate the human organism to the world. The present book is concerned with these biologically fundamental capacities, and, though third in the sequence, in effect it provides the philosophical foundations for the other two. Intentionality is taken to be the crucial mental phenomenon, and its analysis involves wide-ranging discussions of perception, action, causation, meaning, and reference. In all these areas John Searle has original and stimulating views. He ends with a resolution of the 'mind-body' problem.

The nature of perception has long been a central question in philosophy. It is of crucial importance not just in the philosophy of mind, but also in epistemology, metaphysics, aesthetics, and the philosophy of science. The essays in this 1992 volume not only offer fresh answers to some of the traditional problems of perception, but also examine the subject in light of contemporary research on mental content. A substantial introduction locates the essays within the recent history of the subject, and demonstrates the links between them. The Contents of Experience brings together some prominent philosophers in the field, and offers a major statement on a problem central to current philosophical thinking. Notable contributors include Christopher Peacocke, Brian O'Shaughnessy and Michael Tye.

What is the nature of, and what is the relationship between, external objects and our visual perceptual experience of them? In this book, Frank Jackson defends the answers provided by the traditional Representative theory of perception. He argues, among other things that we are never immediately aware of external objects, that they are the causes of our perceptual experiences and that they have only the primary qualities. In the course of the argument, sense data and the distinction between mediate and immediate perception receive detailed defences and the author criticises attempts to reduce perceiving the believing and to show that the Representative theory makes the external world unknowable. Jackson recognises that his views are unfashionable but argues in detail that they are to be preferred to their currently favoured competitors. It will become an obvious point of reference for all future work on the philosophy of perception.

This book constitutes one of the most important contributions to recent Kant scholarship. In it, one of the pre-eminent interpreters of Kant, Henry Allison, offers a comprehensive, systematic, and philosophically astute account of all aspects of Kant's views on aesthetics. The first part of the book analyses Kant's conception of reflective judgment and its connections with both empirical knowledge and judgments of taste. The second and third parts treat two questions that Allison insists must be kept distinct: the normativity of pure judgments of taste, and the moral and systematic significance of taste. The fourth part considers two important topics often neglected in the study of Kant's aesthetics: his conceptions of fine art, and the sublime.

Masculinity was a political issue in early modern England. Phrases such as 'courage-masculine' or 'manly virtue' took on a special meaning and signified commitment to the ideals of militant Protestantism. Diplomacy and compromise were disparaged as 'feminine'. Shakespeare on Masculinity is an original study of the way Shakespeare's plays engage with this ideal and a subject that provoked bitter public dispute. Robin Headlam Wells argues that Shakespeare took a sceptical view of the militant-Protestant cult of heroic masculinity. Following a series of portraits of the dangerously charismatic warrior-hero, Shakespeare turned at the end of his writing career to a different kind of leader. If the heroes of the martial tragedies evoke a Herculean ideal of manhood, The Tempest portrays a ruler who, Orpheus-like, uses the arts of civilization to bring peace to a divided world. Other plays receiving close readings include Henry V, Troilus and Cressida, Hamlet, Othello, Macbeth and Coriolanus.

Immanuel Kant's Critique of Pure Reason, first published in 1781, is one of the landmarks of Western philosophy, a radical departure from everything that went before and an inescapable influence on all philosophy since its publication. This Companion is the first collective commentary on this work in English. The seventeen chapters have been written by an international team of scholars, including some of the best-known figures in the field as well as emerging younger talents. The first two chapters situate Kant's project against the background of continental rationalism and British empiricism, the dominant schools of early modern philosophy. Eleven chapters then expound and assess all the main arguments of the Critique. Finally, four chapters recount the enormous influence of the Critique on subsequent philosophical movements, including German Idealism and Neo-Kantianism, twentieth-century continental philosophy, and twentieth-century Anglo-American analytic philosophy. The book concludes with an extensive bibliography.

'The revolution that is going on in me is that which has taken place in every artist who has studied Nature long and diligently and now seeks the remains of the great spirit of antiquity; his soul wells up, he feels a transfiguration of himself from within, a feeling of freer life, higher existence, lightness and grace.' It is Mr Trevelyan's purpose, in this profoundly interesting book, to trace the course of this development in Goethe, to determine its extent, to test its sincerity. To this task he brings, not only a complete knowledge of Goethe's life and works and of classical literature, but also a fine critical sense which enables him to direct his detailed knowledge towards a philosophical conclusion.' So wrote Herbert Read in The Spectator in December 1941 on the first publication of Goethe and the Greeks. Trevalyan's account of Goethe's fascination with the Greeks, his striving to master their culture, his vision of Hellenic man, is judged not to have been supplanted by any later work in English. Professor Lloyd-Jones has written a substantial Foreword for this reissue of Trevelyan's book, giving his own assessment of Goethe's search for Hellenism and its influence on his work.

The Clitophon, a dialogue generally ascribed to Plato, is significant for focusing on Socrates' role as an exhorter of other people to engage in philosophy. It was almost certainly intended to bear closely on Plato's Republic and is a fascinating specimen of the philosophical protreptic, an important genre very fashionable at the time. This 1999 volume is a critical edition of this dialogue, in which Professor Slings provides a text based on an examination of all relevant manuscripts and accompanies it with a translation. His extensive introduction studies philosophical exhortation in the classical era, and tries to account for Plato's dialogues in general as a special type of exhortation. The Clitophon is seen as a defence of the Platonic dialogue. The commentary elucidates the Greek and discusses many passages where the meaning is not entirely clear.

Unlike those who view Heidegger as an idealist, Taylor Carman asserts that Heidegger is best understood as a realist and offers a new interpretation of his major work, Being and Time. Among the book's distinctive features are an interpretation explicitly oriented within a Kantian framework (often taken for granted in readings of Heidegger) and an analysis of Dasein in relation to recent theories of intentionality; notably those of Dennett and Searle.

Hegel only published five books in his lifetime, and among them the Phenomenology of Spirit emerges as the most important but also perhaps the most difficult and complex. In this book Ludwig Siep follows the path from Hegel's early writings on religion, love and spirit to the milestones of his 'Jena period'. He shows how the themes of the Phenomenology first appeared in an earlier work, The Difference between Fichte's and Schelling's Systems of Philosophy, and closely examines the direction which Hegel's thought took as he attempted to think through the possibility of a complete system of philosophy. The themes encompassed by the Phenomenology – anti-dualistic epistemology, autonomy, historicality, the sociality of reason – are thoroughly discussed in Siep's subtle and elegantly argued assessment, which appears here in English for the first time. It will be of great interest to all readers studying Hegel's thought.

In this first volume, The Enlightenments of Edward Gibbon, John Pocock follows Gibbon through his youthful exile in Switzerland and his criticisms of the Encyclopédie and traces the growth of his historical interests down to the conception of the Decline and Fall itself.