The author argues that many problems of interpretation including notorious problems of circularity, arise from a failure to recognise that Descartes' strategy for the attainment of certainty is not to add support for his beliefs, but to subtract grounds for doubt.

In Silencing the Demon's Advocate, Rubin presents an interpretation of Descartes' Meditations that avoids many of the standard objections to Descartes' reasoning.

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In seventeenth-century northern Europe, as the Aristotelian foundations of scientia were rocked by observation, experiment, confessional strife, and political pressure, natural philosophers came to rely on the printed image to fortify their epistemologies—and none more so than René Descartes. In Skepticism’s Pictures, historian of science Melissa Lo chronicles the visual idioms that made, sustained, revised, and resisted Descartes’s new philosophy. Drawing on moon maps, political cartoons, student notebooks, treatises on practical mathematics, and other sources, Lo argues that Descartes transformed natural philosophy with the introduction of a new graphic language that inspired a wide range of pictorial responses shaped by religious affiliation, political commitment, and cultural convention. She begins by historicizing the graphic vocabularies of Descartes’s Essais and Principia philosophiae and goes on to analyze the religious and civic volatility of Descartes’s thought, which compelled defenders (such as Jacques Rohault and Wolferd Senguerd) to reconfigure his pictures according to their local visual cultures—and stimulated enemies (such as Gabriel Daniel) to unravel Descartes’s visual logic with devastating irony. In the epilogue, Lo explains why nineteenth-century French philosophers divorced Descartes’s thought from his pictures, creating a modern image of reason and a version of philosophy absent visuality. Engaging and accessible, Skepticism’s Pictures presents an exciting new approach to Descartes and the visual reception of seventeenth-century physics. It will appeal to historians of early modern European science, philosophy, art, and culture and to art historians interested in histories that give images their argumentative power.

Descartes is widely regarded to be the father of modern philosophy and his Meditations is among the most important philosophical texts ever written. The Routledge Guidebook to Descartes’ Meditations introduces the major themes in Descartes’ great book and acts as a companion for reading this key work, examining: The context of Descartes’ work and the background to his writing Each separate part of the text in relation to its goals, meanings and impact The reception the book received when first seen by the world The relevance of Descartes’ work to modern philosophy, it’s legacy and influence With further reading included throughout, this text follows Descartes’ original work closely, making it essential reading for all students of philosophy, and all those wishing to get to grips with this classic work.

Focusing on the first four images of the Other mobilized in Descartes’ Meditations—namely, the blind, the mad, the dreamy, and the bad—Reading Descartes Otherwise casts light on what have heretofore been the phenomenological shadows of “Cartesian rationality.” In doing so, it discovers dynamic signs of spectral alterity lodged both at the core and on the edges of modern Cartesian subjectivity. Calling for a Copernican reorientation of the very notion “Cartesianism,” the book’s series of close, creatively critical readings of Descartes’ signature images brings the dramatic forces, moments, and scenes of the cogito into our own contemporary moment. The author patiently unravels the knotted skeins of ambiguity that have been spun within philosophical modernity out of such clichés as “Descartes, the abstract modern subject” and “Descartes, the father of modern philosophy”—a figure who is at once everywhere and nowhere. In the process, she revitalizes and reframes the legacy of Cartesian modernity, in a way more mindful of its proto-phenomenological traces.

This book deals with Descartes’ efforts in his Meditations to discover the first principles of human knowledge, that is, what must be known before anything else can be known. In order for these principles to be first principles, they cannot be conclusions obtained through deductive reasoning. Further, Descartes insists that these first principles cannot be known through the senses, but only through intuition or meditation, our only cognitive faculties for grasping self-evident first principles. This book provides Descartes’ reasons for rejecting the senses as the source of these first principles, and offers textual support for the role of intuition and meditation in apprehending the first principles of human knowledge. Although the bulk of the book is largely exegetical in nature, the last chapter proceeds more critically to show the failures of Descartes’ approach.