In The Unity of Content and Form in Philosophical Writing, Jon Stewart argues that there is a close relation between content and form in philosophical writing. While this might seem obvious at first glance, it is overlooked in the current climate of Anglophone academic philosophy, which, Stewart contends, accepts only a single genre as proper for philosophical expression. Stewart demonstrates the uniformity of today's philosophical writing by contrasting it with that of the past. Taking specific texts from the history of philosophy and literature as case studies, Stewart shows how the use of genres like dialogues, plays and short stories were an entirely suitable and effective means of presenting and arguing for philosophical positions given the concrete historical and cultural contexts in which they appeared. Now, Stewart argues, the prevailing intolerance means that the same texts are dismissed as unphilosophical merely due to their form, although their content is, in fact, profoundly philosophical. The book's challenge to current conventions of philosophical is provocative and timely, and will be of great interest to students and scholars of philosophy, literature and history.

With figures such as Fichte, Schelling, Hegel, Kierkegaard, Feuerbach, Marx, Engels, and Nietzsche, the nineteenth century was a dynamic time of philosophical development. The period made lasting contributions to several fields of philosophy. Moreover, it paved the way for the development of the social sciences at the turn of the twentieth century. This volume is dedicated to exploring the rich tradition of nineteenth-century Continental philosophy in its different areas with the main purpose of highlighting the importance of this tradition in the development of the leading streams of thought of the twentieth and twenty-first century.

Poul Martin Møller published his most important philosophical treatise in 1837, “Thoughts on the Possibility of Proofs of Human Immortality.” This is the first English translation of this work.

On Art and Selfhood lies at the intersection of existentialism and the philosophy of art. On the philosophy of art side, it addresses questions about why art matters and how we ought to appreciate it. On the existentialism side, it attends to questions pertaining to authenticity or authentic selfhood. That is to say, it focuses on issues and problems having to do with our personal identity or our sense of who we are. The goal of the book is to bring together these two topics in a productive manner by showing that works of art matter partly because they can help us with the project of selfhood. In other words, works of art are important in part because they can offer us much needed guidance and support as we try to figure out who we really are. To make the case for this thesis, On Art and Selfhood draws on the works of the Danish thinker, Søren Kierkegaard (1813-55). It mines his writings for insights regarding aesthetics and personal identity, and then uses these insights to contribute to current discussions of these topics. Thus, the book speaks not only to those with interests in contemporary analytic philosophy but also to those with interests in historical scholarship on Kierkegaard.

Walter Kasper explains that the interest of theology has been broken off by idealistic thinking, and advocates a new discussion between theology and idealism, of the fundamental importance of the theology of the twentieth century.

The quest for unity and multiplicity is one of the most important concerns in the history of human thought. Since the origins of the history of philosophy up to the present, we can observe more or less unceasing interest in the issue. The same holds of the writings of Thomas Aquinas, to whose conception this work is devoted. Since the problem of unity and multitude is closely linked to many other key metaphysical issues, such as the doctrine of transcendental concepts, the mode of composition of being qua being, as well as substantial and accidental being, or the doctrine of whole and part, we believe that its proper interpretation not only can clarify some partial metaphysical problem, but will also contribute to understanding the metaphysical thought of the Angelic Doctor as a whole.

Plato's dialogues are usually understood as simple examples of philosophy in action. In this book Professor Rowe treats them rather as literary-philosophical artefacts, shaped by Plato's desire to persuade his readers to exchange their view of life and the universe for a different view which, from their present perspective, they will barely begin to comprehend. What emerges is a radically new Plato: a Socratic throughout, who even in the late dialogues is still essentially the Plato (and the Socrates) of the Apology and the so-called 'Socratic' dialogues. This book aims to understand Plato both as a philosopher and as a writer, on the assumption that neither of these aspects of the dialogues can be understood without the other. The argument of the book is closely based in Plato's text, but should be accessible to any serious reader of Plato, whether professional philosopher, classicist, or student.