This book offers a detailed and scholarly historical and philosophical examination of French scepticism from Descartes to the beginning of the Enlightenment by examining the views of Pierre-Daniel Huet (1630–1721). It shows the crucial role played by Huet in the modification of the early modern sceptical tradition: from a practical perspective closer to ancient scepticism, mostly presented by Montaigne and Charron, to an epistemological and metaphysical perspective strongly influenced by Descartes’s doubt. The book examines and gives original interpretations of the various sceptical (and semi-sceptical) views held in the period and their connections to Huet’s own scepticism. Besides known philosophers such as Descartes, Gassendi, Pascal and Bayle, the book also accesses sceptical views held by secondary figures such as La Mothe Le Vayer and Simon Foucher and others who have not thus far been connected to the sceptical tradition such as Jean-Baptiste du Hamel and Madeleine de Scudéry. The book is useful for scholars in the field of early modern ideas: philosophical, religious and scientific.

During the years before his death in 1918 Apollinaire?s reputation as poet and artistic animateur approached legendary proportions. This book is the first to present an extensive reassessment of Apollinaire?s role in the promotion of themes and iconography amongst his painter friends. Detailed analysis of the poetic subject matter of selected works of Dufy, Delaunay, de Chirico, Laurencin, Marcoussis, Metzinger, Picabia and Picasso is used to reconstruct the responses of these artists to Apollinaire?s artistic and aesthetic proclivities. Drawing attention to the poet?s immersion in the art and iconography of the French late-Renaissance and the seventeenth century, Adrian Hicken shows that the study of the permeation of Apollinairean and Orphic imagery in the work of artists with very different personalities presents a fascinating and pivotal episode in the history of Parisian modernism.

Angeregt von Freunden und Kollegen, legte Ernst Cassirer 1944 im amerikanischen Exil mit dem Essay on Man eine komprimierte und zugleich überarbeitete Fassung seiner Kulturphilosophie vor, in der er die dreibändige Philosophie der symbolischen Formen in ihren Hauptgedanken fortführt. Dabei wird der wohl wichtigste Bestandteil der Cassirerschen Kulturphilosophie, die Idee der Humanität, thematisiert und zusammenfassend begründet. Mit Bezugnahme auf das komplexe und vielschichtige Gefüge von Sprache, Mythos, Religion, Kunst, Geschichte und Wissenschaft bestimmt Cassirer den Menschen als »animal symbolicum«, als ein Wesen, das Symbole schafft und sich durch Symbole verständigt. Dank seiner klaren, verständlichen Sprache und Argumentationsstruktur ermöglicht der »Essay on Man« nicht nur dem philosophischen Fachpublikum, sondern auch einem weiteren Kreis interessierter Leser den Zugang zu Cassirers Denken. Er darf somit als allgemeine Einführung in die Philosophie Cassirers verstanden werden. Inhalt: Part I. What is man? I. The Crisis in Man's Knowledge of Himself II. A Clue to the Nature of Man: the Symbol III. From Animal Reactions to Human Responses IV. The Human World of Space and Time V. Facts and Ideals Part II. Man and Culture VI. The Definition of Man in Terms of Human Culture VII. Myth and Religion VIII. Language IX. Art X. History XI. Science XII. Summary and Conclusion