This volume brings together Nussbaum's published papers on the relationship between literature and philosophy, especially moral philosophy. The papers, many of them previously inaccessible to non-specialist readers, deal with such fundamental issues as the relationship between style and content in the exploration of ethical issues; the nature of ethical attention and ethical knowledge and their relationship to written forms and styles; and the role of the emotions in deliberation and self-knowledge. Nussbaum investigates and defends a conception of ethical understanding which involves emotional as well as intellectual activity, and which gives a certain type of priority to the perception of particular people and situations rather than to abstract rules. She argues that this ethical conception cannot be completely and appropriately stated without turning to forms of writing usually considered literary rather than philosophical. It is consequently necessary to broaden our conception of moral philosophy in order to include these forms. Featuring two new essays and revised versions of several previously published essays, this collection attempts to articulate the relationship, within such a broader ethical inquiry, between literary and more abstractly theoretical elements.

The time for what? The title of Mihaela Gligor’s edited collection is wonderfully flexible, as anything having to do with time should be. There is something not only boundless about time, but also raw and untamed. In its pure form, time would be too much for us to handle. We would be crushed by the sheer immensity of it, or else we would lose our minds trying to make sense of such unmediated time. Luckily, for the most part we don’t experience time in its pure form. Time comes to us already processed: shaped, engineered, tamed. The volume does fine justice to the notion that we experience time as already shaped by religion, politics, and culture. Whether its contributions cover religious or political figures, philosophers or poets, mystics or physicists, they show – sometimes explicitly, sometimes more discreetly – how difficult it is to deal with time in a pure, unmediated form. The contributors’ cultural, religious, and intellectual rooting inform the way think about time, just as about anything else. Which, far from being a weakness, is something to be recognized and celebrated. (Costică Brădățan, Texas Tech University, U.S.A.)

Kivy raises questions of a philosophical nature about the novel that will be of interest both to the professional philosopher and to the general reader.

The figure of Medea has inspired artists in all fields throughout the centuries. This work examines the major representations of Medea in myth, art, and ancient and contemporary literature, as well as the philosophical, psychological and cultural questions these portrayals raise.

Published posthumously in 1964, this volume contains a fantastic collection of essays by R. G. Collingwood on the subject of art and it's relationship with philosophy. Robin George Collingwood, FBA (1889 – 1943) was an English historian, philosopher, and archaeologist most famous for his philosophical works including “The Principles of Art” (1938) and the posthumously-published “The Idea of History” (1946). This fascinating volume will appeal to those with an interest in Collingwood's seminal work, and is not to be missed by students of philosophy and art. Contents include: “Ruskin not a Philosophical Writer”, “Ruskin's Attitude towards Philosophy”, “On the Philosophy of Non-Philosophers”, “Logicism and Historicism”, “Ruskin as Historicist”, “The Anti-Historicism of Ruskin's Contemporaries”, “The Unity of the Spirit: Corollaries and Illustrations”, “Ruskin and Browning”, etc. Many vintage books such as this are increasingly scarce and expensive. It is with this in mind that we are republishing this volume today in an affordable, modern edition complete with a specially-commissioned new biography of the author.