This short book is a work of one of the 20th century's greatest philosophers and historians of philosophy, Etienne Gilson. The book's title, taken from the first chapter, may sound esoteric but it reflects a common-sense outlook on the world, applied in a methodical way. That approach, known as realism, consists in emphasizing the fact that what is real precedes our concepts about it. In contrast to realism stands idealism, which refers to the philosophical outlook that begins with ideas and tries to move from them to things. Gilson shows how the common-sense notion of realism, though denied by many thinkers, is indispensible for a correct understanding of things--of what is and how we know what is. He shows the flaws of idealism and he critiques efforts to introduce elements of idealism into realist philosophy (immediate realism). At the same time, the author criticizes failures of certain realist philosophers--including Aristotle--to be consistent in their own principles and to begin from sound starting points. To these problems, Gilson traces medieval philosophy's failure in the realm of science, which led early modern scientific thinkers of the 17th century unnecessarily to reject even the best of medieval scholastic philosophy. He concludes with The Realist Beginner's Handbook, a summary of key points for thinking clearly about reality and about the knowledge of it.

The highly regarded French philosopher, tienne Gilson, brilliantly plumbs the depths of Thomistic Realism, and false Thomisms as well, in this answer to Kantian modernism. The important work, exquisitely translated by Mark Wauck, brings the essential elements of philosophy into view as a cohesive, readily understandable, and erudite structure, and does so rigorously in the best tradition of St. Thomas. Written as the definitive answer to those philosophers who sought to reconcile critical philosophy with scholastic realism, Gilson saw himself as an historian of philosophy whose main task was one of restoration, and principally the restoration of the wisdom of the Common Doctor of the Church, St. Thomas Aquinas. Gilsons thesis was that realism was incompatible with the critical method and that realism, to the extent that it was reflective and aware of its guiding principles, was its own proper method. He gives a masterful account of the various forces that shaped the neo-scholastic revival, but Gilson is concerned with the past only as it sheds light on the present. In addition to his criticisms, Gilson presents a positive exposition of true Thomist realism, revealing the foundation of realism in the unity of the knowing subject.

The Dictionary of Modern American Philosophers includes both academic and non-academic philosophers, and a large number of female and minority thinkers whose work has been neglected. It includes those intellectuals involved in the development of psychology, pedagogy, sociology, anthropology, education, theology, political science, and several other fields, before these disciplines came to be considered distinct from philosophy in the late nineteenth century. Each entry contains a short biography of the writer, an exposition and analysis of his or her doctrines and ideas, a bibliography of writings, and suggestions for further reading. While all the major post-Civil War philosophers are present, the most valuable feature of this dictionary is its coverage of a huge range of less well-known writers, including hundreds of presently obscure thinkers. In many cases, the Dictionary of Modern American Philosophers offers the first scholarly treatment of the life and work of certain writers. This book will be an indispensable reference work for scholars working on almost any aspect of modern American thought.

In the most wide-ranging history of phenomenology since Herbert Spiegelberg’s The Phenomenological Movement over fifty years ago, Baring uncovers a new and unexpected force—Catholic intellectuals—behind the growth of phenomenology in the early twentieth century, and makes the case for the movement’s catalytic intellectual and social impact. Of all modern schools of thought, phenomenology has the strongest claim to the mantle of “continental” philosophy. In the first half of the twentieth century, phenomenology expanded from a few German towns into a movement spanning Europe. Edward Baring shows that credit for this prodigious growth goes to a surprising group of early enthusiasts: Catholic intellectuals. Placing phenomenology in historical context, Baring reveals the enduring influence of Catholicism in twentieth-century intellectual thought. Converts to the Real argues that Catholic scholars allied with phenomenology because they thought it mapped a path out of modern idealism—which they associated with Protestantism and secularization—and back to Catholic metaphysics. Seeing in this unfulfilled promise a bridge to Europe’s secular academy, Catholics set to work extending phenomenology’s reach, writing many of the first phenomenological publications in languages other than German and organizing the first international conferences on phenomenology. The Church even helped rescue Edmund Husserl’s papers from Nazi Germany in 1938. But phenomenology proved to be an unreliable ally, and in debates over its meaning and development, Catholic intellectuals contemplated the ways it might threaten the faith. As a result, Catholics showed that phenomenology could be useful for secular projects, and encouraged its adoption by the philosophical establishment in countries across Europe and beyond. Baring traces the resonances of these Catholic debates in postwar Europe. From existentialism, through the phenomenology of Paul Ricoeur and Maurice Merleau-Ponty, to the speculative realism of the present, European thought bears the mark of Catholicism, the original continental philosophy.

What is it that makes something beautiful? Is beauty solely in the eye of the beholder, or something deeper, more significant? In Beauty (and the Banana), Nixon writes as an introductory book for Christian leaders, providing the reader an overview of the historical, hermeneutical, and heuristic considerations of beauty. Using the artwork Comedian (a banana taped to a wall) by Italian artist Maurizio Cattelan as a springboard, Nixon addresses various fundamental factors of beauty—ontology (being), teleology (form and understanding), and immutability (transcendence and eternality). Integrating poetry and classical ideals throughout, Beauty (and the Banana)’s response to the above questions may surprise all who read—beauty is more than meets the eye.

In Tilt: Finding Christ in Culture, Brian Nixon takes the reader on a voyage of discovery, traveling the currents of God’s presence in culture, summed up in four streams that define a noun: people, places, things, and ideas. In his journey, Nixon touches upon people as diverse as Andy Warhol, Cormac McCarthy, Robert Redford, and Georgia O’Keeffe; places such as Canterbury, England, and Las Vegas, Nevada; things as unique as typewriters, trains, and abstract art; and ideas as fascinating as mathematics and beauty. In these short impressionistic pieces, Nixon, with the curiosity of a journalist, elicits intelligent discussion and poetic articulations, prompting a head tilt from those who join him on a theo-cultural expedition.