Shakespeare's Hamlet contains a profound spiritual message for mankind that has been largely unrecognized for centuries. The meaning of Hamlet so perplexed critics over the last four hundred years that many finally concluded, after immense struggle, that the play lacks a binding philosophy. Nothing, in fact, is more wrong. Quintessence of Dust now explains how Shakespeare meticulously crafted every scene to convey, through our emotional involvement in the drama, a central spiritual message. The book also explains by a single coherent theme practically every aspect of the play that has puzzled critics for centuries. It demonstrates that Hamlet is nothing short of an artistic miracle, reflected both in its poetic brilliance and in its profound meaning.

Quintessence of Dust by Harry Redner argues for a science of matter and a philosophy of mind based on emergence. Mind emerges from matter through five essential stages – “quintessence” (Hamlet). Human mind is differentiated from animal mind primarily by reference to art (Homo ludens). This approach draws support from Donald, Edelman and other palaeoanthropologists, psychologists and neurologists. The emergent relation between two entities is defined as an indissoluble non-identity. The “mind as machine” thesis, artificial intelligence and cognitivism are criticised. The alternative emergentist approach comes close to Spinoza. The book attempts a synthesis of the natural sciences, social sciences and humanities based on philosophic premises.

Imagine an Age of Exploration full of alchemy, human dissection, sea monsters, betrayal, torture, religious controversy, and magic. In Europe, the magic is thin, but at the edge of the world, where the stars reach down close to the Earth, wonders abound. This drives the bravest explorers to the alluring Western Ocean. Christopher Sinclair is an alchemist who cares only about one thing: quintessence, a substance he believes will grant magical powers and immortality. And he has a ship.

In his Duino Elegies, Rainer Maria Rilke suggests that animals enjoy direct access to a realm of being—the open—concealed from humans by the workings of consciousness and self-consciousness. In his own reading of Rilke, Martin Heidegger reclaims the open as the proper domain of human existence but suggests that human life remains haunted by vestiges of an animal-like relation to its surroundings. Walter Benjamin, in turn, was to show that such vestiges—what Eric Santner calls the creaturely—have a biopolitical aspect: they are linked to the processes that inscribe life in the realm of power and authority. Santner traces this theme of creaturely life from its poetic and philosophical beginnings in the first half of the twentieth century to the writings of the enigmatic German novelist W. G. Sebald. Sebald’s entire oeuvre, Santner argues, can be seen as an archive of creaturely life. For Sebald, the work on such an archive was inseparable from his understanding of what it means to engage ethically with another person’s history and pain, an engagement that transforms us from indifferent individuals into neighbors. An indispensable book for students of Sebald, On Creaturely Life is also a significant contribution to critical theory.

This volume bears potent testimony, not only to the dense complexity of Hamlet’s emotional dynamics, but also to the enduring fascination that audiences, adaptors, and academics have with what may well be Shakespeare’s moodiest play. Its chapters explore emotion in Hamlet, as well as the myriad emotions surrounding Hamlet’s debts to the medieval past, its relationship to the cultural milieu in which it was produced, its celebrated performance history, and its profound impact beyond the early modern era. Its component chapters are not unified by a single methodological approach. Some deal with a single emotion in Hamlet, while others analyse the emotional trajectory of a single character, and still others focus on a given emotional expression (e.g., sighing or crying). Some bring modern methodologies for studying emotion to bear on Hamlet, others explore how Hamlet anticipates modern discourses on emotion, and still others ask how Hamlet itself can complicate and contribute to our current understanding of emotion.

Through the first half of the twentieth century, analytic philosophy was dominated by Russell, Wittgenstein, and Carnap. Influenced by Russell and especially by Carnap, another towering figure, Willard Van Orman Quine (1908Ð2000) emerged as the most important proponent of analytic philosophy during the second half of the century. Yet with twenty-three books and countless articles to his creditÑincluding, most famously, Word and Object and "Two Dogmas of Empiricism"ÑQuine remained a philosopher's philosopher, largely unknown to the general public. Quintessence for the first time collects Quine's classic essays (such as "Two Dogmas" and "On What There Is") in one volumeÑand thus offers readers a much-needed introduction to his general philosophy. Divided into six parts, the thirty-five selections take up analyticity and reductionism; the indeterminacy of translation of theoretical sentences and the inscrutability of reference; ontology; naturalized epistemology; philosophy of mind; and extensionalism. Representative of Quine at his best, these readings are fundamental not only to an appreciation of the philosopher and his work, but also to an understanding of the philosophical tradition that he so materially advanced.