Use your imagination! The demand is as important as it is confusing. What is the imagination? What is its value? Where does it come from? And where is it going in a time when even the obscene mseems overdone and passé? This book takes up these questions and argues for the centrality of imagination in humanmcognition. It traces the development of the imagination in Kant’s critical philosophy (particularly the Critique of Aesthetic Judgment) and claims that the insights of Kantian aesthetic theory, especially concerning the nature of creativity, common sense, and genius, influenced the development of nineteenth-century American philosophy. The book identifies the central role of the imagination in the philosophy of Peirce, a role often overlooked in analytic treatments of his thought. The final chapters pursue the observation made by Kant and Peirce that imaginative genius is a type of natural gift (ingenium) and must in some way be continuous with the creative force of nature. It makes this final turn by way of contemporary studies of metaphor, embodied cognition, and cognitive neuroscience.
Thinking Through the Arts draws together a number of different approaches to teaching young children that combine the experience of thinking with the act of expression through art. Developed as an inclusive, broad-ranging and user-friendly text, Thinking Through the Arts presents the unique insight of teachers as researchers, and counters the view that art is emotionally-based and therefore irrelevant to thinking and learning. The areas covered include drama, dance, music, arts environments, technologies, museums and galleries, literacy, cognition, international influences, curriculum development, research and practice. Early childhood and primary teachers and students alike will find this book is an invaluable source of new insights for their own teaching.
This accessible text will show students and class teachers how they can enable their pupils to become critical thinkers through the medium of picturebooks. By introducing children to the notion of making-meaning together through thinking and discussion, Roche focuses on carefully chosen picturebooks as a stimulus for discussion, and shows how they can constitute an accessible, multimodal resource for adding to literacy skills, while at the same time developing in pupils a far wider range of literary understanding. By allowing time for thinking about and digesting the pictures as well as the text, and then engaging pupils in classroom discussion, this book highlights a powerful means of developing children’s oral language ability, critical thinking, and visual literacy, while also acting as a rich resource for developing children’s literary understanding. Throughout, Roche provides rich data and examples from real classroom practice. This book also provides an overview of recent international research on doing ‘interactive read alouds’, on what critical literacy means, on what critical thinking means and on picturebooks themselves. Lecturers on teacher education courses for early years or primary levels, classroom teachers, pre-service education students, and all those interested in promoting critical engagement and dialogue about literature will find this an engaging and very insightful text.
What is 'style', and how does it relate to thought in language? It has often been treated as something merely linguistic, independent of thought, ornamental; stylishness for its own sake. Or else it has been said to subserve thought, by mimicking, delineating, or heightening ideas that are already expressed in the words. This ambitious and timely book explores a third, more radical possibility in which style operates as a verbal mode of thinking through. Rather than figure thought as primary and pre-verbal, and language as a secondary delivery system, style is conceived here as having the capacity to clarify or generate thinking. The book's generic focus is on non-fiction prose, and it looks across the long nineteenth century. Leading scholars survey twenty authors to show where writers who have gained reputations as either 'stylists' or as 'thinkers' exploit the interplay between 'the what' and 'the how' of their prose. The study demonstrates how celebrated stylists might, after all, have thoughts worth attending to, and that distinguished thinkers might be enriched for us if we paid more due to their style. More than reversing the conventional categories, this innovative volume shows how 'style' and 'thinking' can be approached as a shared concern. At a moment when, especially in nineteenth-century studies, interest in style is re-emerging, this book revaluates some of the most influential figures of that age, re-imagining the possible alliances, interplays, and generative tensions between thinking, thinkers, style, and stylists.
A seminal figure in Romantic poetry and visual arts, William Blake continues to influence modern literary criticism. In this book, Blake scholar Hazard Adams presents a selection of essays that span his long career exploring the work and thought of the groundbreaking artist. Topics range from the symbolic form in Blake’s poem Jerusalem, the world view of Blake in relation to cultural policy and the notion of contrariety in Blake’s writings to the relation of Chinese literary thought to that of the West, the critical work of Northrop Frye and Murray Krieger and the cultural and academic status of the humanities. The essays chart the evolution of Adams’ own neo–Blakean literary thought over the past four decades, chronicling an effort to seek not merely a method but a philosophical base for the practice of literary criticism.
Daniel Breazeale presents a critical study of the early philosophy of J.G. Fichte, and the version of the Wissenschaftslehre or 'doctrine of science' that Fichte developed in Jena between 1794 and 1799. The book is intended to assist serious readers in their efforts to understand Fichte's philosophy within the context of its own era and to orient them in the ongoing scholarly debates concerning the character and significance of the Wissenschaftslehre. Breazeale focuses on explaining what Fichte was (and was not) trying to accomplish and precisely how he proposed to accomplish this, as well as upon the difficulties implicit in his project and his often novel strategies for overcoming them. To this end, the volume addresses a variety of specific themes, issues, and problems that will be familiar to any student of Fichte's early writings and which continue to be fiercely debated by his interpreters. These include: the relationship of the finite human self to the purely self-positing I, transcendental philosophy as a 'pragmatic history of the mind', Fichte's 'synthetic' method of philosophizing, the standpoint of life vs. the standpoint of speculation, the extra-philosophical presuppositions and implications of the Wissenschaftslehre, the different senses of 'intellectual intuition' in Fichte's early writings, the controversial doctrine of the 'check' (Anstoß) upon the free actions of the I, the various theoretical and practical tasks of philosophy, the refutation of dogmatism and the 'choice' of a philosophical standpoint, the relationship of transcendental idealism to skepticism, the interests of reason, and the problematic 'primacy of the practical' in Fichte's thought.
Eight outstanding essays, from leading academics, deconstruct perennial problems of rationality, imagination and narrative to trace the influence of myth in our own beliefs, origins, and potential futures. Thinking Through Myths attempts to reconcile the opposed claims of pragmatism and beauty, calling for the acknowledgement of myths in everyday experience.
This book explores a pivotal dimension of Mou Zongsan’s philosophy—that is, his project of reconstructing a moral metaphysics based largely on a dialogue between reinterpreted Chinese thought and Kantism—and thoroughly analyzes a number of his most paradigmatic concepts.
Thinking Through Place on the Early Modern English Stage argues that environment and embodied thought continually shaped one another in the performance of early modern English drama. It demonstrates this, first, by establishing how characters think through their surroundings — not only how they orient themselves within unfamiliar or otherwise strange locations, but also how their environs function as the scaffolding for perception, memory, and other forms of embodied thought. It then contends that these moments of thinking through place theorise and thematise the work that playgoers undertook in reimagining the stage as the setting of the dramatic fiction. By tracing the relationship between these two registers of thought in such plays as The Malcontent, Dido Queen of Carthage, Tamburlaine, King Lear, The Knight of the Burning Pestle, and Bartholomew Fair, this book shows that drama makes visible the often invisible means by which embodied subjects acquire a sense of their surroundings. It also reveals how, in doing so, theatre altered the way that playgoers perceived, experienced, and imagined place in early modern England.
Contemporary debates on God's emotionality are divided between two extremes. Impassibilists deny God's emotionality on the basis of God's omniscience, omnipotence and incorporeality. Passibilists seem to break with tradition by affirming divine emotionality, often focusing on the idea that God suffers with us. Contemporary philosophy of emotion reflects this divide. Some philosophers argue that emotions are voluntary and intelligent mental events, making them potentially compatible with omniscience and omnipotence. Others claim that emotions are involuntary and basically physiological, rendering them inconsistent with traditional divine attributes. Thinking Through Feeling: God, Emotion and Passibility creates a three-way conversation between the debate in theology, contemporary philosophy of emotion, and pre-modern (particularly Augustinian and Thomist) conceptions of human affective experience. It also provides an exploration of the intelligence and value of the emotions of compassion, anger and jealousy.