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Aristotle’s treatise On the Soul figures among the most influential texts in the intellectual history of the West. It is the first systematic treatise on the nature and functioning of the human soul, presenting Aristotle’s authoritative analyses of, among others, sense perception, imagination, memory, and intellect. The ongoing debates on this difficult work continue the commentary tradition that dates back to antiquity. This volume offers a selection of papers by distinguished scholars, exploring the ancient perspectives on Aristotle’s De anima, from Aristotle’s earliest successors through the Aristotelian Commentators at the end of Antiquity. It constitutes a twin publication with a volume entitled Medieval Perspectives on Aristotle’s De anima (to be published in the Series ‘Philosophes Médiévaux’, Peeters Publ.), both volumes appearing to celebrate the 50th anniversary of the De Wulf Mansion Centre for Ancient, Medieval and Renaissance Philosophy at K.U. Leuven and U.C. Louvain. Contributions by: Enrico Berti, Klaus Corcilius, Frans de Haas, Andrea Falcon, Patrick Macfarlane, Pierre-Marie Morel, Ronald Polansky, R.W. Sharples, Nathanael Stein, Annick Stevens, Joel Yurdin, Marco Zingano.
"BEOWULF,LAW, AND THEMAKING OF GERMANIC ANTIQUITY"
Affecting audiences with depictions of suffering and injustice is a key function of tragedy, and yet it has long been viewed by philosophers as a dubious enterprise. In this book Thomas Gould uses both historical and theoretical approaches to explore tragedy and its power to gratify readers and audiences. He takes as his starting point Plato's moral and psychological objections to tragedy, and the conflict he recognized between "poetry"--the exploitation of our yearning to see ourselves as victims--and "philosophy"--the insistence that all good people are happy. Plato's objections to tragedy are shown to be an essential feature of Socratic rationalism and to constitute a formidable challenge even today. Gould makes a case for the rightness and psychological necessity of violence and suffering in literature, art, and religion, but he distinguishes between depictions of violence that elicit sympathy only for the victims and those that cause us to sympathize entirely with the perpetrators. It is chiefly the former, Gould argues, that fuel our responses not only to true tragedy but also to religious myths and critical displays of political rage.
Originally published in 1990.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Critical Edition, Translation and Commentary
Criticism of monastic life by one of Europe’s major Renaissance figures. In his letter Against Monastic Life (1514–17) Andrea Alciato, an Italian jurist and writer famous for his Emblemata, urges his friend Bernardus Mattius to reconsider his choice of monastic life. Alciato makes his argument by criticizing religious superstition, the Church’s hierarchy, and monastic practices, particularly the Franciscans’ hypocrisy, wealth, and divisiveness. Instead, he defends a stoic, civic humanism. Due to the troubled history of this unique manuscript and the inadequacies of the two subsequent editions, Alciato’s discourse has been obscured for centuries. This edition and translation seeks to make clear the biographical importance of the text for one of the major figures of the European Renaissance.
This book, the first study in English devoted entirely to Andreas Capellanus's De Amore, presents a comprehensive inquiry into the influence of scholasticism on the structure and organization of the work, applying methods of medieval philosophy and intellectual history to an important problem in medieval literary studies.
Preaching, Performance, and Gender in the Later Middle Ages
Texts by, for, and about preachers from the twelfth to the fourteenth centuries reveal an intense interest in the preacher's human nature and its intersection with his "angelic" role. Far from simply denigrating embodiment or excluding it from consideration, these works recognize its centrality to the office of preacher and the ways in which preachers, like Christ, needed humanness to make their performance of doctrine effective for their audiences. At the same time, the texts warned of the preacher's susceptibility to the fleshly failings of lust, vainglory, deception, and greed. Preaching's problematic juxtaposition of the earthly and the spiritual made images of women preachers, real and fictional, key to understanding and exploiting the power, as well as the dangers, of the feminized flesh.
Addressing the underexamined bodies of the clergy in light of both medieval and modern discussions of female authority and the body of Christ in medieval culture, Angels and Earthly Creatures reinserts women into the history of preaching and brings together discourses that would have been intertwined in the Middle Ages but are often treated separately by scholars. The examination of handbooks for preachers as literary texts also demonstrates their extensive interaction with secular literary traditions, explored here with particular reference to Chaucer's Canterbury Tales.
Through a close and insightful reading of a wide variety of texts and figures, including Hildegard of Bingen, Birgitta of Sweden, and Catherine of Siena, Waters offers an original examination of the preacher's unique role as an intermediary—standing between heaven and earth, between God and people, participating in and responsible to both sides of that divide.
The Supernatural and Its Visual Representation
Supernatural phenomena and causalities played an important role in medieval society. Religious practice was relying upon a set of cult images and the sacral status of these depictions of divine or supernatural persons became the object of heated debates and provoked iconoclastic reactions. The miraculous intervention of saints or other divine agents, the wondrous realities beyond understanding, or the manifestations of magic attributed to diabolic forces, were contained by a variety of discourses, described and discussed in religion, philosophy, chronicles, literature and fiction, and also in a large number of pictures and material objects. The nine essays in this collection discusses how supernatural phenomena – especially angels and devils – found visual manifestation in Latin and Eastern Christianity as well as Judaism in the late medieval, early renaissance period.
Art historian Meyer Schapiro defined style as “the constant form—and sometimes the constant elements, qualities, and expression—in the art of an individual or group.” Today, style is frequently overlooked as a critical tool, with our interest instead resting with the personal, the ephemeral, and the fragmentary. Anglo-Saxon Styles demonstrates just how vital style remains in a methodological and theoretical prism, regardless of the object, individual, fragment, or process studied. Contributors from a variety of disciplines—including literature, art history, manuscript studies, philology, and more— consider the definitions and implications of style in Anglo-Saxon culture and in contemporary scholarship. They demonstrate that the idea of style as a “constant form” has its limitations, and that style is in fact the ordering of form, both verbal and visual. Anglo-Saxon texts and images carry meanings and express agendas, presenting us with paradoxes and riddles that require us to keep questioning the meanings of style.
Contacts and Concepts in Medieval Britain
Traces of the living animal run across the entire corpus of medieval writing and reveal how pervasively animals mattered in medieval thought and practice. In fascinating scenes of cross-species encounters, a raven offers St. Cuthbert a lump of lard that waterproofs his visitors' boots for a whole year, a scholar finds inspiration for his studies in his cat's perfect focus on killing mice, and a dispossessed knight wins back his heritage only to give it up again in order to save the life of his warhorse. Readers have often taken such encounters to be merely figurative or fanciful, but Susan Crane discovers that these scenes of interaction are firmly grounded in the intimate cohabitation with animals that characterized every medieval milieu from palace to village. The animal encounters of medieval literature reveal their full meaning only when we recover the living animal's place within the written animal.
The grip of a certain humanism was strong in medieval Britain, as it is today: the humanism that conceives animals in diametrical opposition to humankind. Yet medieval writing was far from univocal in this regard. Latin and vernacular works abound in other ways of thinking about animals that invite the saint, the scholar, and the knight to explore how bodies and minds interpenetrate across species lines. Crane brings these other ways of thinking to light in her readings of the beast fable, the hunting treatise, the saint's life, the bestiary, and other genres. Her substantial contribution to the field of animal studies investigates how animals and people interact in culture making, how conceiving the animal is integral to conceiving the human, and how cross-species encounters transform both their animal and their human participants.
Quintus Ennius, often considered the father of Roman poetry, is best remembered for his epic poem, the Annals, a history of Rome from Aeneas until his own lifetime. Ennius represents an important bridge between Homer’s works in Greek and Virgil’s Aeneid. Jay Fisher argues that Ennius does not simply translate Homeric models into Latin, but blends Greek poetic models with Italic diction to produce a poetic hybrid. Fisher's investigation uncovers a poem that blends foreign and familiar cultural elements in order to generate layers of meaning for his Roman audience. Fisher combines modern linguistic methodologies with traditional philology in order to uncover the influence of the language of Roman ritual, kinship, and generalship on the Annals. Moreover, because these cultural practices are themselves hybrids of earlier Roman, Etruscan, and Greek cultural practices, not to mentionthe cultures of speakers of lesser-known languages such as Oscan and Umbrian, these echoes of cultural interactions also generated layers of meaning for Ennius, his ancient audience, and the modern readers of the fragments of the Annals.