The seventeenth century was a period of dramatic change in the field of philosophy. In logic, traditional Aristotelian textbooks were transformed by the emergence of an alternative ‘logic of ideas’. This new logic was developed by Descartes and Locke, its main representatives, and by Arnauld and Malebranche. The present study starts with a fresh and detailed analysis of the logic of ideas. The author then puts the fruitfulness of his characterization of the new logic to the test, by studying its reception in the eclectic intellectual environment of the Dutch Republic between 1690 and 1750. This is the first comprehensive study of the early modern logic of ideas. It is also a profound contribution to our understanding of the interaction between Aristotelianism and new philosophy and between rationalism and empiricism.
At the climax of one of his most important and comprehensive works,
De cessatione legalium, the thirteenth-century theologian and natural philosopher, Robert Grosseteste, uses a musical example to make a point fundamental to the treatise. Music, using time as its material, located between the abstract and the concrete, served as an analogy, thus making a difficult philosophical concept perceptible. In using music as an analogy, Gorsseteste drew upon a long tradition established by Augustine, confirmed within the new Aristotelian reception, and a newly-translated Platonic dialogue. But the first rector of the University of Oxford was also demonstrating music's place within the curriculum of the early university, namely, as a
ministry discipline, efficiently and efficaciously exemplifying traditional Augustinian, as well as new Aristotelian principles.
This book unites the most important theological-philosophical subjects discussed by Robert Grosseteste throughout his prodigious output, with those exemplified by an anonymous contemporary English writer on music. The work shows how music collaborated with the other liberal arts, operating within the early university curriculum as a ministry discipline. Music made accessible through the
figurae of its notation, and through sound, otherwise nearly unapproachable, new Aristotelian concepts. The influence was reciprocal in that new Aristotelian tools and conceptualization greatly influenced music notation and style. Music theory has been studied in isolation, as pertaining only to music. This study is the first to relate music of the early thirteenth century to its intellectual context, overturning dogma, uncritically accepted since the beginning of this century, concerning so-called “modal rhythm,” and showing how “contrary motion,” rather than forming a musical convention, demonstrated a key Aristotelian concept.
This book presents an account of the essentially Aristotelian philosophy of John Sergeant (1623-1707) and his Blackloist colleagues, Kenelm Digby and Thomas White. Despite their notoriety as Catholic controversialists in the mid-seventeenth century, Sergeant and his circle have long suffered from historical neglect, and Professor Krook's work provides a useful corrective to conventional historiography.
Digby, White and Sergeant were all concerned to present a coherent philosophical and theological framework, which would provide some certainty in the face of the contemporary sceptical challenge, and the author shows how their work was securely based on traditional Aristotelian foundations. Through a detailed discussion of Aristotelian methodology, she shows how, in the face of Protestant misunderstanding, they justified their own claims for certainty.
This study restores Sergeant and his circle to their proper historical importance and provides an original and illuminating study of late seventeenth-century Aristotelian philosophy.
The Rose Cross deals with the interaction between two movements of thought in eighteenth-century Germany: the philosophy of the Enlightenment, and the complex of ideas known as Rosicrucian. Dating from the early seventeenth century and drawing on Pietism, Freemasonry, Kabbalah and alchemy, the Rosicrucianism movement enjoyed a revival in Germany during the eighteenth century.
Historians have often depicted this neo-Rosicrucianism as a Counter-Enlightenment force. Dr. McIntosh argues rather that it was part of a "third force", which allied itself sometimes with the Enlightenment, sometimes with the Counter-Enlightenment.
This book is the first in-depth, comprehensive study of the German Rosicrucian revival and in particular of the order known as the Golden and Rosy Cross (Gold und Rosenkreuz). Drawing on hitherto unpublished material, Dr. McIntosh shows how the order exerted a significant influence on the cultural, political and religious life of its age.
Casting aside critical shibboleths in place for centuries, Kenneth Craven's
Jonathan Swift and the Millennium of Madness proposes a new view of intellectual history. This revisionary study documents Swift's intimate knowledge of seventeenth-century science from Bacon and the Invisible College at Oxford to the Newtonian synthesis within the context of Paracelsian medicine and the chemical-mechanical split. Craven shows that Swift joins the philosophies of a neoplatonic divine order, Epicurean atomism, the Reformation, and scientific millenarianism as permeating his time with millennial myths sure eventually to detonate the sense of composure of individuals and societies. In contradistinction, Swift elucidates links between the humors traditions in medicine and literature, saturnine melancholy and the dreaming god Kronos. He proposes the somber realism of the Kronos myth as providing awareness of the self-imposed restraints on ego needed to preclude the proliferation of modern information systems into trivialization of the human enterprise to meaninglessness.
This fresh and exhaustive examination of the Anglo-Irish writer's first masterpiece,
A Tale of a Tub (1704) unlocks barriers to seeing the nature of Swift's complex integrity, passion, and literary achievements throughout a career studded with disappointments. Specifically, this study authoritatively reveals the identity of unnamed victims of Swift's satire as the deist John Toland and his republican hero, John Milton, for their advocacy of the Puritan Revolution and regicide; Toland's mentor John Locke and another Lockean disciple, Lord Shaftesbury, who confused happiness and self-interest with delusion and the public weal; and his tormentors in the Church of Ireland, Narcissus Marsh and Peter Browne.
This book, based on a wide range of eighteenth-century works, concerns European attitude towards North Africa in the century preceding the French conquest of Algiers in 1830. It studies the radical transformation of perceptions of Barbary during the period, essentially by placing them in the context of the different eighteenth-century systems of classification of the world. We see that uncertainty as to how to classify this region, its inhabitants, its form of government and social evolution - which led to its absence from most contemporary anthropological discussions - was resolved in the early nineteenth-century with the appearance of what were to become colonial stereotypes.