Aesthetics & Literary Theory
“If the student of Greek literature has room on his shelf for only one volume besides his texts, lexica, and grammar, that book should be Lesky.”
—Moses Hadas, The Classical World
“Along with a brisk and very readable rendition of the text, this edition provides the material necessary for understanding the point of Voltaire’s satire. Wootton’s Introduction gives an excellent account of the dispute over optimism, and the supplementary texts show both the opposing points of view in this dispute, and its development on other texts of Voltaire.”
—Christopher J. Kelly, co-editor, The Collected Writings of Rousseau
“Pluhar maintains a fine, even tone throughout. . . . Those who have found the prospect of teaching the third Critique daunting will admire its clarity. . . . No one will be disappointed.”
—Timothy Sean Quinn, The Review of Metaphysics
“Miller is one of the ablest experts in the language of Greek poetry, and he has a razor-sharp sense for the nuances of the wording. A lastingly important sourcebook; I strongly recommend it.”
—Gregory Nagy, Harvard University
“Like Dewey, he has revolted against the empiricist dogma and the Kantian dualisms which have compartmentalized philosophical thought. . . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down.”
—Richard Rorty, The Yale Review
Celebrated for its own clarity and sublime style, this classic work of literary theory draws on the writings of Demosthenes, Plato, Sappho, Thucydides, Euripides, and Aeschylus, among others, to examine and delineate the essentials of a noble style. The complete translation, from the Greek of A. O. Prickard’s Oxford text, features an introduction by Grube, establishing the historical and critical context of the work, and a biographical index.
"I find the Introduction extremely convincing, lucid, learned, fair to past scholarship, and truly illuminating about the meaning of tragedy in general and about the very specific acceptions of hamartia, katharsis, ekplêxis, and thauma, in the context of an appropriate understanding of the Poetics. Another remarkable feature is the dexterity and ease with which it draws on all the relevant parts of the Aristotelian corpus to shed light on troublesome textual passages in the Poetics. Finally, the style of the Introduction is straightforward, free of unnecessary jargon, direct, and economical, the best interpretation of the Poetics I ever read."
—Sabetai Unguru, Tel Aviv University
"The authors argue against certain philosophical distinctions between art and science; between verbal and nonverbal meaning; and between the affective and the cognitive. The book continues Goodman's argument against one traditional mode of philosophizing which privileges the notions of 'truth' and 'knowledge'. Hence, the book is in a broadly pragmatic tradition. It also deals in detail with such topics as meaning in architecture and the concept of 'variation' in art, and contains a superb critique of some important views in contemporary epistemology. This work will be savored even by those who will not accept all aspects of Goodman and Elgin's approach. Essential for all undergraduate philosophy collections."
—Stanley Bates, Choice
“An indispensable guide for anyone who wishes to study that . . . section of Greek and Latin literature which we should consider literary criticism.”
—A. H. Armstrong
"Thirty-Two Stories appears in an attractive and readable format, with the 1848 ‘Ultima Thule’ daguerrotype of Poe featured prominently on the front cover. Gone are the double-column pages, endnote style, and thematic organization of material that made the 1976 edition clumsy. Instructors and students will not have to battle with an arbitrary conceptual framework, since the stories in the new edition are presented in order of their first publication, and they will find the annotations more accessible at the bottom of the page. The typefaces are larger and bolder and many of the illustrations that graced the 1976 edition have been enlarged. . . . For college instructors and general readers interested in a fully annotated selection of Poe’s tales, attractively presented in a one-volume paperback edition, Thirty-Two Stories is the best thing on the market.”
—Bruce I. Weiner, The Edgar Allan Poe Review
“In a way reminiscent of Einstein, Goodman leads us to the very edge of relativism, only then to step back and to suggest certain criteria of fairness and rightness. More so than any other commentator, he has provided a workable notion of the kinds of skills and capacities that are central for anyone who works in the arts.”
—Howard Gardner, Harvard University
Maude’s excellent translation of Tolstoy’s treatise on the emotionalist theory of art was the first unexpurgated version of the work to appear in any languages. More than ninety years later this work remains, as Vincent Tomas observed, “one of the most rigorous attacks on formalism and on the doctrine of art for art’s sake ever written.” Tomas’s Introduction makes this the edition of choice for students of aesthetics and anyone with philosophical interests.