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Each volume provides a clear, accessible, historically-informed account of each thinker's work, focusing on a reassessment of their central ideas and arguments. Founders encourage scholars and students to link their study of classic texts to current debates in political philosophy and social theory. Alexis de Tocqueville is one of the most topical and debated figures in contemporary political and social theory. This clear new introduction to de Tocqueville's thought examines in detail his classic works and their major themes. Welch argues thet Tocqueville's major themes tap into deep anxieties about democratic practices and his writings help us to identify the major fault lines in democracy at the turn of the new century. 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Robinson begins by laying out a theory of emotion, one that is supported by the best evidence from current empirical work on emotions, and then in the light of this theory examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, her book will make fascinating reading for anyone who is interested in the emotions and how they work, as well as anyone engaged with the arts and aesthetics, especially with questions about emotional expression in the arts, emotional experience of art forms, and, more generally, artistic interpretation.\u003cbr\u003e\u003cbr\u003ePart One develops a theory of emotions as processes, having at their core non-cognitive \"instinctive\" appraisals, \"deeper than reason\", which automatically induce physiological changes and action tendencies, and which then give way to cognitive monitoring of the situation. 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Professor Hurford searches a wide range of evidence for the answers to these central questions, including degrees of trust, the role of hormones, the ability to read minds, and the willingness to cooperate.Expressing himself congenially in consistently colloquial language the author builds up a vivid picture of how mind, language, and meaning evolved over millions of years. His book is a landmark contribution to the understanding of linguistic and thinking processes, and the fullest account yet published of the evolution of language and communication.\"A wonderful read - lucid, informative, and entertaining, while at the same time never talking down to the reader by sacrificing argumentation for the sake of 'simplicity'. Likely to be heralded as the major publication dealing with language evolution to date. Frederick J. 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Classic formalists claimed implausibly that mathematical utterances are truth-valueless moves in a game. Alan Weir aims to develop a more satisfactory successor to game formalism utilising a widely accepted, broadly neo-Fregean framework, in which the proposition expressed by an utterance is a function of both sense and background circumstance. This framework allows for sentences whose truth-conditions are not representational, which are made true or false by conditions residing in the circumstances of utterances but not transparently in the sense. Applications to projectivism and fiction pave the way for the claim that mathematical utterances are made true or false by the existence of concrete proofs or refutations, though these truth-making conditions form no part of their sense or informational content. The position is compared with rivals, an account of the applicability of mathematics developed, and a new account of the nature of idealisation proffered in which it is argued that the finitistic limitations Gödel placed on proofs are without rational justification. 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Marie McGinn's principal aim in this book is to develop an alternative interpretative line, which rejects the idea, central to the metaphysical reading, that Wittgenstein sets out to ground the logic of our language in features of an independently constituted reality, but which allows that he aims to provide positive philosophical insights into how language functions. McGinn takes as a guiding principle the idea that we should see Wittgenstein's early work as an attempt to eschew philosophical theory and to allow language itself to reveal how it functions. By this account, the aim of the work is to elucidate what language itself makes clear, namely, what is essential to its capacity to express thoughts that are true or false. However, the early Wittgenstein undertakes this descriptive project in the grip of a set of preconceptions concerning the essence of language that determine both how he conceives the problem and the approach he takes to the task of clarification. 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Since the eighteenth century, many philosophers have argued that appreciating art is rewarding because it involves responding imaginatively to a work. Literary works can be interpreted in many ways; architecture can be seen as stately, meditative, or forbidding; and sensitive descriptions of art are often colourful metaphors: music can 'shimmer', prose can be 'perfumed', and a painter's colouring can be 'effervescent'. Engaging with art, like creating it, seems to offer great scope for imagination. Hume, Kant, Oscar Wilde, Roger Scruton, and others have defended variations on this attractive idea. In this book, James Grant critically examines it. The first half explains the role imaginativeness plays in criticism. To do this, Grant answers three questions that are of interest in their own right. First, what are the aims of criticism? Is the point of criticizing a work to evaluate it, to explain it, to modify our response to it, or something else? Second, what is it to appreciate art? Third, what is imaginativeness? He gives new answers to all three questions, and uses them to explain the role of imaginativeness in criticism. The book's second half focuses on metaphor. Why are some metaphors so effective? How do we understand metaphors? Are some thoughts expressible only in metaphor? Grant's answers to these questions go against much current thinking in the philosophy of language. He uses these answers to explain why imaginative metaphors are so common in art criticism. 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