This book presents a comprehensive study of Oakeshott's conception of political activity. The author first examines Oakeshott in the contexts of liberal, conservative and Idealist thought, and then presents a detailed interpretation of the change in his conception of politics in the context of British postwar political thought. It is argued that Oakeshott's conception of political activity shifted from a near contempt of politics towards the applauding of politics as a deliberative and reflective activity. The development is disclosed by examining the change in his key concepts, such as authority and tradition. Accordingly, some rather unexpected aspects of Oakeshott's thought, such as his close relationship to the linguistic turn, appear. The author argues that although Oakeshott cannot exactly be classified as belonging to that group of political philosophers for whom politics represents a superior human activity, his later work presents an important and original view of politics as an art of contingency.

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his book offers a description, explanation, and evaluation of Michael Oakeshott's democratic theory. He was not a democratic theorist as such, but as a twentieth-century English political theorist for whom liberal theory held deep importance, his thought often engaged democratic theory implicitly, and many times did so explicitly. The author's project penetrates two renewals. The first is the revitalization of interest in Oakeshott, and the second is the renewal of democratic theory which began in the 1980s. In respect to this latter renewal, the book engages the deliberative turn in democratic theory. These revivals create the context for this new look at Oakeshott. To state the matter as a problem, one might say that in light of new and fecund democratic theory, it is a problem for political theory if one of the most important political theorists of the twentieth century is left out of the discourse insofar as he has something relevant to say about deliberative democracy. It is of no small importance that almost all the work in democratic theory being done these days is of the deliberative/discursive kind, or responses to it. That is, deliberative theory is driving the agenda of democratic theory. The author argues that Oakeshott does indeed have something relevant to say which is applicable to this democratic theory.

In this book Andrew Sullivan examines Oakeshott's transition from his original emphasis on philosophy as providing what was ultimately satisfactory in experience to his later emphasis on practical life. This satisfaction is best achieved by a fusion of the modes of poetry and practice, leading the author to examine Oakeshott's view of religious life as the consummation of practice in its most poetic incarnation. The book also examines how the conception of practice is applied in Oakeshott's political writings, focusing on the notion of civil association.

This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher proves. Accordingly, the book has a bold thesis on the general, theoretical level, mapping the connections between politics, art and philosophy. However, it also has a pioneering commitment on the level of the particular, offering the first full-length study into the philosophical legacy of Roger Scruton, probably the most important British conservative philosopher of the late 20th and the first decades of the 21st century. It also allows reader to look into the philosopher’s fascination with Central European art and culture. Finally, it also provides a daring analysis of the late Scruton’s metaphysical inspirations, connecting the arts, and especially music, with religion and the bonds of love.

One of the seminal voices of twentieth-century political thought, Michael Oakeshott's work has often fallen prey to the ideological labels applied to it by his interpreters and commentators. In this book, Luke Philip Plotica argues that we stand to learn more by embracing Oakeshott's own understanding of his work as contributions to an ever-evolving conversation of humanity. Building from Oakeshott's concept of conversation as an engagement among a plurality of voices "without symposiarch or arbiter" to dictate its course, Plotica explores several fundamental and recurring themes of Oakeshott's philosophical and political writings: individual agency, tradition, the state, and democracy. When viewed as interventions into an ongoing conversation of modern political thought, Oakeshott's work transcends the limits of familiar ideological labels, and his thought opens into deeper engagement with some of the most significant thinkers of the twentieth century, including Ludwig Wittgenstein, Charles Taylor, Michel Foucault, and Hannah Arendt. Attending to these often unexpected or unrecognized affinities casts fresh light on some of Oakeshott's most familiar ideas and their systematic relations, and facilitates a better understanding of the breadth and depth of his political thought.