Against the assumption that aesthetic form relates to a harmonious arrangement of parts into a beautiful whole, this book argues that reason is the real theme of the "Critique of Judgment" as of the two earlier "Critiques." Since aesthetic judgment of the beautiful becomes possible only when the mind is confronted with things of nature, for which no determined concepts of understanding are available, aesthetic judgment is involved in an epistemological or, rather, para-epistemological task. The predicate "beautiful" indicates that something has minimal form and is cognizable. This book explores this concept of form, in particular the role of presentation ("Darstellung") in what Kant refers to as "mere form," which involves not only the understanding, but also reason as the faculty of ideas. Such a notion of form reveals why the beautiful can be related to the morally good. On the basis of this reinterpreted concept of form, most major concepts and themes of the "Critique of Judgment"--such as disinterestedness, free play, the sublime, genius, and beautiful arts--are examined by the author and shown in a new light.

The Idea of Spatial Form contains the classic essay that introduced the concept of "spatial form" into literary discussion in 1945, and has since been accepted as one of the foundations for a theory of modern literature. It is here reprinted along with two later reconsiderations, one of which answers its major critics, while the second places the theory in relation to Russian Formalism and French Structuralism. Originally conceived to clarify the formal experiments of avant-garde literature, the idea of spatial form, when placed in this wider context, also contributes importantly to the foundations of a general poetics of the literary text. Also included are related discussions of André Malraux, Heinrich Wölfflin, Herbert Read, and E. H. Gombrich. New material has been added to the essays in the form of footnotes and postscripts to two of them. These either illustrate the continuing relevance of the questions raised, or offer Frank's more recent opinions on the topic.

In the Lectures on the Proofs of the Existence of God, prepared just before his death, Hegel states that the question of proving God can receive its “scientific” treatment in the (Science of) Logic and nowhere else. He also states that Logic, at least his logical system, is the same as that of metaphysics. Here, everything finds its place in relation to everything else. This book presents a total system in the light of which everything, from physics to theology, finds its place and true presentation. It chiefly follows, in textual citation, the later, more concise version (as Part One of the Encyclopaedia of the Philosophical Sciences) of Hegel’s two presentations of this science. The stress has been on showing God’s own thought, or that of the cosmos, with which all mind is as such in unity. Logic and its forms, Hegel claims, is and are “the form of the world”. This ultimate objectivity, therefore, is at once utter subjectivity. The opposition collapses. The method here has been simply to follow the logic’s own development of thought (a development from within which Hegel himself calls its only method), to allow it once more to run its course rather than to merely “comment” on it, as if from a superior standpoint. In this work on Logic specifically, therefore, the intention is not to substitute one religion for another, as so many scholars, such as Charles Taylor, interpret Hegel as doing. Rather, it stakes out the path for specifically theological development as its ecumenical absorption into sophia, into the Idea as “all in all”, into the pure theology or wisdom of the ecumenical “Church”. One stakes this out, not in a “reduction” to philosophy, but in the re-establishment of metaphysics as itself the true theologia, the mind of heaven. What else could philosophy meaningfully be, unless “understanding spiritual things spiritually”, the being led into all truth, perched on the shoulders of those going before?

Of all Plato’s dialogues, the Parmenides is notoriously the most difficult to interpret. Scholars of all periods have disagreed about its aims and subject matter. The interpretations have ranged from reading the dialogue as an introduction to the whole of Platonic metaphysics to seeing it as a collection of sophisticated tricks, or even as an elaborate joke. This work presents an illuminating new translation of the dialogue together with an extensive introduction and running commentary, giving a unified explanation of the Parmenides and integrating it firmly within the context of Plato's metaphysics and methodology. Scolnicov shows that in the Parmenides Plato addresses the most serious challenge to his own philosophy: the monism of Parmenides and the Eleatics. In addition to providing a serious rebuttal to Parmenides, Plato here re-formulates his own theory of forms and participation, arguments that are central to the whole of Platonic thought, and provides these concepts with a rigorous logical and philosophical foundation. In Scolnicov's analysis, the Parmenides emerges as an extension of ideas from Plato's middle dialogues and as an opening to the later dialogues. Scolnicov’s analysis is crisp and lucid, offering a persuasive approach to a complicated dialogue. This translation follows the Greek closely, and the commentary affords the Greekless reader a clear understanding of how Scolnicov’s interpretation emerges from the text. This volume will provide a valuable introduction and framework for understanding a dialogue that continues to generate lively discussion today.

The purpose of this series is to help make contemporary European philosophy intelligible to a wider audience in the English-speaking world, and to suggest its interest and importance in particular to those trained in analytical philosophy.

Form Follows Idea examines the work and ideas of influential designers Ralph Ball and Maxine Naylor. Their reflections and propositions here provide a refreshing and provocative approach to design, touching on issues such as craftsmanship, modernism, and the role of nature and commercialism in design. Ball and Naylor's work explores ideas of space beyond the physical object. Their concern with cultural and social values is manifest in the form and (dis)function of their designs and appropiations of everyday objects, such as chairs, lights and shelving. Form Follows Idea features their approach to these objects through cultural, ecological and visual narratives. As such, this book provides a playful yet critical re-evaluation of familiar forms and typologies. The work in Form Follows Idea is further expanded upon here in an essay by Jeremy Myerson, Director of the Helen Hamlyn Research Centre at the Royal College of Art.