Eudemian ethics -- Nicomachean ethics -- Magna moralia -- Virtues and vices.

Aristotle was the first philosopher in the Western tradition to address politics systematically and empirically, and he remains a central figure in political theory. This essential volume presents Aristotle's complete political writings—including his Politics, Economics, and Constitution of Athens—in their most authoritative translations, taken from the complete works that is universally recognized as the standard English edition. Edited by Jonathan Barnes, one of the world’s leading scholars of ancient philosophy, and with an illuminating introduction by Melissa Lane, an (...) authority on ancient political philosophy, this compact but comprehensive volume will be invaluable for all students of politics, philosophy, classics, or Western thought. (shrink)

v. 1. Nicomachean ethics. Politics. The Athenian Constitution. Rhetoric. On Poetics.--v. 2. Logic.--v. 3. Physics. Metaphysics. On the soul. Short physical treaties.--v. 4. On the heavens. On generation and corruption. Meteorology. Biological treatises.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

A presentation showing how the statements which relate to microphysical objects as they are different from the statements of classical mechanics is made. The determinism of classical and of quantum-mechanical theories is qualified. A (crucial) distinction between causality and determinism is given. Detailed analyses of diffraction as a result of single and double-slit demonstrations point to paradoxes arising from the use of particle or wave models, respectively, for photons and electrons. The compromising wave-packet model is underscored. The meanings for the (...) Psi-function and for |ψ|2 are presented, with an explanation of the limitations that arise from giving an interpretation of |ψ|2 as a probability. The meaning of ψ -waves is analyzed. A case is made for the ψ -function's describing a well-ordered list of betting odds, based on previous statistical experiences, for the different results of specific experiments of a microscopic object of study with macroscopic apparatus. The Schrödinger wave equation is evaluated for meaning and judged as a deterministic expression. (shrink)

Collection of works on literature theory, translated into Mongolian language.

annual conferences with Industry on the Education of the Young Worker, had meanwhile spread new thoughts and set on foot new experiments which later ...

The Symposia Aristotelica were inaugurated at Oxford in 1957. They are conferences of select groups of Aristotelian scholars from the UK, USA and Europe, and are held every three years. In 1975 the meeting was held in Cambridge and was devoted to Aristotle's psychological treatises, the De anima and the Parva uaturalia. The members of the conference discussed some of the much debated problems of Aristotle's psychology and broached important new topics such as his ideas on imagination. Dr (...) Lloyd and Professor Owen have collected and edited the papers presented to the Symposium and provided an analytical index. (shrink)

This paper explores the concept of hope in Aristotle’s philosophy. First, I note that Aristotle contrasts hopefulness with the virtue of courage, although hopefulness can be a source of courage in some contexts, because hopefulness can create confidence. Next, I examine hope in relation to fear, defending Aristotle’s claim that without hope we cannot fear, and suggesting that hope, as a foundation for both fear and confidence, is a fundamental requirement for deliberation. Finally, I look at the (...) hopefulness that underlies Aristotle’s virtue of high-mindedness, concluding that hopefulness is a foundation for self-confidence and ethical self-improvement. (shrink)

Whatthe influences were which led to the development and formulation of the so-called Theory of Ideas, usually associated with the name of Plato, is a question of perennial interest. And the interest has been increased by the vigorous controversy that, during the last ten years, has been conducted round the question of the exact part played by Socrates in the development of this theory. All the available evidence on the question is accessible and familiar to students of Greek thought, and (...) has been worked over many times. But as there is still no unanimity among scholars as to its true interpretation, it may be worth while to go over the ground once more, even if the only result is to confirm some view which has already been put forward and disputed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aristotle's Poetics and the PaintersGraham ZankerAristotle's Poetics uses the example of painting as an analogy to illustrate certain facts about poetry, specifically epic, tragedy, and comedy. But the use of painting as an analogy, though ancillary to Aristotle's subject, should yield evidence, if properly evaluated, on how the philosopher thought about painting, because the use of a thing as an analogy actually depends on how its user (...) regards the thing. We can legitimately infer Aristotle's opinions about certain aspects of painting from his comments about poetic mimesis, because analogy is by nature reflexive, or symmetrical: if poetry resembles painting in certain respects, then painting must in turn resemble poetry in those respects. And since, as I hope to show, the characteristics in question can be clearly defined from the Poetics, and since the terms denoting them are given consistent meanings throughout the treatise in regard to poetry, it would be all the more inconceivable that Aristotle did not mean the same with these terms when he applied them to painting. In fact, Aristotle's views on painting are important for establishing how painting was perceived in the fourth century B.C., at least in certain respects which I suggest are well worth noting. Here I refer in particular to the question of subject matter, the aspect of morality, and the issue of idealization in classical Greek painting. This short essay, then, is offered as an example of how an ancient treatise on literary aesthetics can benefit the art historian, especially by providing a framework within which the Greeks themselves viewed the art of their time.It is vital, first of all, to establish precisely what Aristotle is referring to when he says that poets represent people in action and that it is necessary that these be (48a1-6). For this I offer the following provisional and unprejudicial translation, the precise points of reference of which will be defined in the course of my argument: "either serious men () or insignificant men ()..., either better () than our level or worse () or of like level () as well, just like the painters, [End Page 225] for Polygnotus depicted superior people (), Pauson inferior, and Dionysius people of like level ()."This passage is often taken to refer to the moral status of the characters in poetry and in the paintings of Polygnotus, Pauson, and Dionysius. This is particularly so in the case of modern art historians. Rouveret, for example, affirms without substantiation that "pour Aristote, toute action est colorée par un ethos, d'autre part, les ethé se regroupent en deux catégories principales, les et les. Ces deux groupes déterminent deux types de mimesis tragique et comique. La tragédie représente donc toujours des " (1989, 132).1 And, having defined and in this way, she tries to show (121-61) how the text illuminates Aristotle's comment that Polygnotus was an while Zeuxis was not (50a25).But there are compelling reasons for believing that the reference here is basically to social class, with a flow-on effect on moral status.2 [End Page 226] In that case, according to Aristotle, tragedians and Polygnotus depict people of superior social status, comedy and Pauson represent people of inferior social status, and an unspecified literary genre (a type of tragedy if the Cleophon of 48a12 is the Athenian tragedian mentioned in the Suda)3 as well as the painter Dionysius (in all likelihood the fifth-century painter mentioned by Pliny at NH 35.113) depict people of an average social status "like you and me" (). That the reference is primarily social is clear in that the, who are the proper province of tragedy according to Aristotle, are described at 53a10-12 as people of high repute and in great prosperity,, the "people of distinction" like Oedipus and Thyestes, who are members of distinguished families.4The social reference of these terms in the Poetics is secured, and the relationship of the concepts denoted by them to moral considerations can be illustrated by reference to 54a19-22. There Aristotle argues that it is a prime requisite of tragedy that its characters be morally good,, in order that the true tragic effect... (shrink)

Aristotle is a rarity in the history of philosophy and science - he is a towering figure in the history of both disciplines. Moreover, he devoted a great deal of philosophical attention to the nature of scientific knowledge. How then do his philosophical reflections on scientific knowledge impact his actual scientific inquiries? In this book James Lennox sets out to answer this question. He argues that Aristotle has a richly normative view of scientific inquiry, and that those norms (...) are of two kinds: a general, question-guided framework applicable to all scientific inquiries, and domain-specific norms reflecting differences in the target of inquiry and in the means of observation available to researchers. To see these norms of inquiry in action, the second half of this book examines Aristotle's investigations of animals, the soul, material compounds, the motions of heavenly bodies, and respiration. (shrink)