John Arthos - Böcker

This intellectual history and textual analysis of Hans-Georg Gadamer's famous and obscure theme of the verbum interius, or "inner word," serves as an indispensable guide to and reference for hermeneutic theory. John Arthos here gives a full exposition and interpretation of the medieval doctrine of the inner word, long one of the most challenging ideas in Gadamer's Truth and Method. The scholastic idea of a word that is thought but not yet spoken served Augustine as an analogy for the procession of the Trinity, served Aquinas as the medium between divine ideas and human expression, and serves Gadamer as an expression of the embodied nature of human language. Arthos offers a history of the idea of the inner word in ancient and medieval thought, its place in German philosophy, and its significance for probing the deepest implications of hermeneutic understanding. Arthos also provides a close reading of Gadamer's exegesis of the source texts of the doctrine of the inner word. He cross-references Gadamer's analyses with the original texts and draws out their Heideggerian and Hegelian overtones. Through this close reading, Arthos deepens our understanding of the radical nature of Gadamer's thought, which not only calls upon the authority of tradition but also develops some of the profoundest insights of classical and Judaeo-Christian teaching about language.

Originally published in 1949, this title was written in order to help establish a better understanding of the ‘stock diction’ of eighteenth-century English poetry, and, in particular, of the diction commonly used in the description of nature. The language characteristic of so much of the poetry of this period had been severely criticized for a long time. But in the twenty or thirty years prior to publication some effort had been made to review the subject and the problem. However, several questions still remained unanswered, and more exhaustive analysis needed to be undertaken. This volume was an effort to provide answers for some of these questions and to begin the analysis that was required.

Originally published in 1949, this title was written in order to help establish a better understanding of the ‘stock diction’ of eighteenth-century English poetry, and, in particular, of the diction commonly used in the description of nature. The language characteristic of so much of the poetry of this period had been severely criticized for a long time. But in the twenty or thirty years prior to publication some effort had been made to review the subject and the problem. However, several questions still remained unanswered, and more exhaustive analysis needed to be undertaken. This volume was an effort to provide answers for some of these questions and to begin the analysis that was required.

Originally published in 1956, this scholarly study of Spenser’s poetry shows how the conceptions of his earlier work in complaints, visions and pastorals were of continuing importance to the development of The Faerie Queene. Following on from Bishop Hurd’s Letters on Chivalry and Romance, John Arthos discusses the congeniality of romance and allegory. The form and substance of Spenser’s lyrical and meditative poetry were combined with his interest in romances to govern the progress of the great work, and in the Mutabilitie Cantos they assert a dominant emphasis. In continuing many of the features characteristic of medieval romances, in taking up the innovations of Boiardo and Ariosto, and in giving expression to a view of life and especially of love that had not been made before in romantic literature, Spenser set himself a framework of so many and such complex interests that he failed to construct in The Faerie Queene the unity one might expect after reading the letter to Raleigh. The author believes that Tasso’s theories provide the terms that explain how Spenser meant to effect the unity of his poem, and that they also explain why the Mutabilitie Cantos belong to a radically different conception. Acknowledging that the allegories in Spenser’s work are obscure or unevenly developed John Arthos’ book maintains the idea that romance and allegory were integrally conceived in the Poem.

Originally published in 1956, this scholarly study of Spenser’s poetry shows how the conceptions of his earlier work in complaints, visions and pastorals were of continuing importance to the development of The Faerie Queene. Following on from Bishop Hurd’s Letters on Chivalry and Romance, John Arthos discusses the congeniality of romance and allegory. The form and substance of Spenser’s lyrical and meditative poetry were combined with his interest in romances to govern the progress of the great work, and in the Mutabilitie Cantos they assert a dominant emphasis. In continuing many of the features characteristic of medieval romances, in taking up the innovations of Boiardo and Ariosto, and in giving expression to a view of life and especially of love that had not been made before in romantic literature, Spenser set himself a framework of so many and such complex interests that he failed to construct in The Faerie Queene the unity one might expect after reading the letter to Raleigh. The author believes that Tasso’s theories provide the terms that explain how Spenser meant to effect the unity of his poem, and that they also explain why the Mutabilitie Cantos belong to a radically different conception. Acknowledging that the allegories in Spenser’s work are obscure or unevenly developed John Arthos’ book maintains the idea that romance and allegory were integrally conceived in the Poem.

Originally published in 1963, this is a study of the greatness of Dante, Michelangelo and Milton, and of the differences in the power and effect of their work. This book shows how differing philosophical commitments help explain differences in the character of their greatness. The ancient treatise On the Sublime provides the starting point for these studies and in an introductory essay the author examines Longinus’ obligations to Platonic and Stoic philosophy. In the essays which relate the critical doctrines of Dante, Michelangelo and Milton to philosophy, he shows how far their thought accords with Longinus’ and to what degree they depend upon the same philosophic traditions. The final emphasis, however, is upon the relation of their ideas to the distinctive elements of their greatness.

Originally published in 1963, this is a study of the greatness of Dante, Michelangelo and Milton, and of the differences in the power and effect of their work. This book shows how differing philosophical commitments help explain differences in the character of their greatness. The ancient treatise On the Sublime provides the starting point for these studies and in an introductory essay the author examines Longinus’ obligations to Platonic and Stoic philosophy. In the essays which relate the critical doctrines of Dante, Michelangelo and Milton to philosophy, he shows how far their thought accords with Longinus’ and to what degree they depend upon the same philosophic traditions. The final emphasis, however, is upon the relation of their ideas to the distinctive elements of their greatness.

There has been a renaissance of interest in the work and thought of Paul Ricoeur, one of the great hermeneutic scholars of the twentieth century. It is time to assess the future landscape for hermeneutics as a scholarly field and an educational curriculum after the momentous impact of Paul Ricoeur, who extended and deepened its trans-disciplinary reach, and pushed its profile substantially beyond its German legacy. There exists a misunderstanding that his thought is simply an extension or revision of Heidegger and Gadamer; Hermeneutics After Ricoeur ably sets out the differences and tensions, establishing the originality of Ricoeur’s thought and its application beyond hermeneutic studies, with a thematic focus on education, the humanities, and the liberal arts.

There has been a renaissance of interest in the work and thought of Paul Ricoeur, one of the great hermeneutic scholars of the twentieth century. It is time to assess the future landscape for hermeneutics as a scholarly field and an educational curriculum after the momentous impact of Paul Ricoeur, who extended and deepened its trans-disciplinary reach, and pushed its profile substantially beyond its German legacy. There exists a misunderstanding that his thought is simply an extension or revision of Heidegger and Gadamer; Hermeneutics After Ricoeur ably sets out the differences and tensions, establishing the originality of Ricoeur’s thought and its application beyond hermeneutic studies, with a thematic focus on education, the humanities, and the liberal arts.

Gadamer’s writing on art is typically seen as supporting his philosophical theory of truth. Drawing together a coherent theory of the work of art from the corpus of Gadamer’s writings, this is the first full-length examination of Gadamer's theory of the work of art in its own right. Close readings of Gadamer’s treatment of aesthetics in Truth and Method, as well as his many essays and lectures on art, highlight an approach to art that is not ancillary to historical, philosophical, and linguistic themes. The book establishes Gadamer’s position on the criteria for the judgment of art, and the balance between production and reception from a hermeneutic perspective. Offering useful insights to some of the most tantalizing and obscure Gadamerian themes, this not only makes a significant addition to Gadamer scholarship, but provides aesthetics scholars, critics, and interpreters with new ways of thinking about art.