Malcolm Bull – författare

Is mercy more important than justice?Since antiquity, mercy has been regarded as a virtue. The power of monarchs was legitimated by their acts of clemency, their mercy demonstrating their divine nature. Yet by the end of the eighteenth century, mercy had become “an injustice committed against society . . . a manifest vice.” Mercy was exiled from political life. How did this happen?In this book, Malcolm Bull analyses and challenges the Enlightenment’s rejection of mercy. A society operating on principles of rational self-interest had no place for something so arbitrary and contingent, and having been excluded from Hobbes’s theory of the state and Hume’s theory of justice, mercy disappeared from the lexicon of political theory. But, Bull argues, these idealised conceptions have proved too limiting. Political realism demands recognition of the foundational role of mercy in society. If we are vulnerable to harm from others, we are in need of their mercy. By restoring the primacy of mercy over justice, we may constrain the powerful and release the agency of the powerless. And if arguments for capitalism are arguments against mercy, might the case for mercy challenge the very basis of our thinking about society and the state?An important contribution to contemporary political philosophy from an inventive thinker, On Mercy makes a persuasive case for returning this neglected virtue to the heart of political thought.

How the philosophy of Giambattista Vico was influenced by eighteenth-century Neopolitan paintingCan painting transform philosophy? In Inventing Falsehood, Making Truth, Malcolm Bull looks at Neapolitan art around 1700 through the eyes of the philosopher Giambattista Vico. Surrounded by extravagant examples of late Baroque painting by artists like Luca Giordano and Francesco Solimena, Vico concluded that human truth was a product of the imagination. Truth was not something that could be observed: instead, it was something made in the way that paintings were made--through the exercise of fantasy.Juxtaposing paintings and texts, Bull presents the masterpieces of late Baroque painting in early eighteenth-century Naples from an entirely new perspective. Revealing the close connections between the arguments of the philosophers and the arguments of the painters, he shows how Vico drew on both in his influential philosophy of history, The New Science. Bull suggests that painting can serve not just as an illustration for philosophical arguments, but also as the model for them--that painting itself has sometimes been a form of epistemological experiment, and that, perhaps surprisingly, the Neapolitan Baroque may have been one of the routes through which modern consciousness was formed.