Joseph Agassi

Both a Popper biography and an autobiography, Agassi's "A Philosopher's Apprentice" tells the riveting story of his intellectual formation in 1950s London, a young brilliant philosopher struggling with an intellectual giant - father, mentor, and rival, all at the same time. His subsequent rebellion and declaration of independence leads to a painful break, never to be completely healed. No other writer has Agassi's psychological insight into Popper, and no other book captures like this one the intellectual excitement around the Popper circle in the 1950s and the struggles of the 1960s and 1970s - personal, academic, political, all important philosophically. Agassi's Popper - whether one agrees with it or not - is an enormous contribution to scholarship. This second revised edition includes also Popper's and Agassi's last correspondence and, in a postscript it shows Agassi leafing through Popper's archives, reaching a sort of reconciliation, an appropriate ending to the drama. A must read. Malachi Hacohen, Duke University.

Regrettably, Wittgenstein did not consider the possibility that his early effort was both significant and a failure. So he replaced its content with its approach: the concern of philosophy is (not with thought but) with language, questioning whether a sentence has truth-value before questioning whether it is true. To view Wittgenstein’s work as philosophy of life is to admit defeat. The paradox of analysis is satisfactorily answerable, providing scope to the techniques of Wittgenstein and of his followers. The most ambitious example of this is logical atomism. It failed. Mature Wittgenstein offered examples of techniques for analysing sentences; it is questionable.

This book is a first attempt to cover the whole area of aesthetics from the point of view of critical rationalism. It takes up and expands upon the more narrowly focused work of E. H. Gombrich, Sheldon Richmond, and Raphael Sassower and Louis Ciccotello. The authors integrate the arts into the scientific world view and acknowledge that there is an aesthetic aspect to anything whatsoever. They pay close attention to the social situatedness of the arts. Their aesthetics treats art as emerging from craft in the form of luxurious and playful challenge to the audience. In developing it they place emphasis on the number of questions and claims that can be settled by appeal to empirical facts; on the historical character of aesthetic judgements; and on the connection of aesthetic truth to true love and true friendship, i.e. fidelity and integrity, not to informative truth.