Colin McGinn

Part memoir, part study, The Making of a Philosopher is the self–portrait of a deeply intelligent mind as it develops over a life on both sides of the Atlantic. The Making of a Philosopher follows Colin McGinn from his early years in England reading Descartes and Anselm, to his years in the states, first in Los Angeles, then New York. McGinn presents a contemporary academic take on the great philosophical figures of the twentieth century, including Bertrand Russell, Jean–Paul Sartre, and Noam Chomsky, alongside stories of the teachers who informed his ideas and often became friends and mentors, especially the colorful A.J. Ayer at Oxford. McGinn's prose is always elegant and probing; students of contemporary philosophy and the general reader alike will absorb every page.

My Journey Through Twentieth-Century Philosophy

The Making of a Philosopher

Being surrounded by bullshit is one thing. Having your mind fucked is quite another. The former is irritating, but the latter is violating and intrusive (unless you give your consent). If someone manipulates your thoughts and emotions, messing with your head, you naturally feel resentment: he or she has distorted your perceptions, disturbed your feelings, maybe even usurped your self. Mindfucking is a prevalent aspect of contemporary culture and the agent can range from an individual to a whole state, from personal mind games to wholesale propaganda.In "Mindfucking", Colin McGinn investigates and clarifies this phenomenon, taking in the ancient Greeks, Shakespeare and modern techniques of thought control. McGinn assembles the conceptual components of this most complex of concepts - trust, deception, emotion, manipulation, false belief, vulnerability - and explores its very nature. Is philosophy, as a discipline, a type of mindfuck, asks McGinn? Is romantic love a species of mindfuck? The essence is psychological upheaval or disorientation, often abetted by the weaknesses of the victim. Jealousy, insecurity and prejudice can aid the mindfuck. Delusion is the general result, sometimes insanity. How mindfucked are you? It's hard to say from the inside, but being aware of the phenomenon offers at least some protection.

A Critique of Mental Manipulation

Mindfucking

Image, Dream, Meaning

Mindsight

Peter Carruthers

Frank Jackson

et al.

David Papineau

William G. Lycan

Galen Strawson

Georges Rey

J.J.C. Smart

Does Physicalism Entail Panpsychism?

Consciousness and Its Place in Nature

This advanced introductory text offers a synoptic view of philosophical inquiry, discussing such topics as consciousness, the self, meaning, free will, the a priori, and knowledge. The emphasis is on the fundamental intractability of these questions, and a theory is proposed as to why the human mind has so much difficulty in resolving them. This theory turns upon a naturalistic picture of the scope and limits of human intelligence.

The Limits of Inquiry

Problems in Philosophy

Shakespeare's plays are usually studied by literary scholars and historians and the books about him from those perspectives are legion. It is most unusual for a trained philosopher to give us his insight, as Colin McGinn does here, into six of Shakespeare's greatest plays—A Midsummer Night's Dream, Hamlet, Othello, Macbeth, King Lear, and The Tempest. In his brilliant commentary, McGinn explores Shakespeare's philosophy of life and illustrates how he was influenced, for example, by the essays of Montaigne that were translated into English while Shakespeare was writing. In addition to chapters on the great plays, there are also essays on Shakespeare and gender and his plays from the aspects of psychology, ethics, and tragedy. As McGinn says about Shakespeare, "There is not a sentimental bone in his body. He has the curiosity of a scientist, the judgement of a philosopher, and the soul of a poet." McGinn relates the ideas in the plays to the later philosophers such as David Hume and the modern commentaries of critics such as Harold Bloom. The book is an exhilarating reading experience, especially at a time when a new audience has opened up for the greatest writer in English.

Discovering the Meaning Behind the Plays

Shakespeare's Philosophy

An introduction to philosophy of language through systematic and accessible explanations of ten classic texts by such thinkers as Frege, Kripke, Russell, and Putnam.

The Classics Explained

Philosophy of Language

An introduction to philosophy of language through systematic and accessible explanations of ten classic texts by such thinkers as Frege, Kripke, Russell, and Putnam. Many beginning students in philosophy of language find themselves grappling with dense and difficult texts not easily understood by someone new to the field. This book offers an introduction to philosophy of language by explaining ten classic, often anthologized, texts. Accessible and thorough, written with a unique combination of informality and careful formulation, the book addresses sense and reference, proper names, definite descriptions, indexicals, the definition of truth, truth and meaning, and the nature of speaker meaning, as addressed by Frege, Kripke, Russell, Donnellan, Kaplan, Evans, Putnam, Tarski, Davidson, and Grice. The explanations aim to be as simple as possible without sacrificing accuracy; critical assessments are included with the exposition in order to stimulate further thought and discussion. Philosophy of Language will be an essential resource for undergraduates in a typical philosophy of language course or for graduate students with no background in the field. It can be used in conjunction with an anthology of classic texts, sparing the instructor much arduous exegesis. Contents Frege on Sense and Reference • Kripke on Names • Russell on Definite Descriptions • Donnellan's Distinction • Kaplan on Demonstratives • Evans on Understanding Demonstratives • Putnam on Semantic Externalism • Tarski's Theory of Truth • Davidson's Semantics for Natural Language • Grice's Theory of Speaker Meaning

How is watching a movie similar to dreaming? What goes on in our minds when we become absorbed in a movie? How does looking “into” a movie screen allow us to experience the thoughts and feelings of a movie’s characters? These and related questions are at the heart of The Power of Movies, a thoughtful, invigorating, and remarkably accessible book about a phenomenon seemingly beyond reach of our understanding. Colin McGinn–“an ingenious philosopher who thinks like a laser and writes like a dream,” according to Steven Pinker–enhances our understanding of both movies and ourselves in this book of rare and refreshing insight.

How Screen and Mind Interact

The Power of Movies

In Basic Structures of Reality, Colin McGinn deals with questions of metaphysics, epistemology, and philosophy of mind from the vantage point of physics. Combining general philosophy with physics, he covers such topics as the definition of matter, the nature of space, motion, gravity, electromagnetic fields, the character of physical knowledge, and consciousness and meaning. Throughout, McGinn maintains an historical perspective and seeks to determine how much we really know of the world described by physics. He defends a version of "structuralism": the thesis that our knowledge is partial and merely abstract, leaving a large epistemological gap at the center of physics. McGinn then connects this element of mystery to parallel mysteries in relation to the mind. Consciousness emerges as just one more mystery of physics. A theory of matter and space is developed, according to which the impenetrability of matter is explained as the deletion of volumes of space. McGinn proposes a philosophy of science that distinguishes physics from both psychology and biology, explores the ontology of energy, and considers the relevance of physics to seemingly remote fields such as the theory of meaning. In the form of a series of aphorisms, the author presents a metaphysical system that takes laws of nature as fundamental. With its broad scope and deep study of the fundamental questions at the heart of philosophy of physics, this book is not intended primarily for specialists, but for the general philosophical reader interested in how physics and philosophy intersect.

Essays in Meta-Physics

Basic Structures of Reality

Shakespeare's plays are usually studied by literary scholars and historians and the books about him from those perspectives are legion. It is most unusual for a trained philosopher to give us his insight, as Colin McGinn does here, into six of Shakespeare's greatest plays––A Midsummer Night's Dream, Hamlet, Othello, Macbeth, King Lear, and The Tempest. In his brilliant commentary, McGinn explores Shakespeare's philosophy of life and illustrates how he was influenced, for example, by the essays of Montaigne that were translated into English while Shakespeare was writing. In addition to chapters on the great plays, there are also essays on Shakespeare and gender and his plays from the aspects of psychology, ethics, and tragedy. As McGinn says about Shakespeare, "There is not a sentimental bone in his body. He has the curiosity of a scientist, the judgement of a philosopher, and the soul of a poet." McGinn relates the ideas in the plays to the later philosophers such as David Hume and the modern commentaries of critics such as Harold Bloom. The book is an exhilarating reading experience, especially at a time when a new audience has opened up for the greatest writer in English.

Disgust has a strong claim to be a distinctively human emotion. But what is it to be disgusting? What unifies the class of disgusting things? Colin McGinn sets out to analyze the content of disgust, arguing that life and death are implicit in its meaning. Disgust is a kind of philosophical emotion, reflecting the human attitude to the biological world. Yet it is an emotion we strive to repress. It may have initially arisen as a method of curbing voracious human desire, which itself results from our powerful imagination. Because we feel disgust towards ourselves as a species, we are placed in a fraught emotional predicament: we admire ourselves for our achievements, but we also experience revulsion at our necessary organic nature. We are subject to an affective split. Death involves the disgusting, in the shape of the rotting corpse, and our complex attitudes towards death feed into our feelings of disgust. We are beings with a "disgust consciousness", unlike animals and gods-and we cannot shake our self-ambivalence. Existentialism and psychoanalysis sought a general theory of human emotion; this book seeks to replace them with a theory in which our primary mode of feeling centers around disgust. The Meaning of Disgust is an original study of a fascinating but neglected subject, which attempts to tell the disturbing truth about the human condition.

The Meaning of Disgust

"This book is a hymn to the hand. In 'Prehension,' Colin McGinn links questions from science to philosophical concerns to consider something that we take for granted : the importance of the hand in everything we do. Drawing on evolutionary biology, anatomy, archaeology, linguistics, psychology, and philosophy, among other disciplines, McGinn examines the role of the hand in shaping human evolution. He finds that the development of our capacity to grasp, to grip, to take hold (also known as 'prehension') is crucial in the emergence of Homo sapiens'"--Book jacket.

The Hand and the Emergence of Humanity

Prehension

Ethics, Evil, and Fiction brings together moral philosophy and literary analysis in a way that offers original new insights for both. Its central aim is to enrich the domain of moral reflection, by showing the value of literary texts as sources of moral illumination. Colin McGinn starts bysetting out an uncompromisingly realist ethical theory, arguing that morality is an area of objective truth and genuine knowledge. He goes on to address such subjects as the nature of goodness, evil character, and the meaning of monstrosity, in the context of an aesthetic theory of virtue, whichmaintains that goodness of character is the same thing as beauty of soul. Works discussed include Billy Budd, Lolita, The Picture of Dorian Gray, and Frankenstein; and McGinn draws upon examples from film and painting as well as literature. The originality of his approach, the clarity andforthrightness of his writing, and his conviction that fiction and philosophy have much enlightenment to offer each other, make this a compelling and fascinating book.

Colin McGinn

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