A Blake Bibliography was first published in 1964. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. The aim of this book is to list every reference to William Blake published between 1757 and 1863 and every criticism and edition of his works from the beginning to the present. Partly because of the deluge of scholarship in the last forty years, it includes perhaps twice as many titles as Sir Geoffrey Keynes's great bibliography of 1921. An introductory essay on the history of Blake scholarship puts the most significant works into perspective, indicates the best work that has been done, and points to some neglected areas. In addition, all the most important references and many of the less significant ones are briefly annotated as to subject and value. Because many of the works are difficult to locate, specimen copies of all works published before 1831 have been traced to specific libraries. Each of Blake's manuscripts is also traced to its present owner. Two areas which have received relatively novel attention are early references to Blake (before 1863) and important sale and exhibition catalogues of his works. In both areas there are significant number of important entries which have not been noticed before by Blake scholars. The section on Blake's engravings for commercial works receives especially detailed treatment. A few of the titles listed here have not been described previously in connection with Blake.

This study concerns itself with a now-forgotten religious group, Spiritualists, and how their ensuing discussions of Shakespeare's meaning, his writing practices, his possible collaborations, and the supposed purity and/or corruption of his texts anticipated, accompanied, or silhouetted similar debates in Shakespeare Studies.

The term “scientism” is used in several ways. It is used to denote an epistemological thesis according to which science is the source of our knowledge about the world and ourselves. Relatedly, it is used to denote a methodological thesis according to which the methods of science are superior to the methods of non-scientific fields or areas of inquiry. It is also used to put forward a metaphysical thesis that what exists is what science says exists. In recent decades, the term “scientism” has acquired a derogatory meaning when it is used in defense of non-scientific ways of knowing. In particular, some philosophers level the charge of “scientism” against those (mostly scientists) who are dismissive of philosophy. Other philosophers, however, embrace scientism, or some variant thereof, and object to the pejorative use of the term. This book critically examines arguments for and against different varieties of scientism in order to answer the central question: Does scientism pose an existential threat to academic philosophy? Or should philosophy become more scientific?

In Raving at Usurers, Dwight Codr explores the complex intersection of religion, economics, ethics, and literature in late seventeenth- and eighteenth-century England. Codr offers an alternative to the orthodox story of secular economic modernity's emergence in this key time and place, locating in early modern anti-usury literature an "ethic of uncertainty" that viewed economic transactions as ethical to the extent that their outcomes were uncertain. Codr’s development of an "anti-financial" reading practice reveals that the financial revolution might be said to have grown out of—rather than in spite of—early modern anti-usury and Protestant ethics. Beginning with the reconstruction of a major controversy provoked by the delivery of a sermon against usury in the financial heart of London, Codr goes on to show not only how the ethic at the core of the discourse surrounding usury in the eighteenth century was culturally mediated but also how that ethic may be used as a lens to better understand major works of eighteenth-century literature. Codr offers radically new perspectives on Daniel Defoe’s Robinson Crusoe and Henry Fielding’s Tom Jones, examining how these novels reacted to emergent financial ways of knowing and meaning as well as how the texts formally bear out the possibility of a truly open and uncertain future. By reading the eighteenth century in terms of risk rather than certainty, Raving at Usurers offers a reassessment of what has been called the financial revolution in England and provides a revisionist account of the intimate connection between risk, ethics, and economics in the period.