Matter and Memory, (Matière et Mémoire), published in 1896, was the second book written by Henri Bergson (1859-1941), one of the leading French philosophers of his age. It followed Time and Free Will (1889) and helped to establish him as a major force in anti-mechanistic thought, opposing the trend towards uncompromisingly secular and scientific views. However, when Matter and Memory appeared, Bergson was 39 and had yet to become the hugely influential figure he became in the first decades of the 20th century. 

The basic principles that Bergson articulates, especially his way of thinking about reality as a dynamic process and his view of human beings as creative and evolving, should be helpful to anyone who seeks to go beyond simply dealing with the practical demands of daily life and consider the nature of things. Of special importance is Bergson’s claim that it is both possible and necessary to know from the inside rather than confining our attention to external perspectives and points of view. Intuition is able to get beyond what is relative and place us inside reality.

Being and Time was published in 1927 during the Weimar period in Germany, a time of political, social and economic turmoil. Heidegger himself did not escape the pressures and his nationalism, and undeniable anti-Semitism in the following decades cast a shadow over the man, but not the work. Being and Time is not coloured by expressions of his later views (unlike other writings) and remains an outstanding document.  

In 1929, Martin Heidegger (1889-1976) published his remarkable book Kant and the Problem of Metaphysics. The Kantbuch, as Heidegger often called it, is regarded by many as a vital supplement to the unfinished second part of Heidegger’s most influential work, Being and Time, which was published two years earlier in 1927. 

As philosophy professor Taylor Carman explains in his helpful introduction, Edmund Husserl (1859-1938) was the founder of modern phenomenology, one of the most important and influential movements of the 20th century. Ideas, published in 1913 – its full title is Ideas for a Pure Phenomenology and Phenomenological Philosophy – was the key work. It is arguably ‘the most fundamental and comprehensive statement of the fundamental principles of Husserl’s mature philosophy’. 

Kant's Prolegomena, although a small book, is without doubt the most important of his writings, writes the translator, Paul Carus. Prolegomena means, literally, prefatory or introductory remarks, and it furnishes us with a key to his main work, The Critique of Pure Reason; in fact, it is an extract containing all the salient ideas of Kant's system. It approaches the subject in the simplest and most direct way and is therefore best adapted as an introduction into his philosophy. 

Philosophy of Mind is the third and final part of the Encyclopaedia of the Philosophical Sciences, the collection in which Hegel (1730-1831) offered an overview of his life’s work. Though originally written in 1817, he revised it in 1830, thus providing a finished form the year before his death. Hegel used the three parts of the Encyclopaedia - Science of Logic, Philosophy of Nature and Philosophy of Mind - as a basis for lectures at the Universities of Heidelberg which he joined in 1816, and in Berlin in 1820. 

Slavoj Žižek's first book is a provocative and original work looking at the question of human agency in a postmodern world. In a thrilling tour de force that made his name, he explores the ideological fantasies of wholeness and exclusion which make up human society. 

Perhaps one of the most revolutionary works of philosophy ever presented, The Phenomenology of Spirit is Hegel's 1807 work that is in numerous ways extraordinary. A myriad of topics are discussed, and explained in such a harmoniously complex way that the method has been termed Hegelian dialectic. Ultimately, the work as a whole is a remarkable study of the mind's growth from its direct awareness to scientific philosophy, proving to be a difficult yet highly influential and enduring work.

Schopenhauer was just 30 when his magnum opus, Die Welt als Wille und Vorstellung, a work of considerable learning and innovation of thought, first appeared in 1818.

Much to his chagrin and puzzlement (so convinced was he of its merits), it didn't have an immediate effect on European philosophy, views and culture. It was only decades later that it was recognised as one of the major intellectual landmarks of the 19th century.

Immanuel Kant’s Critique of Pure Reason can lay claim to being the most important single work of modern philosophy, a work whose methodology, if not necessarily always its conclusions, has had a profound influence on almost all subsequent philosophical discourse. In this work Kant addresses, in a groundbreaking elucidation of the nature of reason, the age-old question of philosophy: “How do we know what we know?” and the limits of what it is that we can know with certainty.

This recording contains four important and related works by Heidegger: 'What Is Philosophy', 'What Is Metaphysics', 'On the Essence of Truth' and 'The Question of Being'.

 The year is 1919. The horror of the First World War is fresh for the protagonists of Time of the Magicians, each of whom finds himself at a crucial juncture. Benjamin is trying to flee his overbearing father and floundering in his academic career, living hand to mouth as a critic. Wittgenstein, by contrast, has dramatically decided to divest himself of the monumental fortune he stands to inherit, in search of spiritual clarity.

In 1913, the Viennese aristocracy is gathering to celebrate the 17th jubilee of the accession of Emperor Franz Josef, even as the Austro-Hungarian Empire is collapsing and the rest of Vienna is showing signs of rebellion. At the centre of this social labyrinth is Ulrich: a veteran, a seducer and a scientist, yet also a man 'without qualities' and therefore a brilliant and detached observer of his changing world.

Sartre's greatest novel and existentialism's key text, now introduced by James Wood, and read by the inimitable Edoardo Ballerini. Nausea is the story of Antoine Roquentin, a French writer who is horrified at his own existence. In impressionistic, diary form, he ruthlessly catalogs his every feeling and sensation.