Discussions surrounding music and ethical responsibility bring to mind arguments about legal ownership and purchase. Yet the many ways in which we experience music with others are usually overlooked. Musical experience and practice always involve relationships with other people, which can place limitations on how we listen to and act upon music. In Music and Ethical Responsibility, Jeff Warren challenges current approaches to music and ethics, drawing upon philosopher Emmanuel Levinas's theory that ethics is the responsibilities that arise (...) from our encounters with other people. Warren examines ethical responsibilities in musical experiences including performing other people's music, noise, negotiating musical meaning, and improvisation. Revealing the diverse roles that music plays in the experience of encountering others, Warren argues that musicians, researchers, and listeners should place ethical responsibility at the heart of musical practices. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic (...) value is broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

Distributed by the University of Nebraska Press for the University of Idaho Press Explores contemporary social criticism of agriculture by analyzing assumptions regarding matters such as animal welfare, biotechnology, ethics and human nature. Dr. Lehman carefully investigates the various meanings and criteria of "rational" without presupposing prior knowledge of philosophy, making the material accessible to students, agriculture scientists, and members of the public concerned with agriculture.

Film Ethics considers a range of films and texts of film criticism alongside disparate philosophical discourses of ethics by Levinas, Derrida, Foucault, ...

The primary aim of the text is to introduce the reader to the relationship between economics and ethics and to the application of economic ethics in the evaluation of the market. The reader will gain insight into: * The ethical and methodological strategy of economics and criticism of the core assumptions that underpin the economic defense of free market operation. * The characteristics of different ethical theories (utilitarianism, duty and rights ethics, justice and virtue ethics) that can (...) be used to evaluate the free market. * How to apply economics in conjunction with ethical theories to evaluate economic trends and policies that promote the free operation of the market and are subject to public debate. These insights will help to develop the reasoning and analytical skills needed to criticize economic analysis as well as to apply ethical concepts to moral issues in economic policy. (shrink)

Democracy is emerging as the political system of choice throughout the world. Peoples now freed from the shackles of totalitarian systems seek to share the benefits made possible by democracy in its "home bases" in North America and Western Europe. Yet, paradoxically, in the last decade liberal democracy has been subjected to an onslaught of criticism from thinkers at its "home bases". Criticisms of democracy have been informed by scholarship in feminism, postmodernism and communitarianism as well as the revived (...) interest in applying ethics to public policy. These criticisms raise important questions about the traditional values - liberalism, neutrality or equality, autonomy, and human rights - thought to justify democracy. They also raise questions about the success of democratic systems in promoting alternative values and in protecting lifestyles not desired by majorities. This anthology contains essays by authors at the forefront of the controversy as well as by acute observers of the processes by which "democratic" public policy is formed. The essays include criticisms of democratic theory and practice, defences of liberalism (the set of values often thought to ground democracy), calls for major revisions of democratic institutions and practices, and recommendations for new ways of understanding our rights and responsibilities as members of democratic communities. Show More Show Less. (shrink)

This volume focuses on the interrelatedness of morality and language. Apart from explicit ethical statements, implicit NT moral language is analysed in three overlapping aspects based on the interpretation of concrete NT texts: an intratextual level (linguistic and analytic philosophical methods: syntactical form, style and logic), an textual and intertextual level (form criticism, discourse analysis) and an extratextual level (speech act analysis; rhetoric; reader-response criticism). With reference to analytical moral philosophy, the contributions address questions (...) such as: Where does the ethical quality of a statement come from? Which linguistic devices are used to express ethics in the NT writings? In which way does the genre of the text influence its ethical meaning? Which pre- and intertexts are part of the ethical statements, in which way does the text refer to them? Which ethical impact did and do texts have on their readers? Which linguistic and rhetorical style is used to meet the addressees? Why do we consider a text powerful or polemic? Can we speak of an implicit ethical subject in the text from a literary perspective? (shrink)

The long debate -- Aesthetics and ethics : basic concepts -- A conceptual map -- Autonomism -- Artistic and critical practices -- Questions of character -- The cognitive argument : the epistemic claim -- The cognitive argument : the aesthetic claim -- Emotion and imagination -- The merited response argument.

To "look good" and to "be good" have traditionally been considered two very different notions. Indeed, philosophers have seen aesthetic and ethical values as fundamentally separate. Now, at the crossroads of a new wave of aesthetic theory, Marcia Muelder Eaton introduces this groundbreaking work, in which a bold new concept of merit where being good and looking good are integrated into one.

What responsibility does an author bear for his legacy? Do 'catastrophic' misreadings of authors, as we have seen with totaliatarian readings of Plato and fascist interpretations of Nietzsche, testify to authorial recklessness? These and other questions are the starting point for a new theory of authorial ethics. Continuing the mission of the 'returned author' begun in his pioneering book The Death and Return of the Author, Burke recommends the 'law of genre' as a contract drawn up between author and reader (...) to establish ethical responsibility. Criticism, under this contract, becomes an ethical realm and realm of the ethical. -- Back cover. (shrink)

The second edition of this extensive work is the definitive source on issues pertaining to the full range of topics in the important area of food and agricultural ethics. Altogether about 100 new entries appear in this new edition. The start of the 21st century has seen intensified debate, discussion, and criticism of food and agriculture. Scholars, activists, and citizens increasingly question the goals and ethical rationale behind production, distribution and consumption of food, and the use of crops (...) for fuel and fiber. These wide-ranging debates encompass questions in human nutrition, animal rights, and the environmental impacts of agricultural production. The encyclopedia provides a detailed analysis of these issues and hundreds of other topics including the use of antibiotics in animal feedlots, the Green Revolution, organic farming, Islam and Food, and cannibalism.The Encyclopedia of Food and Agricultural Ethics, 2nd edition is an indispensable reference point for future research and writing on topics in agriculture, food, animal, and eating ethics. (shrink)

This book analyses the concepts of moral status and human dignity in African philosophy and applies them to the moral problems associated with death. The book first challenges the criticism and rejection of moral status in African philosophy and then continues to consider how moral personhood is defined in African ethical theories, investigating which entities have full moral status or moral personhood, and are therefore worthy of full ethical consideration. It then (...) applies this theory to the problems associated with death. In the medical context, will an African theory of moral status permit or forbid euthanasia? Do we have moral obligations towards dead human bodies? Overall, the book provides an important African axiological contribution to debates on global ethics and moral philosophy. Providing an important overview of the ethical problems associated with the biological fact of death, this book will be of interest to researchers across the fields of philosophy and African Studies. (shrink)

_Art and Morality_ is a collection of groundbreaking new papers on the theme of aesthetics and ethics, and the link between the two subjects. A group of distinguished contributors tackle the important questions that arise when one thinks about the moral dimensions of art and the aesthetic dimension of moral life. The volume is a significant contribution to philosophical literature, opening up unexplored questions and shedding new light on more traditional debates in aesthetics. The topics explored include: the (...) relation of aesthetic to ethical judgement; the relation of artistic experience to moral consciousness; the moral status of fiction; the concepts of sentimentality and decadence; the moral dimension of critical practice, pictorial art and music; the moral significance of tragedy; and the connections between artistic and moral issues elaborated in the writings of central figures in modern philosophy, such as Kant, Schopenhauer and Nietzsche. The contributors share the view that progress in aesthetics requires detailed study of the practice of criticism. This volume will appeal both to the philosophical community and to researchers in areas such as literary theory, musicology and the theory of art. (shrink)

Provides a comprehensive introduction to ethical frameworks and of many of the modern issues arising in technology ethics including computing, privacy, artificial intelligence, and more.

Is it possible for postmodernism to offer viable, coherent accounts of ethics? Or are our social and intellectual worlds too fragmented for any broad consensus about the moral life? These issues have emerged as some of the most contentious in literary and philosophical studies. In Renegotiating Ethics in Literature, Philosophy, and Theory a distinguished international gathering of philosophers and literary scholars address the reconceptualisations involved in this 'turn towards ethics'. An important feature of this has been a renewed interest (...) in the literary text as a focus for the exploration of ethical issues. Exponents of this trend include Charles Taylor, Bernard Williams, Iris Murdoch, Cora Diamond, Richard Rorty and Martha Nussbaum, the latter a contributor and a key figure in this volume. This book assesses the significance of this development for ethical and literary theory and attempts to articulate an alternative postmodern account of ethics which does not rely on earlier appeals to universal truths. (shrink)

The aim of this paper is to defend the position that aesthetics and ethics in sport are not two separate domains or aspects. In sport, the aesthetic and the ethical both arise from sport’s attractiveness or from the pleasure sport offers to its activists and consumers. To think about sport philosophically, we should find a link and a principle beyond this division as a source of both the aesthetic and the ethical in sport. The philosophy and philosophical (...) sociology of Jean-Marie Guyau is presented as a response to this problem. Two points of fundamental importance are considered critically here: his criticism of any reductionism, and life or the idea of life as key principle of a philosophical system which puts ethics and aesthetics together. (shrink)

In this article I argue that Jürgen Habermas’ notion of morality (moral norms) has more in common with Hegel’s notion of ‘ethical life’ as a ‘ sittlich ’ relation – understood as a socially integrative force – rather than Kant’s supreme principle of personal morality. I show that Habermas and Hegel, each in his own way, make a distinction between morality and ethics. However, I make the case that Habermas’ conception of ‘morality’ incorporates aspects of Hegel’s notion (...) of ‘ethical life’, while Habermas’ conception of ‘ethical’ – referring to individual and group conceptions of the good life – is a remedy to the shortcomings in Hegel’s overly unified ethical life. I offer an alternative reading of Habermas’ principle of morality, which I suggest should be read as his attempt to provide a binding process to set up the norms that ought to condition a modern political community understood as a civil association. (shrink)

Because of his preoccupation with the formal aspects of music and literature, Theodor W. Adorno is often regarded as the most aesthetically oriented thinker of the Frankfurt School theorists. It is Adorno’s perceived commitment to aestheticism—the study of art for art’s sake and the study of art as a source of sensuous pleasure, rather than as a vehicle for culturally constructed morality or meaning—that many scholars have criticized as hostile to genuine, concrete, substantive political, social, and ethical engagement (...) with the arts. _Adorno and Ethics_—the first issue of _New German Critique_ to be published by Duke University Press—takes issue with Adorno’s critics. These essays reconsider Adorno’s unique brand of aestheticism, revealing a “politics of aestheticism” and exploring the political and ethical dimensions of his writings. One contributor links the ethical turn taken in Adorno criticism with related developments in American poetry and poetics. Another examines Adorno’s aphorism “Gold Assay” for the ways in which it anticipates one of his seminal works, _The Jargon of Authenticity_. Focusing on Auschwitz and the testimony of its survivors, one contributor explores the impact of the Holocaust on modern philosophy and reason, a relationship that he argues Adorno never specified. Another contributor considers the figure of the animal in the writings of Kant, Adorno, and Lévinas, exploring what it might mean to live, as Adorno suggests, as “a good animal.” _Contributors_. J. M. Bernstein, Detlev Claussen, Samir Gandesha, Alexander García Düttmann, Christina Gerhardt, Martin Jay, Robert Kaufman, Michael Marder, Gerhard Richter. (shrink)

This collection brings together many of the most influential criticisms of Kantian philosophy, from his own time to the present day. Volume I is historical, including Kant criticism from Schiller to Buchdahl. It contains some previously untranslated material. Volumes II, III and IV include recent essays on Kant, covering the major aspects of his work. Volume II looks at the Critique of Pure Reason, Volume III at Kant's moral and political philosophy, and Volume IV at the Critique (...) of Judgement and the relation of the third Critique to the other two. The volumes will be of great value to anyone with a serious interest in Kant's philosophy. (shrink)

An original, unified reconstruction of Mill’s moral and political philosophy—one that finally reveals its consistency and full power Few thinkers have been as influential as John Stuart Mill, whose philosophy has arguably defined Utilitarian ethics and modern liberalism. But fewer still have been subject to as much criticism for perceived ambiguities and inconsistencies. In Completely Free, John Peter DiIulio offers an ambitious and comprehensive new reading that explains how Mill’s ethical, moral, and political ideas are all (...) part of a unified, coherent, and powerful philosophy. Almost every aspect of Mill’s practical philosophy has been charged with contradictions, illogic, or incoherence. Most notoriously, Mill claims an absolute commitment both to promoting societal happiness and to defending individual liberty—a commitment that many critics believe must ultimately devolve into an either/or. DiIulio resolves these and other problems by reconsidering and reconstructing the key components of Mill’s practical thought: his theories of happiness, morality, liberty, and freedom. Casting new light on old texts, DiIulio argues that Mill’s Utilitarianism and liberalism are not only compatible but philosophically wedded, that his theories naturally emanate from one another, and that the vast majority of interpretive mysteries surrounding Mill can be readily demystified. In a manner at once sympathetic and critical, DiIulio seeks to present Mill in his most lucid and potent form. From the higher pleasures and moral impartiality to free speech and nondomination, Completely Free provides an unmatched account of the unity and power of Mill’s enduring moral and political thought. (shrink)

In Morality and Ethics of War, which includes a foreword by Major General Susan Coyle, ethicist Deane-Peter Baker goes beyond existing treatments of military ethics to address a fundamental problem: the yawning gap that exists between the diverse moral frameworks defining personal identity in a multicultural society on the one hand, and the professional military ethic on the other. Baker argues that overcoming this chasm is essential to minimising the ethical risks that can lead to operational and strategic (...) failure for military forces engaged in today's complex conflict environment. He contends that spanning the gap is vital in preventing moral injury from befalling the nation's uniformed servants. Drawing on a revised account of what he calls 'the Just War Continuum', Baker develops a bridging framework that combines conceptual clarity and rigour with insights from cutting edge psychological research and creates a practical means for military leaders to negotiate the moral chasm in military affairs. (shrink)

Machine generated contents note: -- Introduction - the Small Screen and Morality - Morality on Television - Sociology and the Moral OrderTelevisuality: Style and the Small ScreenThe Phenomenology of Television - Society and the Small Screen - Mediating Morality- Television and the Imaginary - Conclusion.

The article considers the issues of modern German political philosophy in accordance with its formation, institutionalization and development. Germany’s political philosophy is analyzed in terms of its interaction with social and practical philosophy. The text states that political philoso- phy belongs to both social philosophy and political science. As a political theory, it is a compo- nent of social theories institutionalized in the modern era. As a political philosophy, it appears as a metatheory of political theory. Political philosophy is also (...) part of practical philosophy, exploring the problems of interaction between ethics and politics and the moral reclamation of the political system of modern society. These issues are themed in the context of the institution- alization of this discipline in the early twentieth century, its transformation into a political reli- gion during National Socialism, the revival after World War II, as well as actualization in such areas of socio-humanitarian sciences as discourse philosophy, functional-system theory of so- ciety, etc. according to the political situation of modern Germany. (shrink)

For several decades, tourism has mainly been identified as an activity that helps people escape their everyday routines, contributes to understanding between cultures, and promotes economic wellbeing. These assumptions have been questioned in both the public sphere and academic research, however. In this context, tourism research is increasingly drawing on ethical frameworks to support its criticism of tourism. Some of the most outstanding research on this issue is by Dean MacCannell, Emeritus Professor at the University of California at (...) Davis and author of one of the seminal works of the social theory of tourism: The Tourist: A New Theory of the Leisure Class (1976). MacCannell examines the moral and ethical aspects of tourism in all his writing, but they are the focal point of his book The Ethics of Sightseeing (2011), in which he identifies the tourists’ responsibility to mediate between their understanding of their own pleasure and the ethical repercussions of the late modern imperative, “Enjoy!”. During the Touriscape congress in Malaga, Spain, in February 2018, MacCannell talked about ethics and tourism with José Luis López, who prepared this interview for Recerca. (shrink)

In online communication, writers incorporate into fictional representation imaginaries that arise from the interaction between various artistic manifestations. This paper explores the work of two spanish authors, Patricia Esteban Erlés and Albert Soloviev in order to study the social impact and ethical aspects of hypermedial short stories in the virtual space, since their works function as vehicles for social criticism. At the same time, the paper addresses fundamental questions associated with the understanding and interpretation of hybrid narrative (...) microtexts. (shrink)

The way we think about disagreement is shaped by the systematic emphasizing of its adversarial, non-cooperative aspects. This is due to a perspective on arguing and disagreeing. Perspectives enable some thoughts and occlude others. We claim that the way some issues are thought of in aesthetics is conditioned by a similar phenomenon we call ‘the Received Image’ (RI), which parallels the influence on ethics of what Bernard Williams called ‘systems of morality’. Peter Kivy argued that disagreements in aesthetics, if (...) genuine, presuppose that contenders are tacit realists about ‘art-relevant properties’: the motivation for arguing lies in making the adversary acknowledge (epistemic) defeat (in pursuing agreement from others). He draws this conclusion from what he sees as a fundamental difference between aesthetics and ethics. However, in our view, Kivy and his opponents in the semantic meta-debate on disagreement think under the aegis of the RI. We look at disagreements about art from a neo-cognitivist perspective, and argue that heuristic similarities between aesthetics and ethics stand out with an understanding-based epistemology coupled with an adequate theory of artistic form: form as a perspective-generating device whose grasping involves ‘infinitely fine adjustments’. (shrink)

This volume looks at the significance and range of ethical questions that pertain to various film practices. Diverse philosophical traditions provide useful frameworks to discuss spectators' affective and emotional engagement with film, which can function as a moral ground for one's connection to others and to the world outside the self. These traditions encompass theories of emotion, phenomenology, the philosophy of compassion, and analytic and continental ethical thinking and environmental ethics. This anthology is one of the first (...) volumes to open up a dialogue among these diverse methodologies. Contributors bring to the fore some of the assumptions implicitly shared between these theories and forge a new relationship between them in order to explore the moral engagement of the spectator and the ethical consequences of both producing and consuming films. (shrink)

The way we communicate with each other is vital to preserving the cultural ecology, or wellbeing, of a place and time. Do we listen to each other? Do we ask the right questions? Do we speak about each other with respect or disdain? The stories that we convey on screens, or what author Carl Plantinga calls 'screen stories,' are one powerful and pervasive means by which we communicate with each other. Screen Stories: Emotion and the Ethics of Engagement argues that (...) film and media studies needs to move toward an an approach to ethics that is more appropriate for mass consumer culture and the lives of its citizens. Primarily concerned with the relationship between media and viewers, this book considers ethical criticism and the emotional power of screen stories that makes such criticism necessary. The content we consume-- from television shows and movies to advertisements-- can significantly affect our welfare on a personal and societal level, and thus, this content is subject to praise and celebration, or questioning and even condemnation. The types of screen stories that circulate contribute to the cultural ecology of a time and place; through shared attention they influence what individuals think and feel. Plantinga develops a theory of the power of screen stories to affect both individuals and cultures, asserting that we can better respond ethically to such media if we understand the sources of its influence on us. (shrink)

Usually moralist behaviour and attitude are defined in terms of a very demanding obedience to moral principles or obligations, a kind of intransigence towards abiding by the moral rules and sternness of the moral condemnations. From an ethical point of view, moralism is considered a flaw or distortion in making moral considerations, in relation to precedence of moral aspects or to the appropriate moral scope. In this paper, assuming the possibility of a (...) positive moralism, I criticize the limitations of the negative conception, and present a more comprehensive conception. According to this conception, moralism is described as a moral perspective based on the value integrity. I defend this conception can explain many characteristics we associate with both negative and positive moralism. Since moral criticism involves asking for justification and opening to excuses, I suggest the negative moralism is an objectionable moral attitude or behaviour, precisely, because it blocks or hinders the possibility of moral justification and excuse. (shrink)

In this paper, the results of a pilot interview study with 19 subjects participating in an EEG-based non-invasive brain–computer interface (BCI) research study on stroke rehabilitation and assistive technology and of a survey among 17 BCI professionals are presented and discussed in the light of ethical, legal, and social issues in research with human subjects. Most of the users were content with study participation and felt well informed. Negative aspects reported include the long and cumbersome preparation procedure, discomfort (...) with the cap and the wet electrodes, problems concerning BCI control, and strains during the training sessions. In addition, some users reflected on issues concerning system security. When asked for morally problematic issues in this field of non-invasive BCI research, the BCI professionals stressed the need for correct information transfer, the obligation to avoid unrealistic expectations in study participants, the selection of study participants, benefits and strains of participation, BCI illiteracy, the possibility of detrimental brain modifications induced by BCI use, and problems that may arise at the end of the trials. Furthermore, privacy issues were raised. Based on the results obtained, psychosocial and ethical aspects of EEG-based non-invasive BCI research are discussed and possible implications for future research addressed. (shrink)

Historically, video games featuring content perceived as excessively violent have drawn moral criticism from an indignant (and sometimes, morally outraged) public. Defenders of violent video games have insisted that such criticisms are unwarranted, as committing acts of virtual violence against computer-controlled characters – no matter how heinous or cruel those actions would be if performed in real life – harm no actual people. In this paper, I present and critically analyze key aspects of this debate. I argue (...) that while many ethical objections to playing violent video games seem to miss their marks, there is sufficient reason to take modest steps in order to address the concerns that theorists have raised. (shrink)

This volume provides an integrated and wide-ranging set of primary-source readings on the relationship between moral values and economic activity, as articulated by some of the leading figures in Western civilization. From the ancient Greeks to the present, Economic Morality: Ancient to Modern Readings offers substantial coverage to each major period of history: classical Antiquity, the Middle Ages, the Renaissance and Reformation, the Enlightenment, the Industrial Revolution, and the modern era. Everything from Aristotle to Adam Smith, from Marx to (...) Hayek, and from Proudhon to Nozick has been brought together in one comprehensive survey. The perspectives represented in our volume include those of Christians and Muslims; Protestants, Catholics, and Jews; believers and non-believers; capitalists and socialists; conservatives and libertarians. They emphasize both law and mores, as well as history, philosophy, religion, and economics. This is a genuinely interdisciplinary volume, and one that invites a catholic and humanistic conversation. In preparing this collection, the contributors aim to recover something of the range of moral opinion that first accompanied the rise of "economics" in the eighteenth-century Enlightenment. The loss of that range of opinion has left a troubling void in our academic and public discourse. Those who broadly embrace the modern economic project tend to view it pragmatically but not morally, while those who are more critical of it often end up in a moral monologue that is unsatisfying to all sides. By showing the optimistic pragmatists the rich tradition of moral criticism and the pessimistic critics the equally rich tradition of (qualified) moral approbation, this volume seeks to facilitate conversation and bring much-needed mutual comprehension to a perennial debate. (shrink)

In The Second-Person Standpoint and subsequent essays, Stephen Darwall develops an account of morality that is “second-personal” in virtue of holding that what we are morally obligated to do is what others can legitimately demand that we do, i.e., what they can hold us accountable for doing through moral reactive attitudes like blame. Similarly, what it would be wrong for us to do is what others can legitimately demand that we abstain from doing. As part of this account, Darwall (...) argues for the proposition that we have a distinctive “second-personal reason” to fulfill all of our obligations and to avoid all wrong-actions, an “authority-regarding” reason that derives from the legitimate demands the “moral community” makes of us. I show that Darwall offers an insufficient case for this proposition. My criticism of this aspect of Darwall’s account turns in part on the fact that we have compunction-based or “compunctive” reasons to fulfill all of our obligations and to avoid all wrong actions, a type of reason that Darwall seemingly overlooks. (shrink)

From a largely Western phenomenon, the “animal turn” has, in recent years, gone global. Animals and Human Society in Asia: Historical, Cultural and Ethical Perspectives is just such a timely product that testifies to this trend.But why Asia? The editors, in their very helpful overview essay, have from the outset justified the volume's focus on Asia and ensured that this is not simply a matter of lacuna filling. The reasons they set out include: the fact that Asia is the (...) cradle of early human settlement and animal domestication; Asia encompasses an extreme diversity of closely connected ecosystems and human cultures; Asia is the place where the world's major religions originated; and, as in other parts of the world, Asia's use of animals for food and other utilitarian purposes constitutes a prominent feature of its culture. All of these factors, they argue, made Asia a unique lab for the exploration of major developments in human civilization and the complexities of human-animal interactions.Based on these premises, the book is divided into four parts, each concentrating on areas that the editors consider to have paramount significance in world history: Part I, “Hunting and Domestication”; Part II “Animals as Food”; Part III “Animals at War”; and Part IV “Animals in Culture and Religion.” As many good works on animal studies do, the volume adopts a truly cross-disciplinary approach, uniting scholars from disciplines as diverse as archaeology, history, anthropology, art, religion, literature, and cultural studies. It too takes an interregional approach and covers a vast geographical area, stretching from the western edge of Asia in the Levant to Central Asia, where once roamed the horses of the nomadic pastoral tribes, to the other end of Asia, including India, China, and Japan. Temporally impressive as well, the work takes us from the deep history of the Paleolithic period up to the contemporary world, exploring the diverse roles that a wide range of animals—horses, donkeys, camels, elephants, tigers, and so forth—have played in Asia's rich and unique past and present.Strong in archaeology, Part I, “Hunting and Domestication,” responds to the much-called for “deep” or “coevolutionary” history of human-animal relations in recent years. The three chapters discuss, respectively, the roles that proboscideans have played in the diet and culture of early societies in Paleolithic China and beyond; the ways in which animals of all sizes have been increasingly integrated into the diet, daily uses, trade, and warfare in Holocene Negev; and the diversifying roles played by donkeys in the early Bronze Age in Southern Levant as a food source, a means of transport and in ritual sacrifices. Together, they demonstrate, with reference to telling archaeological evidence how the early societies in this region have been highly dependent upon the increasingly sophisticated interactions with and uses of mega-herbivores in the protracted and by no means clear-cut transition from hunting and herding towards the agricultural way of life, affirming the co-existing and co-constituting relations between humans and other animals in the deep past of Asia.The chapters in the section on “Animals at War” equally reveal the crucial roles that animals have played in the military sphere, as either a practical war technology or a show of military power. “Elephants in Mongol History” revisits the thesis of elephant-mounted troops in South and Southeast Asia as a barrier to Mongol expansion. Through its lively account of the pivotal battles in Mongolian history, especially that against India and China, it illustrates with great success the complex interactions between animals (especially elephants, horses, and humans), technology, and the geographical environment, which jointly exercised their influence on the outcome of warfare and degree of success of political rule. Turning away from the dynamic of warfare, the following two chapters explore the biopolitical question of the management of the horse as a bio-resource in the Mamluk Sultanate of Egypt and Syria (1250–1517) and early Ming Dynasty China, respectively. The first one places its focus on the breeding, procurement, and feeding of the horse subjects in question, while the latter concentrates on the human organization of various resources for the upkeep of government horses—a conventional area of study called “horse administration” in the institutional history of the government in China.The last section, “Animals in Culture and Religion,” examines the changing images of apex predators, such as lions and tigers, in Buddhist perceptions from South Asia to East Asia; the cult of the Horse King in late Imperial China; and the significance of animal signs in Mongolian historiography. They represent an established approach in animal studies that seeks to understand different aspects of human culture through symbolic or metaphorical animals. Instead of treating the animals discussed as mere abstractions, which has been a frequent criticism of works that adopt this approach, the relations between the symbolic animals and their prototype in the natural world were attentively explored. The essay on the cult of the Horse King, for example, closely links the wax and wane of the cult since late imperial China with the changing use and subsequent disuse of the actual horses in agriculture, transportation, commerce, and quotidian life. Yet, classic as these essays on symbolic animals are, one does feel slightly unsatiated when coming to the end of this section, which also marks the end of this volume. Having been reminded early in the introductory essay that Asia was “a major site for the emergence of moral teachings and ethical guidance on the treatment of animals” and how this legacy “still affects the lives of billions of humans to this very day,” one feels naturally rather let down that no article in this volume directly addresses this vital ethical dimension, especially since it belongs to a series on “animal ethics.”Indeed, regarding the task of placing either the nonhuman animals or the ethical relations between humans and other animals center stage, the essays in this volume achieve only varying levels of success. Some authors exhibit a more acute awareness of what “animal studies” or “animal ethics” might entail epistemically and methodically and experiment by paying closer attention to the species-specific characteristics, experience, and agency of nonhuman animals in order to cast off the deified anthropocentrism previously ruled in humanist scholarship. However, others have made no such attempt. For example, in Part II of “Animals as Food,” an essay on the production and consumption of milk in contemporary China, albeit alert to the issue of health hazards to consumers, omits any consideration of the subject from the dairy cows’ perspective under the modern intensive farming system. Moreover, otherwise superb research on the tuna-fishing industry in Japan, with its insightful discussion of the nexus between knowledge economies and imperial politics, too passes over any discussion of the fate of the tuna, whether collectively as a group of living organisms containing 15 species or individually as animals with an embodied experience. One does ponder whether these essays would fit better in a volume on the cultural history of food or on the entwining history of knowledge production, economics, and politics, which conventionally position human interests at the center of research.Taken as a whole, this is an impressive volume that directs our attention to the hitherto understudied world of Asia in animal studies. The long durée, with its interdisciplinary and interregional approach, also most powerfully presents a past in Asia that could not have been the same without the participation of animals at every level, from everyday life to the shaping of cultural values, the construction of belief systems, the building of a national identity, and even the rise and fall of regimes. Scholars and students interested in expanding the frontier of our understanding of the world with a more inclusive “we” should find a wealth of interesting subjects on which to build further research. Finally, the volume also presents a fitting occasion for all scholars committed to animal studies to consider the grave challenge confronting the field that arose alongside its growing respectability and rapid expansion: Should it be oriented toward the destabilization of our previously anthropocentric conception of the world? Or should no such perimeter be imposed, as in this volume? The overall breadth and limitations of this volume leave one pondering this issue. (shrink)

This paper presents Agassi’s views of morality and ethics. Agassi proposes a non-reductive psychological theory of moral judgments, complemented by duties, and a psychological hypothesis regarding the psychological and social conditions that invite openness to criticism. His opposition to moralism, his objection to justification, his emphasis on red lines and grey areas, and his rejection of abstract moral debates in favor of public moralism result in a distinct approach to moral philosophy that is in conflict with (...) most of the mainstream work in this field. Following Socrates, he takes education for autonomy as the critical rationalist life-style. (shrink)

Virtue ethics has emerged as an alternative to deontological and utilitarian theory in recent moral philosophy. The basic notion of virtue ethics is to reassert the importance of virtuous character in ethical judgement in contrast to the emphasis on principles and consequences. Since questions of virtue have been largely neglected in modern moral theory, there has been a return to Aristotles account of virtue as character. This in turn has been questioned as the basis of virtue ethics (...) and there has been a search for alternative accounts of moral agency. One aspect of this critical reflection on virtue ethics is an engagement with social psychology as a source of criticism of the Aristotelian conception of character and as a more plausible alternative foundation for a theory of moral character with contemporary relevance. This paper aims to introduce this area of moral theory to a psychological audience and reflect on the interpretation of social psychological theory and evidence in criticisms of virtuous character, focusing on the use of Milgrams (1974) experiments on obedience to authority as an argument for situationism. A number of questions emerge concerning the interpretation and use of social psychological theory and evidence in debates within moral philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Latina/o Social Ethics: Moving beyond Eurocentric Moral Thinking, and: Racism and God-Talk: A Latino/a PerspectiveKevin N. York-SimmonsLatina/o Social Ethics: Moving beyond Eurocentric Moral Thinking Miguel A. de La Torre, Waco Tex.: Baylor University Press, 2010. 160 pp. $24.95.Racism and God-Talk: A Latino/a Perspective Rubén Rosario Rodríguez New York: New York University Press, 2008. 320 pp. $24.00Although Latina/o theologians have contributed much to Christian moral discourse (...) in recent decades, the impact of these contributions has too often remained limited to other Latina/os and those with particular interests in liberation theologies. Miguel de La Torre and Rubén Rosario Rodríguez build on the contributions of theologians before them while challenging the broader theological community to take notice of these rich and provocative works.In four concise chapters, Miguel de La Torre’s Latina/o Social Ethics delivers a forceful criticism of prominent thinkers in the field of Christian ethics and offers a creative reconstruction of ethics from a Latina/o perspective. De La Torre offers a critique of “Euroamerican” Christian ethicists whose works have greatly influenced contemporary Christian moral discourse. He addresses the writings of Walter Rauschenbusch, Reinhold Niebuhr, Stanley Hauerwas, Anthony Campolo, Ron Sider, and Jim Wallis. De La Torre faults these theologians for the ways in which their moral thinking participates in the oppression and marginalization of Latina/os, either through their silence or through their endorsement of specific polices. De La Torre concludes that the legacy of cultural and economic privilege and the oppression of Latinas/os are so [End Page 199] deeply embedded in the Eurocentric thinking that has dominated the field of Christian ethics that it cannot be the foundation for Latino social ethics.De La Torre’s aim is to “move beyond” Eurocentric modes of thinking rather than dwell on critique. This eagerness to move forward to the creative and constructive aspects of Latina/o ethics, however, limits the forcefulness of his critique of Euroamerican ethicists. De La Torre’s reading of Euroamerican ethics—and even the application of that term—is highly selective, both in terms of the thinkers chosen and the writings examined. While De La Torre’s criticisms of these thinkers are generally insightful and serve to illustrate his basic criticism of Eurocentric ethics, these criticisms are limited in their depth of analysis. De La Torre is less concerned with the broader historical and theological considerations at work in these Euroamerican ethicists than with their failures to adequately address issues of concern to Latinas/os.The second half of Latina/o Social Ethics moves to his constructive, or “reconstructive,” project. De La Torre reviews central concepts in the methodology of Latina/o social ethics, including lo cotidiano, nepantla, la lucha, en conjunto, and acompañamiento. De La Torre’s explanation of these terms is brief and accessible. Moving beyond these concepts, the fourth chapter of Latina/o Social Ethics offers a creative approach to a liberative ethics that draws on Christian tradition as well as broader Hispanic cultural resources, including folk characters and themes of the trickster found in Afro-Caribbean religious traditions. De La Torre addresses the concern for how to imagine a Christian ethics with a role for the trickster, including identifying trickster characters and themes in the Bible. His “disruptive ethics” challenges the preference for order over justice that has characterized Eurocentric ethics, for which he provides helpful examples. De La Torre is clearly concerned with imperialism, immigration, and free trade, yet it is unclear what justice means in those contexts. Perhaps due to the powerlessness of marginalized Latina/os, criticisms of injustice weigh far more heavily than visions of justice.The concise length of this book broadens its appeal. Academics unfamiliar with some of the concepts and methodologies of Latina/o theologians will find this short introduction a useful starting point. This provocative book would also be a welcome addition to the classroom, either in part or in its entirety.In contrast to De La Torre’s short work, Rubén Rosario Rodríguez sets a broader and more ambitious task in his Racism and God-Talk. His project... (shrink)

This book is a study of ancient views about 'moral luck'. It examines the fundamental ethical problem that many of the valued constituents of a well-lived life are vulnerable to factors outside a person's control, and asks how this affects our appraisal of persons and their lives. The Greeks made a profound contribution to these questions, yet neither the problems nor the Greek views of them have received the attention they deserve. This book thus recovers a central dimension (...) of Greek thought and addresses major issues in contemporary ethical theory. One of its most original aspects is its interrelated treatment of both literary and philosophical texts. The Fragility of Goodness has proven to be important reading for philosophers and classicists, and its non-technical style makes it accessible to any educated person interested in the difficult problems it tackles. This new edition features an entirely new preface by Martha Nussbaum. (shrink)

In Selfless Cinema?, Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined in largely legalistic terms, dominated by issues of consent, responsibility, and participantse(tm) or film-makerse(tm) rights, but Cooper approaches four representative French film-makers e" Jean Rouch, Chris Marker, Raymond Depardon, and Agns Varda e" in a far less juridical way, drawing on the ethical philosophy of Emmanuel Levinas. She argues that, in spite of Levinase(tm)s (...) iconoclastic, anti-ocular thinking, his concept of visage is richly applicable to film, and especially to documentary. (shrink)

Introduction -- Girls and other incomplete things: on archaeological method -- Gesture: cinema muto mutato -- Dim stockings and pornography: community, spectacle and the example -- Cinema as laboratory: on insects and the anthropological machine -- When the assistants profane cinema -- Ex-centric cinema.

Abstract:Highly immersive virtual reality (VR) systems have been introduced into the consumer market in recent years. The improved technological capabilities of these systems as well as the combination with biometric sensors, for example electroencephalography (EEG), in a closed-loop hybrid VR-EEG, opens up a range of new potential medical applications. This article first provides an overview of the past and current clinical applications of VR systems in neurology and psychiatry and introduces core concepts in neurophilosophy and VR research (such as agency, (...) trust, presence, and others). Then, important adverse effects of highly immersive VR simulations and the ethical implications of standalone and hybrid VR systems for therapy in neurology and psychiatry are highlighted. These new forms of VR-based therapy may strengthen patients in exercising their autonomy. At the same time, however, these emerging systems present ethical challenges, for example in terms of moral and legal accountability in interactions involving “intelligent” hybrid VR systems. A user-centered approach that is informed by the target patients’ needs and capabilities could help to build beneficial systems for VR therapy. (shrink)

Machine generated contents note: -- List of IllustrationsAcknowledgementsIntroductionImmanent authorship: From the Living Theatre to Cage and Goat IslandDisorganizing language, voicing minority: From Artaud to Carmelo Bene, Robert Wilson & Georges LavaudantImmanent imitations, animal affects: From Hijikata Tatsumi to Marcus CoatesPaying attention, participating in the whole: Allan Kaprow alongside Lygia ClarkEthical durations, opening to other times: Returning to Goat Island with WilsonIn-Conclusion: What 'good' is immanent theatre? Immanence as an ethico-aesthetic valueCodaBibliographyIndex.

This thesis studies some philosophical and ethical issues that economic design raises. Chapter 1 gives an overview of economic design and argues that a crossfertilisation between philosophy and economic design is possible and insightful for both sides. Chapter 2 examines the implications of mechanism design for theories of rationality. I show that non-classical theories, such as constrained maximization and team reasoning, are at odds with the constraint of incentive compatibility. This poses a problem for non-classical theories, which proponents of (...) these theories have not addressed to date. Chapter 3 proposes a general epistemology of economic engineering, which is motivated by a novel case study, viz. the reform of a matching market for medical practitioners. My account makes use of causal graphs to explain how models allow encoding counterfactual information about how market outcomes change if the design of the market changes. The second part of the thesis examines ethical issues. In Chapter 4, I apply tools from matching theory to gain insights into the distribution of refugees, such as among countries of the European Union. There is an ethical trade-off between the fairness of matchings and their efficiency, and I argue that in this context, fairness is the morally weightier criterion. Chapter 5 deals with the ethics of kidney exchange. Against critics, I give two arguments for the implementation of kidney exchange programmes. The first argument is that they are instrumental in meeting a moral obligation, namely to donate effectively. The second is that kidney exchange may increase the motivation for altruistic donations, because the donation of one kidney may trigger > 1 life savings. The final chapter identifies questions for future research and it closes with some thoughts about the future trajectory of economic design. (shrink)

Abstract In this paper I suggest a way that an already promising view on ethical art criticism can account for the value of mediocre artworks which endorse morally commendable perspectives. In order for the view I call prescriptive ethicism to deal with such cases of critical ambivalence, it must take account of the interaction between moral content and form in art. Such interaction is seen in the way the aesthetic features of an artwork partly determine its (...) class='Hi'>moral value, or success in providing ethical insight. I argue that if a work lacks the kind of moral value which is determined by the interaction between form and content, then we have little reason to engage with that work. When a work expresses an otherwise commendable moral attitude in a clumsy or trite manner, while it is clearly compromised aesthetically, it is also compromised ethically. For such a work forfeits the ability to reveal new aspects of ethical life. (shrink)

Raimo Tuomela’s we-mode groups are partly characterized by norms. Some norms may be characteristic of all we-mode groups like the norm restricting a member’s right to leave the group. Some think that this aspect of Tuomela’s theory has implausible ethical implications concerning the rights and autonomy of members in we-mode groups. That worry vanishes, I argue, on a plausible interpretation of Tuomela’s notion of social normativity and a reasonable precisification of the notion of autonomy in this context. On the (...) other hand, Tuomela’s general silence on the nature of moral normativity makes it unclear how his distinction between social and moral normativity should be drawn more precisely. Is this a difference in kind, or merely a difference in the scope or social basis of the norms in question? I find this worth exploring with the aid of resources available within a broadly Tuomelian framework. Like Jeremy Koons (2019), I believe that Tuomela’s framework could be used to refine Wilfrid Sellars theory of ethical judgments as expressions of we-intentions. My preferred interpretation of Tuomela differs from Koons’ though, and so does the resulting reconstruction of Sellars, which is more Humean than Kantian. (shrink)

In this book, Chris Meyers takes the reader on a careful, rational, sustained criticism of arguments about the immorality of homosexuality. Meyers refutes anti-gay arguments by showing that they are based on unreasonable or demonstrably false ideas about the nature of morality.