Our engagements with poetry often leave us with a sense of having been not only aesthetically pleased and emotionally aroused but intellectually stimulated and cognitively rewarded.1 However, explicating the nature of such intellectual stimulus and accounting for poetry’s cognitive values are not easy tasks, given that poetry does not stand in the same relation to truth and knowledge as do science and philosophy. How then to account for the undeniable experience of having undergone a profound cognitive change after engaging with (...) poetry?Turning to the work of Immanuel Kant, who praised poetry above all other forms of art,2 I explore how his account of poetry might help us understand poetry’s cognitive influence on... (shrink)

As numerous scholars pointed out, Kant’s account of genius suffers from internal inconsistency, primarily due to the contradictory way in which Kant talks about the relation between imagination and taste in artistic production. What remains unclear is whether taste and genius work in concord in order to produce beautiful art, or whether one or the other takes charge. In this paper I look at this challenge, and I offer an interpretation of how Kant conceives of genius. I argue that the (...) gift of genius is multi-componential, including the capacity to maximize imagination’s productivity as well as the capacity to develop taste to the point where one can extract the rules for art production, internalize them and implement them in one’s own original and exemplary artistic production. By analyzing specific claims Kant makes in relation to beautiful art, primarily his account of poetry, I extrapolate further aspects of artistic genius, which relate to his capacity to create artworks imbued with moral and cognitive significance, and which enable the awakening of genius in other artists. (shrink)

In this article, I defend moral aesthetic cognitivism, the view that literature is a valuable source of insights related to morally relevant aspects of our world and that it can significantly contribute to our moral education. I am in particular concerned with counterarguments to this view voiced by Greg Currie, who trashes epistemological foundations of literature and emphasizes the lack of empirical corroboration of cognitivism, and by Peter Lamarque, who dismisses educative potential of literature on the account of readers' incapacity (...) to extract morally relevant judgements about the world from literary works. I rely on examples from literary tradition to rebuild the epistemological framework underlying cognitivism and on contemporary insights from moral psychology to show that our engagements with literature are permeated with moral reflections that are valuable for our moral education. (shrink)

This edited volume examines the topic of trust and its place in the thought of several key figures from the history of philosophy. Drawing on thinkers and philosophical traditions from across the globe, the chapters focus especially on trust's moral and social dimensions.

This edited volume features discussions by leading scholars on the topic of trust and its place in moral psychology. The contributors cover theoretical and applied issues relating to trust, including trust and distrust in conditions of oppression, trust and technology, and trust in medical ethics.

This article is an introduction to the special issue of the European Journal of Analytic Philosophy dedicated to aesthetic education and philosophy of screen stories.

Detailed, precise and ridden with excellent examples, Jon Phelan’s Literature and Understanding: The Value of a Close Reading of Literary Texts is an inviting a.

My aim in this paper is to explore the appeal of contemporary television serial drama. I argue that there are four main aspects of serials that inspire viewers’ interest and long-term commitment: serials’ overall aesthetics, its narrative complexity, strong emotional pull and serious mimetic aspect. I analyse each of these and I show how each stimulates our more general interests and emotional dispositions, primarily those related to aesthetic reward, intellectual challenge, moral clarity and entertainment. My analysis shows how these four (...) elements unite and how their union inspires and maintains viewers’ long-term commitment to the show. In the process, I explore viewers’ emotional engagement with the characters, suggesting it is of secondary importance for their long-term commitment to the show. This commitment, I argue, is motivated by viewers’ sense of care for the work developed in response to its repeated providing of pleasurable stimuli. (shrink)

Abstract:My aim in this article is to explore the role of perspectivism—roughly, the view that works of art prescribe a certain perspective—in aesthetic cognitivism and in the ethical evaluation of art, particularly as it features in the value-interaction debate. Although I am critical of perspectivism’s capacity to shoulder an artwork’s cognitive and ethical value, I find some of the arguments mounted against it, most notably those by Ted Nannicelli, misdirected, and I present several arguments against them. However, because my aim (...) is to show that both aesthetic cognitivism and ethical criticism should move beyond a concern for the perspective, I offer a different criticism of perspectivism to demonstrate how it should be modified if it is to make a more substantial contribution to the ethical evaluation of art. I conclude by providing a sketch of what I call ethically minded criticism of art, that is, one that is concerned not with a perspective that a work advances but with revealing work’s cognitive and ethical insights, that is thus better suited to promoting art’s educational and cultural value. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Reading as a Philosophical Practice by Robert PierceyIris Vidmar JovanovićReading as a Philosophical Practice, by Robert Piercey, 130 pp. London: Anthem Press, 2021.Robert Piercey's Reading as a Philosophical Practice is dedicated to exploring the passion of reading, and to explaining ways in which common readers, as Virginia Woolf calls them, rather than professionals, engage with reading. Piercey's answer to this question, which is also the central claim of (...) the book, is that reading—independently of the subject or a genre—is a philosophical activity, that is, "a kind of reflection on experiences and capacities that are distinctive to human beings" (p. 3). As Piercey argues, reading inevitably invites one to consider issues that fall within three main philosophical domains: those related to selfhood; those related to ethical questions, primarily the ones asking about a valuable life; and those concerning ontological questions regarding the true nature of things. Inspiration for this account comes from the writings of Henry James, Stanley Cavell, and Marcel Proust, each of whom describes reading as an experience in which one's self enlarges and new dimensions of subjectivity are revealed. Piercey's ambition is to understand precisely what happens in such moments of discovery, and he sets out to offer an account of the essence of the experience of reading that explains why reading matters so profoundly to so many people.Piercey finds a philosophical grounding for his main claim in Wolfgang Iser's phenomenological account of reading and Alasdair MacIntyre's account of practice. Piercey praises Iser's account of reading as an activity prolonged in time, during which a reader is situated within the text, and tries to rebuild that text by constantly going through interpretative stages. Such a "wandering viewpoint" (p. 20) generates in one a sense of living through an altered subjectivity. As Piercey argues, the greatest value of this explanation is its capacity to account for how a text is given to one's consciousness.Insightful as it is, however, Iser's account has limits, given his focus on fictional classics and his belief that the aim of reading is to arrive at the correct interpretation of a text. To overcome these shortcomings, Piercey adopts MacIntyre's account of practice and argues that understanding reading as a [End Page 468] type of social practice means recognizing it as "embedded in, and expressive of, a full range of human activities and a full picture of the human person." Moreover, thinking of reading as a practice encourages us to see it "as a space where one reflects on what kind of a person one should become, and tries earnestly to make oneself into that kind of a person" (p. 25).What such a project looks like is examined in the third chapter, where Piercey analyzes writings on reading by novelist Nick Hornby. This chapter is particularly interesting in tackling questions that pop up when one pursues reading as important for one's well-being: questions concerning which books to read and which to skip, issues regarding rereading, and the like. The rhetorical power of this chapter is immense, in raising one's awareness of the many nuances that a reflective approach to reading invites. This awareness is further advanced in the sixth chapter, in which Piercey presents "descriptive hermeneutical ontology" (p. 71) to explain how readers discover what is valuable and meaningful about the nature of things and attachments in the process of reading. Interesting here is the dual nature of books that Piercey describes, namely their material copies and their content, or virtual reality, and the instrumental and intrinsic ways in which each of the two can acquire meaning for individual readers. He concludes that reading matters to so many people because it lets them experience and reflect on the fragmentation built into their encounters with things.In chapter 4, Piercey discusses one of the cornerstones of literary aesthetics: the view—as developed by, among others, Martha Nussbaum—that reading makes us morally better. Piercey acknowledges the relevance of empirical challenge to this view, particularly as advanced by Gregory Currie. Piercey claims that the Nussbaum-like approach to getting ethical lessons from reading is an... (shrink)

There is much to admire in Rafe McGregor's new book: its analytical clarity and precision, depth and systematicity in argumentation, width of the material covered, sharpness of his vision, illuminative power of his examples. I share his concern for the future of aesthetic education within the dominant context of neoliberal imperative, and I am inspired by his dedication to invigorate humanists' battle for preservation of the practices we so deeply believe in. I agree with his overall intuition regarding the ethical (...) dimension of narratives, and I am equally convinced of their capacity to provide understanding, though less optimistic regarding their capacity to decrease our inhumanity. I take his dedication to... (shrink)

Review of the book Rafe McGregor, A CRIMINOLOGY OF NARRATIVE FICTION, Bristol University Press, 2021, pp. 176, ISBN: 978-1529208054, Hardback, €74.70 / $66.09.