This paper examines the normative ideas flowing from the contemporary theories that make up the New Finance. These theories include the Irrelevance Theorem, Efficient Market Hypothesis, Capital Asset Pricing Model, Options Pricing Model, and Agency Theory. The behavioral consequences that would ensue if everyone took the normative precepts of the New Finance seriously are subjected to a Kantian analysis to determine their ethical implications. It is concluded that the corporate world in the New Finance is a place where the firm (...) can select any operating and financial strategies that it wishes, and the investors will respond immediately through a combination of homemade portfolio diversification, clever option positions, and carefully constructed agency relationships, all of which results in a pervasive nihilism. Recommendations are offered on how these features of the New Finance might be avoided or moderated. (shrink)

Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of aesthetically (...) successful works of art?” and “Is cultural appropriation in the arts morally objectionable?” Part of the highly regarded New Directions in Aesthetics series. (shrink)

Almost all of us would agree that the experience of art is deeply rewarding. Why this is the case remains a puzzle; nor does it explain why many of us find works of art much more important than other sources of pleasure. Art and Knowledge argues that the experience of art is so rewarding because it can be an important source of knowledge about ourselves and our relation to each other and to the world. The view that art is a (...) source of knowledge can be traced as far back as Aristotle and Horace. Artists as various as Tasso, Sidney, Henry James and Mendelssohn have believed that art contributes to knowledge. As attractive as this view may be, it has never been satisfactorily defended, either by artists or philosophers. Art and Knowledge reflects on the essence of art and argues that it ought to provide insight as well as pleasure. It argues that all the arts, including music, are importantly representational. This kind of representation is fundamentally different from that found in the sciences, but it can provide insights as important and profound as available from the sciences. Once we recognise that works of art can contribute to knowledge we can avoid thorough relativism about aesthetic value and we can be in a position to evaluate the avant-garde art of the past 100 years. Art and Knowledge is an exceptionally clear and interesting, as well as controversial, exploration of what art is and why it is valuable. It will be of interest to all philosophers of art, artists and art critics. (shrink)

A review of deVries' and O'Shea's books, both titled "Wilfrid Sellars". By Jaroslav Peregrin.

The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the 18th century. James O. Young presents the first complete English translation of the work, with full annotations and a comprehensive introduction, which illuminate Batteux's continuing philosophical interest.

The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the eighteenth century. It influenced every major aesthetician in the second half of the century, and is the work generally credited with establishing the modern system of the arts: poetry, painting, music, sculpture and dance. Batteux's book is also an invaluable aid to the interpretation of the arts of eighteenth century. And yet there has never been a complete or (...) reliable translation of The Fine Arts into English. Now James O. Young, a leading contemporary philosopher of art, has provided an eminently readable and accurate translation. It is fully annotated and comes with a comprehensive introduction that identifies the figures who influenced Batteux and the writers who were, in turn, influenced by him. This book will be of interest to everyone interested in the arts of the eighteenth century, French studies, the history of European ideas, and philosophy of art. (shrink)

This is the first modern, annotated and scholarly edition of Jean-Baptiste Du Bos’ _Critical Reflections on Poetry and Painting_, one of the seminal works of modern aesthetics in any language.

Addresses the question of whether special preference for friends is morally justified.

Several prominent philosophers of music, including Lydia Goehr and Peter Kivy, maintain that the experience of music changed drastically in about 1800. According to the great divide hypothesis, prior to 1800 audiences often scarcely attended to music. At other times, music was appreciated as part of social, civic, or religious ceremonies. After the great divide, audiences began to appreciate music as an exclusive object of aesthetic experience. The great divide hypothesis is false. The musicological record reveals that prior to the (...) great divide music was often the exclusive object of aesthetic experience. (shrink)

Explores James’s concept of the individual in terms of physiology, psychology, philosophy, and religion.

This four volume set brings together both classic and contemporary writings to provide a comprehensive collection of the most important essays on the subject. All of the various artistic genres are addressed, with sections on film, dance and architecture as well as music, literature and the visual arts. With a new introduction by the editor to guide the reader through the volumes, this major new work will provide student and researcher alike with key writings on aesthetics in one convenient, unique (...) resource. (shrink)

James O. Young seeks to explain why we value music so highly. He draws on the latest psychological research to argue that music is expressive of emotion by resembling human expressive behaviour. The representation of emotion in music gives it the capacity to provide psychological insight--and it is this which explains a good deal of its value.

The problems and the keys to their solutions -- Ontology of artworks -- Copyright and its limits -- Token appropriation -- Pattern appropriation -- Appropriation of artistic elements.

We use formal semantic analysis based on new constructions to study abstract realizability, introduced by Läuchli in 1970, and expose its algebraic content. We claim realizability so conceived generates semantics-based intuitive confidence that the Heyting Calculus is an appropriate system of deduction for constructive reasoning.Well-known semantic formalisms have been defined by Kripke and Beth, but these have no formal concepts corresponding to constructions, and shed little intuitive light on the meanings of formulae. In particular, the completeness proofs for these semantics (...) do not generate confidence in the sufficiency of the Heyting Calculus, since we have no reason to believe that every intuitively constructive truth is valid in the formal semantics.Läuchli has proved completeness for a realizability semantics with formal concepts analogous to constructions. We argue in some detail that, in spite of a certain inherent inexactness of the analogy, every intuitively constructive truth is valid in Läuchli semantics, and therefore the Heyting Calculus is powerful enough to prove all constructive truths. Our argument is based on the postulate that a uniformly constructible object must be communicable in spite of imprecision in our language, and that the permutations in Läuchli's semantics represent conceivable imprecision in a language, while allowing a certain amount of freedom in choosing the particular structure of the language.We give a detailed generalization of Läuchli's proof of completeness for the propositional part of the Heyting Calculus, in order to make explicit constructive and algebraic content.In our treatment, we establish several new results about Läuchli models. We show how to extend the sconing and gluing constructions familiar from Kripke and Frame semantics and Topos theory, to Läuchli models, and use them to give an algebraic approach to countermodel construction. In particular, the Läuchli arguments are given without the restriction to the integers, Z, as a group of permutations, which makes much of the coding scheme used in Läuchli's original paper transparent.We also make use of a new propositions-as-types syntax for the Heyting calculus, with limited nondeterminism, in which validity of formulae can be decided without loop-detection. (shrink)

This book presents a comprehensive, accessible survey of Western philosophy of music from Pythagoras to the present. Its narrative traces themes and schools through history, in a sequence of five chapters that survey the ancient, medieval, early modern, modern and contemporary periods. Its wide-ranging coverage includes medieval Islamic thinkers, Continental and analytic thinkers, and neglected female thinkers such as Vernon Lee (Violet Paget). All aspects of the philosophy of music are discussed, including music and the cosmos, music's value, music's relation (...) to the other arts, the problem of opera, the origins of musical genius, music's emotional impact, the moral effects of music, the ontology of musical works, and the relevance of music's historical context. The volume will be valuable for students and scholars in philosophy and musicology, and all who are interested in the ways in which philosophers throughout history have thought about music. (shrink)