Essays in the ethics of business and management.

This book is a collection of secondary essays on America's most important philosophic thinkers—statesmen, judges, writers, educators, and activists—from the colonial period to the present. Each essay is a comprehensive introduction to the thought of a noted American on the fundamental meaning of the American regime.

For forty years, Harvey Mansfield has been worth reading. Whether plumbing the depths of MachiavelliOs Discourses or explaining what was at stake in Bill ClintonOs impeachment, MansfieldOs work in political philosophy and political science has set the standard. In Educating the Prince, twenty-one of his students, themselves distinguished scholars, try to live up to that standard. Their essays offer penetrating analyses of Machiavellianism, liberalism, and America., all of them informed by MansfieldOs own work. The volume also includes a bibliography of (...) MansfieldOs writings. (shrink)

While the dominant approaches to the current study of political philosophy are various, with some friendlier to religious belief than others, almost all place constraints on the philosophic and political role of revelation. Mainstream secular political theorists do not entirely disregard religion. But to the extent that they pay attention, their treatment of religious belief is seen more as a political or philosophic problem to be addressed rather than as a positive body of thought from which we might derive important (...) insights about the nature of politics and the truth of the human condition. In a one-of-a-kind collection, DeHart and Holloway bring together leading scholars from various fields, including political science, philosophy, and theology, to challenge the prevailing orthodoxy and to demonstrate the role that religion can and does play in political life. Contributing authors include such important thinkers as Peter Augustine Lawler, Robert C. Koons, J. Budziszewski, Francis J. Beckwith, and James Stoner. (shrink)

Review of Why Music Moves Us by Jeanette Bicknell.

(2000). Federal world government at the dawn of the third millennium: Old challenges and new opportunities. World Futures: Vol. 56, No. 1, pp. 41-106.

(1994). The rhetoric of science and the challenge of post‐liberal democracy. Social Epistemology: Vol. 8, Public Indifference to Population Issues, pp. 261-271.

This paper discusses some procedures developed in recent work in machine learning for inferring causal direction from observational data. The role of independence and invariance assumptions is emphasized. Several familiar examples including Hempel’s flagpole problem are explored in the light of these ideas. The framework is then applied to problems having to do with explanatory direction in non-causal explanation.

Doing Practical Ethics supports the deliberate practice of philosophical skills relevant to understanding, evaluating, and developing arguments in forms commonly used in the field of practical ethics. Each chapter includes an explanation of a specific moral reasoning skill, demonstration exercises with sample solutions that offer students immediate feedback on their initial practice attempts, and extensive sets of practice exercises. It is suitable for any ethics course that centrally features argument from principle, argument from analogy, or inference to the best explanation. (...) It may be used as a standalone text in a debate-focused course. Paired with an anthology in a readings-focused course, it will help students develop the skills they need to understand and evaluate the arguments in the assigned readings. (shrink)

James Mark Baldwin left a legacy that has yet to be fully examined, one with profound implications for science and the humanities. In some sense it paralleled that of his friend Charles Sanders Peirce, whose semiotics became understood only a century later. Baldwin was trying to make sense of complex biological and social processes that only now have come into the limelight as biological sciences have re-emerged in psychology. Baldwin's focus on development, based on the observation of his own (...) children and extrapolated to his general theoretical scheme, is fully in line with where contemporary biological sciences are heading. This is exemplified by the bounded flexibility of the work of the genetic system. The general principle of persistent exploration of the environment with the result of creating novelty, which was the core of Baldwin's theoretical system, has since the 1960s become the guiding idea in genetics. Contemporary developmental science is rooted in Baldwin's thinking. In his new introduction, Jaan Valsiner shows that Baldwin's Genetic Theory of Reality demonstrates how human beings are in their nature social beings, establishes an alternative conceptualization of evolutionary theory, and formulates a system of developmental logic, all of which serve as the foundation for developmental psychology as a whole. This is a work of social science rediscovery long overdue. (shrink)

Hume and the problem of theory and practice in philosophy and political theory -- Hume's naturalism and skepticism in the treatise and his appeal from theory to practice -- The systematic theory of theory of the treatise of human nature -- The behaviorist theory of practice of the treatise -- The practical philosophies of skepticism and commercial humanism -- The common sense theory of theory of the enquiries, essays, and history of England -- The common sense theory of practice of (...) the later works -- Hume, theory, and practice today. (shrink)

Journal of Religious Ethics, Volume 50, Issue 1, Page 7-19, March 2022.

In lieu of an abstract, here is a brief excerpt of the content:Art and the Educated AudienceJames O. Young (bio)1. IntroductionWhen writing about art, aestheticians tend to focus on the work of art and on the artist who produces it. When they refer to audiences, they typically speak only of the effect that the artwork has on its audience. Aestheticians pay little, if any, attention to the important active role that an audience plays in the workings of a healthy art (...) world. My goal in this essay is to do something to end the neglect of the audience. I will focus on the role of the informed or, as I will call it, educated audience. I begin by subjecting the concept of an audience to some old-fashioned conceptual analysis. Once we are clearer about what an audience is and, in particular, what an educated audience is, we can begin to determine what it can do. In my view, an educated audience can play an important role in encouraging the production of artworks with high aesthetic value. Indeed, highly valuable artworks are unlikely to be produced without a broad educated audience to whom artists are responsive. Consequently, the aesthetic education of audiences is crucial to the health of an art world.2. What Is an Audience?In its original sense, the noun "audience" refers to the people within earshot of some speaker: one held forth to an audience. In connection with the arts, "audience" was first used in something very like this original sense. It referred to those who heard actors perform plays or those who heard the recitation of poetry. Soon the concept of an audience also applied to those who heard the performance of musical works. By the mid-nineteenth century, the concept of an audience had been broadened. It came to apply to the readers of a novel or other works of literature. More recently, the concept of an audience has been applied to those who view paintings, sculptures, and films. [End Page 29] Now an audience consists of people who experience artworks of any sort. Having an experience of an artwork is a necessary condition of being part of an audience. This condition is, however, far from being sufficient.Some people experience works of art but are not part of an audience. Consider, for example, ushers in a concert hall or theater and guards in art museums. An usher hears the play or the concerto but may not regard it as an aesthetic object. Similarly, a guard sees the paintings (and so in this sense experiences them) but does not, perhaps, attend to them as aesthetic objects. Or consider a person who arranges to meet a friend in a gallery. He almost certainly sees the paintings, but he will not count as part of an audience if he is completely intent on looking for his friend. It seems, then, that members of an audience do not simply experience artworks. They must experience artworks in a certain way.Audience members experience an artwork in such a way that they are able to benefit from its aesthetic value. When I speak of "aesthetic value," I mean the value an artwork possesses in virtue of its sensuous properties. I will not here take a stand on the nature of experience of aesthetic value. Some writers have suggested that the contemplation of art involves a distinctive sort of experience. Perhaps it does. (It has been suggested, for example, that audience members must have a measure of "psychical distance" from some object if they are to have an aesthetic experience of it.) I simply hold that audience members experience an artwork in whatever way makes it possible for them to benefit from its aesthetic value. If aesthetic value causes pleasure (or "aesthetic emotion," understanding, or anything else) then audience members can have pleasure caused in them by an artwork's aesthetic value. The capacity to benefit from the aesthetic value of an artwork is a necessary condition of being part of the work's audience.Notice that not just anyone can be part of the audience for a given work of art. Audience members must possess certain capacities. In the most basic sense of the word, an audience is composed... (shrink)

Name der Zeitschrift: Nordic Wittgenstein Review Jahrgang: 2 Heft: 1 Seiten: 131-160.

This article explores some issues associated with Philip Kitcher's unificationist theory of explanation, including the contrast between epistemic and ontic approaches to explanation, and the implications of Kitcher’s theory for the autonomy of the special sciences.

This article argues that Jeremy Bentham put forward a distinctive and original theory of representative democracy which can be helpfully analysed through his concept of the ‘deputy’. A deputy, Bentham argued, evoked a specific political relationship between governors and the governed – a relationship that was functionally different to that between the people and a ‘representative’ or a ‘delegate’. Whereas a representative was suggestive of too great a degree of governmental independence from the people and a delegate implied an excessive (...) dependency of governors upon the governed, a deputy for Bentham best described the relationship between the rulers and the ruled that should subsist in a representative democracy. A political form based on deputies, who were to be relatively free to conduct the business of government yet simultaneously accountable to their sovereign electors, was the only way in his eyes to guarantee the promotion of utility in politics and the security of the people from being misruled. (shrink)

Argues that the Holocaust has caused a mutation of the world. Our new world is Planet Auschwitz, an unworld with satellites separate and incommunicable. In this new world, the forces of nihilism are at work - e.g. terrorism, mass murder. Face-to-face with this destruction process, its administrators, and its survivors, we mutations must rewrite everything that has been projectively written about us in the old world. The tendency to repression keeps us from thinking, binding us to cynicism and nostalgia. The (...) response to this new world condition must be to remember the Holocaust - repression leads to indifference and destruction. (shrink)

This research assessed the impact of the participants’ personal value orientation preferences and level of principled moral reasoning when comparing undergraduate business students with undergraduate pharmacy students before and after students completed a professional ethics course. Overall there was little significant change in the students’ value orientations and principled moral reasoning after completing a professional ethics course, yet some important findings emerged when comparing business to pharmacy students.

Even though Slavoj Žižek has written many words about music without really saying much about it, his work nevertheless contains much that for the philosophically minded musicologist, or for the musically minded philosopher, can stimulate thinking. For the author of this article, for example, some of the ideas presented in Žižek’s 2006 The Parallax View have stimulated thinking about the possibilities of taking a comparable approach—that is, a metaphorically ‘parallax’ approach that involves considering an object of attention alternately from more (...) than one perspective—not just to music but to sounds in general. Along with summarizing Žižek’s views on music per se, “Focused Listening: The Aesthetics of Parallax” explores various ways in which persons in the presence of a single ‘sound object’ might listen to, and thus perceive and hear, that sonic phenomenon. (shrink)