Psychology, philosophy and common sense -- Psychological empiricism (part A): do non-empirical psychological phenomena exist? -- Psychological empiricism (part B): a critique -- The subject matter of psychology (part A): the conscious personal self -- The subject matter of psychology (part B): differing kinds of psychic phenomena -- Locating the empirical in psychology -- Human nature and rational psychology -- Psychology, truth and personalism -- The reality and psychological significance of freedom.

How is one to distinguish a true lover of peace from a mere appeaser, a pacifist, and a warmonger? Distinguishing them can be sometimes confusing, as they will often appropriate each other’s language. The criterion for the above distinction does not only lie in outward behavior, as knowledge of inward attitudes is also required. A right understanding of these attitudes and motivations involve at least an implicit grasp of the true nature of peace, which is investigated as something more than (...) the mere absence of war, insofar as peace is primarily a work of two moral virtues: justice and charity. It is in the spirit of justice and charity that the true lover of peace must then distinguish—both in one’s own life and with nations—between what can be ignored and / or forgiven, and what must be redressed. Furthermore, the distinction between the lover of peace and the pacifist, with the possibility of pacifism being a distinct tradition from just war philosophy, is investigated. The argument is made that pacifism should not be considered outside the context of just war because one needs that context to address if and who demands restitution. (shrink)

How is one to distinguish a true lover of peace from a mere appeaser, a pacifist, and a warmonger? Distinguishing them can be sometimes confusing, as they will often appropriate each other’s language. The criterion for the above distinction does not only lie in outward behavior, as knowledge of inward attitudes is also required. A right understanding of these attitudes and motivations involve at least an implicit grasp of the true nature of peace, which is investigated as something more than (...) the mere absence of war, insofar as peace is primarily a work of two moral virtues: justice and charity. It is in the spirit of justice and charity that the true lover of peace must then distinguish—both in one’s own life and with nations—between what can be ignored and / or forgiven, and what must be redressed. Furthermore, the distinction between the lover of peace and the pacifist, with the possibility of pacifism being a distinct tradition from just war philosophy, is investigated. The argument is made that pacifism should not be considered outside the context of just war because one needs that context to address if and who demands restitution. (shrink)

The purpose of this engaging book is twofold: to explain and justify the primary objects and methods of the discipline of philosophy, and to show how philosophy ...

Rationality within Modern Psychological Theory examines the rational and irrational dimensions of human nature and of the psyche and logos through the lenses of classical philosophy and modern psychology.

This volume is about how and whether art can be morally bad (or morally good). Politicians, media pundits, and others frequently complain that particular works of art are morally dangerous, or, sometimes, that particular works are morally edifying (the "great works" of literature, for example). But little attention is often given to the question of what makes art morally good in the first place. This comprehensive volume of forty-five new essays explores a wide variety of historical and theoretical perspectives, looking (...) at different art forms and different problems. -/- Each section of the volume samples a mix of topics that have been widely discussed alongside those that have been less noticed by philosophers. What emerges is a sense of the great variety of different problems and approaches as well as some recurring and overlapping themes. -/- The essays in this volume put forth a deliberate effort to stretch beyond some of the debates and problems most familiar to Anglophone philosophers. Familiar topics and positions have been placed side by side in the volume with new and neglected ones, sometimes suggesting surprising connections and conflicts. The volume is divided into four sections: Historical Perspectives, Theoretical Approaches, Individual Arts, and Problems. Chapters in "Historical Perspectives" cover significant historical and cultural periods in which philosophical debates about ethics and art became salient, from ancient Greece and China to Japan, the Harlem Renaissance, and beyond. These chapters show the wide variety of different concrete practices that were associated with the idea of "art," as well as the great range of approaches to thinking about what constitutes an "ethical" concern. The section on "Theoretical Approaches" takes up questions about the relationship between moral and aesthetic evaluation, moral theories, and the familiar debate between "moralists," "autonomists," and others. The section on "Individual Arts" considers how moral questions arise in distinctive ways for different art forms, including traditional arts such as music, literature, and painting, and newer art forms such as video games. The final section, "Problems," takes up a variety of special ethical problems that arise in the arts, such as forgery, cultural appropriation, and moral learning. (shrink)

Many adoptees face a number of challenges relating to separation from biological parents during the adoption process, including issues concerning identity, intimacy, attachment, and trust, as well as language and other cultural challenges. One common health challenge faced by adoptees involves lack of access to genetic-relative family health history. Lack of GRFHx represents a disadvantage due to a reduced capacity to identify diseases and recommend appropriate screening for conditions for which the adopted person may be at increased risk. In this (...) article, we draw out common features of traditionally understood “health disparities” in order to identify analogous features in the context of adoptees’ lack of GRFHx. (shrink)

In the conclusion to this multi-part article I first review the discussions carried out around the six essential questions in psychiatric diagnosis – the position taken by Allen Frances on each question, the commentaries on the respective question along with Frances’ responses to the commentaries, and my own view of the multiple discussions. In this review I emphasize that the core question is the first – what is the nature of psychiatric illness – and that in some manner all further (...) questions follow from the first. Following this review I attempt to move the discussion forward, addressing the first question from the perspectives of natural kind analysis and complexity analysis. This reflection leads toward a view of psychiatric disorders – and future nosologies – as far more complex and uncertain than we have imagined. (shrink)

Aesthetic internalism claims a link between judgement and motivation: aesthetic judgements bring with them motivations to act in characteristic ways. Critics object that there is a difference between merely liking something and judging it to be aesthetically good, and that it is our likings, not our aesthetic judgements, that motivate us. This paper develops a version of aesthetic internalism that can respond to this criticism. Wholehearted aesthetic judgements are characterized by stability, attention, and motivation. Making such judgements is an important (...) part of a good life, and so at least some aesthetic judgements are motivating. So we have reason to think that this version of aesthetic internalism is true. This paper defends wholehearted aesthetic internalism against objections, and assesses an argument from aesthetic internalism to aesthetic non-cognitivism. While wholehearted aesthetic internalism can only offer qualified support to non-cognitivism, it nonetheless offers a number of fruitful avenues for further work. (shrink)

This paper has three aims: to define autonomism clearly and charitably, to offer a positive argument in its favour, and to defend a larger view about what is at stake in the debate between autonomism and its critics. Autonomism is here understood as the claim that a valuer does not make an error in failing to bring her moral and aesthetic judgements together, unless she herself values doing so. The paper goes on to argue that reason does not require the (...) valuer to make coherent her aesthetic and moral evaluations. Finally, the paper shows that the denial of autonomism has realist commitments that autonomism does not have, and concludes that issues of value realism and irrealism are relevant to the debates about autonomism in ways that have not hitherto been recognized. (shrink)

Immoralists hold that in at least some cases, moral fl aws in artworks can increase their aesthetic value. They deny what I call the valence constraint: the view that any effect that an artwork’s moral value has on its aesthetic merit must have the same valence. The immoralist offers three arguments against the valence constraint. In this paper I argue that these arguments fail, and that this failure reveals something deep and interesting about the relationship between cognitive and moral value. (...) In the fi nal section I offer a positive argument for the valence constraint. (shrink)

What grounds a judgment that a work of art is immoral? This book argues that we cannot judge artworks morally in the same way that we judge people. What>'s more, there is no direct influence from moral judgments to aesthetic judgments: it is possible for artworks to be both immoral and beautiful.

Ancient Chinese and Greek thinkers alike were preoccupied with the moral value of music; they distinguished between good and bad music by looking at the music’s effect on moral character. The idea can be understood in terms of two closely related questions. Does music have the power to affect the ethical character of either listener or performer? If it does, is it better as music for doing so? I argue that an affirmative answers to both questions are more plausible than (...) it might seem at first. (shrink)

In this paper, I argue that in at least some interesting cases, the moral value of a narrative work depends on the aesthetic properties of that artwork. It does not follow that a work that is aesthetically bad will be morally bad (or that it will be morally good). The argument comprises four stages. First I describe several different features of imaginative engagement with narrative artworks. Then I show that these features depend on some of the aesthetic properties of those (...) works. Third, I argue that these same features of imaginative engagement are morally salient, by virtue of inviting more or less sophisticated and reflective moral responses. Finally, I show that the overall moral value of an artwork depends in part on whether or not the prescribed response is simple or complex, passive or reflective. (shrink)

In this paper I argue that there is good reason to believe that we can be influenced by fictions in ways that matter morally, and some of the time we will be unaware that we have been so influenced. These arguments fall short of proving a clear causal link between fictions and specific changes in the audience, but they do reveal rather interesting and complex features of the moral psychology of fiction. In particular, they reveal that some Platonic worries about (...) the dangers of art cannot be dismissed lightly. (shrink)

I explore the claim that “fictive imagining” – imagining what it is like to be a character – can be morally dangerous. In particular, I consider the controversy over William Styron’s imagining the revolutionary protagonist in his Confessions of Nat Turner. I employ Ted Cohen’s model of fictive imagining to argue, following a generally Kantian line of thought, that fictive imagining can be dangerous if one has the wrong motives. After considering several possible motives, I argue that only internally directed (...) motives can satisfy the moral concern. Finally, I suggest that when one has the right motives, fictive imagining is morally praiseworthy since it improves one’s ability to imagine the lives of others. (shrink)

Resolution of the entropy‐evolution problem was a significant issue for Pierre Teilhard de Chardin throughout his scientific career. Although never truly satisfied with his solution, he proposed that all energy must be psychic and contain two components. Tangential energy is related to physical energy. Radial energy in some way accounts for increasing complexity and consciousness in evolution. Analysis of developments in thermodynamics, statistical mechanics, and information theory show that Gibbs free energy contains both calorimetric and noetic components, thus validating Teilhard's (...) intuition. (shrink)

_A timely call for recovering the true meanings of the nineteenth‑century terms that are hobbling current political debates__ “Masterful.... James cuts through the tangled terminological and conceptual jungle of modern globalist discourse... [with] fascinating discussions of the origins and meanings of the words.”—G. John Ikenberry, ___Foreign Affairs___ “James delves into the often-surprising intellectual origins of key concepts in the arguments about globalisation—and illuminates the debate in the process.”—Gideon Rachman, _Financial Times_, "Best Books of 2021: Politics"_ Nationalism, conservatism, liberalism, (...) socialism, and capitalism are among the most fiercely debated ideas in contemporary politics. Since these concepts hark back to the nineteenth century, much of their nuanced meaning has been lost, and the words are most often used as epithets that short-circuit productive discussion. In this insightful book, Harold James uncovers the origins of these concepts and examines how the problematic definition and meaning of each term has become an obstacle to respectful communication. Noting that similar linguistic misunderstandings accompany such newer ideas as geopolitics, neoliberalism, technocracy, and globalism, James argues that a rich historical knowledge of the vocabulary surrounding globalization, politics, and economics—particularly the meaning and the usefulness that drove the original conceptions of the terms—is needed to negotiate the gaps between different understandings and make fruitful political debate once again possible. (shrink)

© British Society of Aesthetics 2018. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] adaptation of literary works into films has been almost completely neglected as a philosophical topic. I discuss two questions about this phenomenon:What do we mean when we say that a film is faithful to its source?Is being faithful to its source a merit in a film adaptation?In response to, I set out two distinct (...) senses of fidelity: story fidelity and thematic fidelity. I then argue, in response to, that thematic fidelity, but not story fidelity, is an aesthetic merit in a film adaptation. The key steps in this argument involve showing that merely preserving the story from one medium to another does not typically involve an aesthetically... (shrink)

One important but infrequently discussed difficulty with expressivism is the attitude type individuation problem.1 Expressivist theories purport to provide a unified account of normative states. Judgments of moral goodness, beauty, humor, prudence, and the like, are all explicated in the same way: as expressions of attitudes, what Allan Gibbard calls “states of norm-acceptance”. However, expressivism also needs to explain the difference between these different sorts of attitude. It is possible to judge that a thing is both aesthetically good and morally (...) bad. While the realist can explain the difference by suggesting that each judgment makes reference to a different property (or set of properties), the expressivist cannot. She must show that what is expressed by the speaker is different in each case. This has proven to be difficult to do. (shrink)

In recent years it has become more and more difficult to distinguish between metaethical cognitivism and non-cognitivism. For example, proponents of the minimalist theory of truth hold that moral claims need not express beliefs in order to be (minimally) truth-apt, and yet some of these proponents still reject the traditional cognitivist analysis of moral language and thought. Thus, the dispute in metaethics between cognitivists and non-cognitivists has come to be seen as a dispute over the correct way to characterize our (...) psychology: are moral judgments beliefs, or a kind of pro-attitude? In this paper, I argue that this distinction, too, is difficult to maintain in the light of a reasonable skepticism about folk psychology. I conclude by suggesting some new possibilities for the analysis of moral language that look beyond this distinction. I begin by briefly reviewing some contemporary positions in metaethics on cognitivism and non-cognitivism, that are intended to emphasize the supposed psychological differences between the two views. I show that the appearance of a clear difference between these views depends on one's having a very strong commitment to the context-independence and completeness of certain concepts of folk psychology. I then argue for a moderate skepticism about folk psychology. I conclude that folk concepts like ?belief? are not sufficiently well-defined to settle this metaethical dispute. (shrink)

Moral philosophers who differ from one another on a wide range of questions tend to agree on at least one general point. Most believe that things are worth valuing either because of their relationship to something else worth valuing, or because they are simply (in themselves) worth valuing. I value my car, because I value getting to work; I value getting to work, because I value making money and spending time productively; and I value those things because I value leading (...) a fulfilling life—and that valuing needs no justification. The values that need to be justified by other values are extrinsic; those that do not are intrinsic. Most traditional philosophical approaches to value justification are foundational in this sense: intrinsic values provide a foundation upon which other values can be justified. (shrink)

IT IS DIFFICULT for me to read Pride and Prejudice without empathizing either with Elizabeth Bennet, or sometimes with her father, Mr Bennet. Not only do my own responses to and opinions of the events and characters of the book at times resemble theirs, but even when they do not, I find myself seeing the event from Elizabeth’s or Mr Bennet’s point of view. For example, at the close of the book, Elizabeth’s former dislike of Mr Darcy has completely vanished, (...) in part because of learning of a number of good deeds that Mr Darcy has done very quietly for their family. When Mr Darcy proposes to Elizabeth (for the second time) she is delighted to accept him. However, everyone else in Elizabeth’s family despises Mr Darcy, and they also believe that Elizabeth still hates him. So it is easy to understand Mr Bennet’s surprise and distaste when Mr Darcy asks Mr Bennet for Elizabeth’s hand; after all, Mr Bennet still believes Mr Darcy to be prideful and haughty. While I am not myself surprised to hear Elizabeth’s response—the reader learns much more of Mr Darcy’s character than Mr Bennet does—I do have the experience of imagining being surprised. I am also capable of empathizing with Elizabeth, who is excited, flustered, and a bit ashamed at having so misjudged Mr Darcy early on, and I can imagine having these feelings for people I have misjudged. I can (to some degree) understand why she finds explaining all this to Mr Bennet so difficult. I go back and forth, as I read, between the perspectives of Mr Bennet and Elizabeth. These experiences of mine are experiences of the sort that I call ‘empathizing with fictions’, although we sometimes might describe such experiences by saying that we ‘identified’ with a particular character or characters in a story. (shrink)

I am grateful for Ted Nannicelli’s careful attention to my book. In his comment, Nannicelli makes two quite serious sets of objections to my views. The first set concerns my arguments against perspectivism, the view that the attitudes or perspectives manifested in artworks are morally evaluable. The second set concerns my arguments for meta-normative expressivism, the view that normative judgements are expressions of the attitudes of persons, not beliefs in mind-independent facts. In what follows, I offer responses to each of (...) these sets of objections, which I hope will go some way towards answering them. If my responses fail to fully answer the objections, perhaps they can at least shed further light on the reasons behind our disagreements. For the most part, I stand behind what I wrote, but Nannicelli’s criticisms have helped me to see the ways in which I might have said more to support certain points and in which I might have been clearer. I hope this short response can make clear what I was trying to do in the book and why I was trying to do it. (shrink)

Some films scare us; some make us cry; some thrill us. Some of the most interesting films, however, leave us suspended between feelings – both joyous and sad, or angry and serene. This paper attempts to explain how this can happen and why it is important. I look closely at one film that creates and exploits these conflicted responses. I argue that cases of conflict in film illuminate a pair of vexing questions about emotion in film: (1) To what extent (...) are emotional responses rational, or in need of rationalization?; and (2) What relationship is there between emotional response and value (moral, filmic, or otherwise)? Conflict, I argue, can be revealing, and can help us better understand emotional responses to narrative film1 in general. The paper is divided into four sections. First, I sketch a theory of emotional engagement that makes sense of the notion of a “conflicted emotional response” to a film. Second, I turn to a particular case of a film that produces this sort of conflict, Fritz Lang’s M (1931), and show that the conflict engendered by that film is both more significant and less unusual than it may appear. In the final two sections, I argue that there is no need to rationalize or make consistent such mixed emotional responses, and that there is real moral, aesthetic, and cognitive value to be had from such conflict. (shrink)

In this essay I argue that if Kantian and consequentialist ethical theories are vulnerable to the so-called “problem of alienation,” a virtue ethics based on Xunzi’s ethical writings will also be vulnerable to this problem. I outline the problem of alienation, and then show that the role of ritual ( li ) in Xunzi’s theory renders his view susceptible to the problem as it has been traditionally understood. I consider some replies on Xunzi’s behalf, and also discuss whether the problem (...) affects other Confucian and eudaimonian approaches to virtue ethics. I close by considering some solutions to the problem and the affect that this result has on the argumentative dialectic between the three major ethical traditions. (shrink)

Since Phillipa Foot’s paper ‘Morality as a System of Hypothetical Imperatives’ was published some twenty-five years ago, questions about categorical imperatives and the alleged rationality of acting morally have been of central concern to ethicists. For critics and friends of Kantian ethical theories, these questions have special importance. One of the distinctive features of Kantian ethical theories is that they claim that there are categorical imperatives: imperatives which dictate which actions one should follow insofar as one is rational.This way of (...) parsing morally right action as a kind of rational action seems to side-step at least some of the anti-realist objections that other kinds of moral theories must face.1 Instead, the Kantian must defend the claim that failure to act morally is a failure of rationality. Rationality as a normative concept is sometimes thought to be more clear and perhaps more objective than other basic normative concepts. (shrink)

Some works of fiction are widely held by critics to have little value, yet these works are not only popular but also widely admired in ways that are not always appreciated. In this paper I make use of Kendall Walton’s account of fictional worlds to argue that fictional worlds can and often do have value, including aesthetic value, that is independent of the works that create them. In the process, I critique Walton’s notion of fictional worlds and offer a defense (...) of the study and appreciation of fictional worlds, as distinguished from the works of fiction with which they are associated. (shrink)

In this paper, I explore a set of moral questions about the portrayal of evil characters in fiction: might the portrayal of evil in fiction ever be morally wrong? If so, under what circumstances and for what reasons? What kinds of portrayals are morally wrong and what kinds are not? I argue that whether or not imagining evil is morally wrong depends on the formal and structural properties of the work.

If I had read Ted Nannicelli’s (2020) thoughtful and wide-ranging book before writing my own, I would not have written the same book that I did, and my book almost certainly would have been better for it. Ted Nannicelli’s 2020 book has many keen insights, and I learnt much from reading it.There is a great deal of overlap in our philosophical interests as well as in our views. Our books were written at the same time—at least, our writing times overlapped (...) significantly—and by the time Nannicelli's was published, mine was already finalized, and it was too late for me to incorporate his insights into my own book. So I welcome the opportunity, however belated, to think carefully about Nannicelli’s ideas in conversation with my own.The first and most important thing to emphasize is my agreement with Nannicelli on many significant matters. Both Nannicelli and I are critical of the overwhelming focus in the ethical criticism of art on what Nannicelli calls ‘perspectivism’, the view that works of art should be judged morally on the basis of the perspective they take up (or attitude they prescribe, or similar). We are also both sceptical about the strength of the arguments concerning the moral-cognitive benefits of art. Both of us think that we need a more expansive toolkit for thinking about art and morality, including attention to the circumstances under which an artwork is produced. (The latter is something that I discuss only briefly, but Nannicelli is right that it is deserving of more careful attention.) Both of us are neutral about specific normative ethical theories. Nannicelli and I are both worried about the problem of relativism and how that affects how we think about moral judgements of artworks. And I think Nannicelli shares my scepticism about the search for easy answers to hard moral questions about the value of art. (shrink)

In this paper, I explore a set of moral questions about the portrayal of evil characters in fiction: might the portrayal of evil in fiction ever be morally wrong? If so, under what circumstances and for what reasons? What kinds of portrayals are morally wrong and what kinds are not? I argue that whether or not imagining evil is morally wrong depends on the formal and structural properties of the work.

Toward A Sociological Imagination builds on the ideas C. Wright Mills expressed in The Sociological Imagination for an approach to the scientific method broad enough to open up to the full range of knowledge within the sociology discipline. In this book, nine sociologists and one philosopher provide detailed tests of the utility of the approach within diverse substantive sociological areas.

Background: SNOMED CT is a large terminology system designed to represent all aspects of healthcare. Its current form and content result from decades of bottom-up evolution. Due to SNOMED CT’s formal descriptions, it can be considered an ontology. The Basic Formal Ontology (BFO) is a foundational ontology that proposes a small set of disjoint, hierarchically ordered classes, supported by relations and axioms. In contrast, as a typical top-down endeavor, BFO was designed as a foundational framework for domain ontologies in the (...) natural sciences and related disciplines. Whereas it is mostly assumed that domain ontologies should be created as extensions of foundational ontologies, a post-hoc harmonization of consolidated domain ontologies in use, such as SNOMED CT, is known to be challenging. Methods: We explored the feasibility of harmonizing SNOMED CT with BFO, with a focus on the SNOMED CT Clinical Finding hierarchy. With more than 100,000 classes, it accounts for about one third of SNOMED CT’s content. In particular, we represented typical SNOMED CT finding/disorder concepts using description logics under BFO. Three representational patterns were created and the logical entailments analyzed. Results: Under a first scrutiny, the clinical intuition that diseases, disorders, signs and symptoms form a homogeneous ontological upper-level class appeared incompatible with BFO’s upper-level distinction into continuants and occurrents. The Clinical finding class seemed to be an umbrella for all kinds of entities of clinical interest, such as material entities, processes, states, dispositions, and qualities. This suggests the conclusion that Clinical finding would not be a suitable upper-level class from an BFO perspective. On closer inspection of the taxonomic links within this hierarchy and the implicit meaning derived thereof, it became clear that Clinical finding classes do not characterize the entity (e.g. a fracture, allergy, tumor, pain, hemorrhage, seizure, fever) in a literal sense but rather the condition of a patient having that fracture, allergy, pain etc. This gives sense to the current characteristic of the Clinical Finding hierarchy, in which complex classes are modeled as subclasses of their constituents. Most of these taxonomic links are inferred, as the consequence of the ‘role group’ design pattern, which is ubiquitous in SNOMED CT and has often been subject of controversy regarding its semantics. Conclusion: Our analyses resulted in the proposal of (i) equating SNOMED CT’s ‘role group’ property with the reflexive and transitive BFO relation ‘has occurrent part’; and (ii) reinterpreting Clinical Findings as Clinical Occurrents, i.e. temporally extended entities in an organism, having one or more occurrents as temporal parts that occur in continuants. This re-interpretation was corroborated by a manual analysis of classes under Clinical Finding, as well as the identification of similar modeling patterns in other ontologies. As a result, SNOMED CT does not require any content redesign to establish compatibility with BFO, apart from this re-interpretation, and a suggested re-labeling. Regarding the feasibility of harmonizing terminologies with principled foundational ontologies post-hoc, our results provide support to the assumption that this does not necessarily require major redesign efforts, but rather a careful analysis of the implicit assumptions of terminology curators and users. (shrink)

The study of anarchism as a philosophical, political, and social movement has burgeoned both in the academy and in the global activist community in recent years. Taking advantage of this boom in anarchist scholarship, Nathan J. Jun and Shane Wahl have compiled twenty-six cutting-edge essays on this timely topic in New Perspectives on Anarchism.

Psychopaths are the bugbears of moral philosophy. They are often used as examples of perfectly rational people who are nonetheless willing to do great moral wrong without regret; hence the disorder has received the epithet “moral insanity” (Pritchard 1835). But whereas philosophers have had a great deal to say about psychopaths’ glaring and often horrifying lack of moral conscience, their aesthetic capacities have received hardly any attention, and are generally assumed to be intact or even enhanced. Popular culture often portrays (...) psychopaths in ways that suggest a great gap between their amorality and their aesthetic sensitivity. In The Silence of the Lambs (Jonathan Demme, 1991), Hannibal Lecter appreciates fine art, fashion, and wine, while he eats his way through his enemies. His real-life counterparts, however, do not demonstrate the same sensitivities. There is no evidence that psychopaths are capable of real aesthetic appreciation, and some evidence that they are not. In this paper, we set out the limited evidence for the psychopath’s deficient aesthetic sensitivity. The best explanations of what the psychopath lacks turn out to implicate abilities that are also thought to be central to moral thought and action: an impaired capacity for empathizing with others and deficient ability to take a disinterested attitude towards things (socalled distance). We endorse the latter explanation. Thinking about what underlies the psychopath’s deficient aesthetic understanding turns out to throw light on a difficult problem: the connection between ethics and aesthetics. (shrink)

In the wake of the financial crisis of 2008 and ongoing debt-related troubles there have been widespread calls to put banking and economic activity on a secure ethical foundation, either by regulation or through voluntary reform. In this volume a distinguished set of authors explore various economic, philosophical, and ethical ideas from historical, contemporary, and future-looking perspectives. At the core are two related ideas much mentioned but far more rarely examined: the idea of natural law and that of the common (...) good.In these essays the foundations and meaning of these notions are carefully studied and put to work in examining the nature and scope of ethics in relation to global economics. (shrink)