Relational theories of art—paradigmatically, the ‘Institutional’ theory—arose from dissatisfaction with the Wittgenstein-inspired ‘family resemblance’ account of art, and were taken not merely to be preferable in various ways to that account, but actually to falsify it. We argue that this latter thought is rooted in a fundamental misunderstanding of the falsification-conditions of a family resemblance account; and we suggest that, once the reasons for this are appreciated, any apparent motivation to engage in relational theorizing about art evaporates.

The discussion in this paper sets out from two thoughts, one a straightforward empirical observation, the other a worry. The observation is that many who do not believe in God nevertheless regard certain pieces of religious music, such as Bach’s B minor Mass, as among the greatest works of art. The worry is that there must be something compromised or incomplete in the atheist’s experience of such works. Taken together, these thoughts would seem to point to the sceptical conclusion that (...) the high regard in which many atheists hold works such as the B minor Mass must itself be compromised, or in some way unwarranted. The majority of the paper is devoted to clarifying the initial worry through the investigation of a series of (failed) attempts to avoid the sceptical conclusion, before — at the end of the paper — we argue that, for at least one sort of atheist, there is, after all, a mode of engagement with great religious music that might afford an experience of it which would underwrite his judgement that the work is, indeed, great. (shrink)

This paper offers an account of Nietzsche's re-evaluation of values that seeks to satisfy two desiderata, both important if Nietzsche's project is to stand a chance of success. The first is that Nietzsche's re-evaluations must be capable of being understood as authoritative by those whose values are subject to re-evaluation. The second is that Nietzsche's project must not falsify the values being re-evaluated, by, for example, misrepresenting intrinsic values as instrumental values. Given this, five possible forms of re-evaluation are distinguished, (...) and, of these, four are argued both to satisfy the specified desiderata and to feature more or less prominently in Nietzsche's later work. The conclusion of the paper is therefore that Nietzsche's project has at least the right general shape to succeed, and that the reasons for this depend upon acknowledging the importance of the desiderata and of the distinctions to which the paper draws attention. (shrink)

How can a critical analysis of entrepreneurial intention inform an appreciation of ethics in social enterprise business models? In answering this question, we consider the ethical commitments that inform entrepreneurial action and the hybrid organisations that emerge out of these commitments and actions. Ethical theory can be a useful way to reorient the field of social enterprise so that it is more critical of bureaucratic and market-driven enterprises connected to neoliberal doctrine. Social enterprise hybrid business models are therefore reframed as (...) outcomes of both ethical and entrepreneurial intentions. We challenge the dominant conceptualisation of social enterprise as a hybrid blend of mission and market by reframing hybridity in terms of the moral choice of economic system and social value orientation. We deconstruct the political foundations of charitable trading activities, co-operative and mutual enterprises and socially responsible businesses by examining the rationalities and ethical commitments that underpin them. Whilst conceptual modelling of social enterprise is not new, this paper contributes to knowledge by developing a theory of social enterprise ethics based on the moral/political choices that are made by entrepreneurs when choosing between systems of economic exchange and social value orientation, then expressing it through a legal form. (shrink)

This collection explores the impact of Richard Dawkins as scientist, rationalist and one of the most important thinkers alive today. Specially commissioned pieces by leading figures in science, philosophy, literature, and the media, such as Daniel C. Dennett, Matt Ridley, Steven Pinker, Philip Pullman and the Bishop of Oxford, highlight the breadth and range of Dawkins' influence on modern science and culture, from the gene's eye view of evolution to his energetic engagement in public debates on science, rationalism, and (...) religion. The volume includes personal reminiscences and critical debate as well as accessible discussions of science – it provides a stimulating tribute to a remarkable intellectual. (shrink)

The Deed is Everything offers an engaging new interpretation of Nietzsche as committed to an 'expressivist' conception of agency. Aaron Ridley shows that Nietzsche develops highly distinctive accounts of freedom, morality, and selfhood, with a robust commitment to the value of human excellence in all of its forms.

Aaron Ridley explores Nietzsche's mature ethical thought as expressed in his masterpiece On the Genealogy of Morals. Taking seriously the use that Nietzsche makes of human types, Ridley arranges his book thematically around the six characters who loom largest in that work—the slave, the priest, the philosopher, the artist, the scientist, and the noble. By elucidating what the Genealogy says about these figures, he achieves a persuasive new assessment of Nietzsche's ethics. Ridley's intellectually supple interpretation reveals Nietzsche's (...) ethical position to be deeper and more interesting than is often supposed: the relation, for instance, between Nietzsche's ideal of the noble and the ascetic or priestly conscience does not emerge as a stark opposition but as a rich interplay between the tensions inherent in each. Equally, he shows that certain under-appreciated confusions in Nietzsche's thought reveal much about the positive aspects of the philosopher's moral vision. The only book devoted entirely to the Genealogy, Nietzsche's Conscience offers a sympathetic but tough-minded critical reading of the philosopher's most important work. Delivered in clear and vigorous language and employing a broadly analytical approach, Ridley's commentary makes Nietzsche's reflections on morality more accessible than they have been hitherto. (shrink)

The correct explanation of why species, in evolutionary theory, are individuals and not classes is the cladistic species concept. The cladistic species concept defines species as the group of organisms between two speciation events, or between one speciation event and one extinction event, or (for living species) that are descended from a speciation event. It is a theoretical concept, and therefore has the virtue of distinguishing clearly the theoretical nature of species from the practical criteria by which species may be (...) recognized at any one time. Ecological or biological (reproductive) criteria may help in the practical recognition of species. Ecological and biological species concepts are also needed to explain why cladistic species exist as distinct lineages, and to explain what exactly takes place during a speciation event. The ecological and biological species concepts work only as sub-theories of the cladistic species concept and if taken by themselves independently of cladism they are liable to blunder. The biological species concept neither provides a better explanation of species indivudualism than the ecological species concept, nor, taken by itself, can the biological species concept even be reconciled with species individualism. Taking the individuality of species seriously requires subordinating the biological, to the cladistic, species concept. (shrink)

Nietzsche claims that we are fated to be as we are. He also claims, however, that we can create ourselves. To many commentators these twin commitments have seemed self-contradictory or paradoxical. The argument of this paper, by contrast, is that, despite appearances, there is no paradox here, nor even a tension between Nietzsche's two claims. Instead, when properly interpreted these claims turn out to be intimately related to one another, so that our fatedness emerges as integral to our capacity to (...) become self-creators. The paper also offers, in the course of undermining a false alternative that is deeply entrenched in the philosophical tradition, a reading of Nietzsche's doctrine of amor fati that actually – and perhaps uniquely – makes full sense of section 276 of The Gay Science, the chief source for this aspect of his thought. (shrink)

Many philosophers have been interested in aesthetics, but Collingwood was passionate about art. His theories were never merely theoretical: aesthetics for him was a vivid, vibrant thing, to be experienced immediately in worked paint and in sculptured stones, in poetry and music. Art and life were no dichotomy for Collingwood - for how could you have one without the other? Works of art were created in and for the real world, to be enjoyed by real people, to enchant to enhance. (...) Aaron Ridley's fascinating introduction opens up the work of this most rewarding of aesthetic thinkers, tracing his thought from its philosophic origins through to its practical consequence and ethical implications. The man who saw art as 'the community's medicine for the worst disease of mind' had a sense of its urgent importance which we ignore at our peril today. (shrink)

There are passages in Nietzsche that can be read as contributions to the free will/determinism debate. When read in that way, they reveal a fairly amateurish metaphysician with little of real substance or novelty to contribute; and if these readings were apt or perspicuous, it seems to me, they would show that Nietzsche's thoughts about freedom were barely worth pausing over. They would simply confirm the impression—amply bolstered from other quarters—that Nietzsche was not at his best when addressing the staple (...) questions of philosophy. But these readings sell Nietzsche short. He had next to no systematic interest in metaphysics, and his concern with the question of freedom was not motivated by metaphysical considerations. Rather—and as with all of Nietzsche's concerns—his motivations were ethical. He was interested, not in the relation of the human will to the causal order of nature, but in the relation between freedom and the good life, between the will and exemplary human living. Read from this perspective, Nietzsche's remarks about freedom actually add up to something. And what they add up to is one aspect of his attempt to understand life after the model of art. Beauty, for Kant, was an image of the moral.1 For Nietzsche, by contrast—and the contrast can be hard to spell out—art was an image of the ethical.2 My hope here is to begin to explain why Nietzsche might have thought that the issue of freedom was relevant to that. In sections 1–3, I attempt to show why Nietzsche is not best read as a participant in the standard free will/determinism debate; in sections 4–6, I try to spell out the ethical conception of freedom that he develops instead. (shrink)

There are passages in Nietzsche that can be read as contributions to the free will/determinism debate. When read in that way, they reveal a fairly amateurish metaphysician with little of real substance or novelty to contribute; and if these readings were apt or perspicuous, it seems to me, they would show that Nietzsche's thoughts about freedom were barely worth pausing over. They would simply confirm the impression—amply bolstered from other quarters—that Nietzsche was not at his best when addressing the staple (...) questions of philosophy. But these readings sell Nietzsche short. He had next to no systematic interest in metaphysics, and his concern with the question of freedom was not motivated by metaphysical considerations. Rather—and as with all of Nietzsche's concerns—his motivations were ethical. He was interested, not in the relation of the human will to the causal order of nature, but in the relation between freedom and the good life, between the will and exemplary human living. Read from this perspective, Nietzsche's remarks about freedom actually add up to something. And what they add up to is one aspect of his attempt to understand life after the model of art. Beauty, for Kant, was an image of the moral.1 For Nietzsche, by contrast—and the contrast can be hard to spell out—art was an image of the ethical.2 My hope here is to begin to explain why Nietzsche might have thought that the issue of freedom was relevant to that. In sections 1–3, I attempt to show why Nietzsche is not best read as a participant in the standard free will/determinism debate; in sections 4–6, I try to spell out the ethical conception of freedom that he develops instead. (shrink)

For a century there has been a divergence between what music theorists say music is about and what the ordinary listener actually experiences. Music theory has insisted on a separation of musical experience from the experience of emotions, from the passions. Yet a passionate experience of music is just what most ordinary listeners have. Charting a new course through the minefield of contemporary philosophy of music, Aaron Ridley provides a coherent defense of the ordinary listener's beliefs. Focusing on instrumental (...) music in the classical Western canon, Ridley defends the commonsense position on music and attempts to return the experience of music to the ordinary listener. He argues that, through a sympathetic experience of certain musical gestures, the listener is able to grasp the passions of which the music is expressive. If the passions are properly understood, he contends, there is a place for passion in a philosophical understanding of music. Similarly, the expression of passion may properly be considered part of the value of the music we hear. (shrink)

This essay argues that R.G. Collingwood's remarks about genre are implausible, and that they stem, despite their apparent origin in his wider account of art, from his failure to take some of his own most important insights seriously enough. Some possible reasons for that failure are suggested; and it is shown that, once the relevant insights are given their proper weight, Collingwood's account commands the resources from which a plausible story about genre might have been constructed. To this extent, the (...) present essay constitutes a defence of Collingwood's philosophy of art. (shrink)

This article focuses on how aesthetic values permeate Nietzsche’s philosophy. Artistry is not confined to the creation of conventional works of art but occurs in the form-giving that is essential to all human forms of life. Since Nietzsche was committed to the view that the world is in some basic sense chaotic and meaningless, he held that only by imposing forms can we create a cognizable world. This close association between the conditions of life itself and the aesthetic activity of (...) giving form belies that Kantian conception that any appreciation of aesthetic phenomena is essentially disinterested. (shrink)

Nietzsche is often said to have started out as a Schopenhauerian metaphysician of some kind before leaving Schopenhauer behind him, and, by the end of his sane life, metaphysics too. His first and last thoughts about tragedy, however, sit uneasily with this narrative. The late thoughts are simply too close to the early ones for the story to accommodate them—not for their Schopenhauerianism, but for the strongly metaphysical flavour that they appear to share. The argument of the present paper is (...) that the appearance is veridical, and that attempts to explain away the metaphysical flavour of the later remarks cannot succeed. The paper concludes with a brief diagnosis of why Nietzsche's final thoughts about tragedy, in Twilight of the Idols, so unignorably recall the ones expressed in his first book, The Birth of Tragedy. (shrink)

This paper offers an account of Nietzsche's re-evaluation of values that seeks to satisfy two desiderata, both important if Nietzsche's project is to stand a chance of success. The first is that Nietzsche's re-evaluations must be capable of being understood as authoritative by those whose values are subject to re-evaluation. The second is that Nietzsche's project must not falsify the values being re-evaluated, by, for example, misrepresenting intrinsic values as instrumental values. Given this, five possible forms of re-evaluation are distinguished, (...) and, of these, four are argued both to satisfy the specified desiderata and to feature more or less prominently in Nietzsche's later work. The conclusion of the paper is therefore that Nietzsche's project has at least the right general shape to succeed, and that the reasons for this depend upon acknowledging the importance of the desiderata and of the distinctions to which the paper draws attention. (shrink)

I argue, in this thesis, that proper name reference is a wholly pragmatic phenomenon. The reference of a proper name is neither constitutive of, nor determined by, the semantic content of that name, but is determined, on an occasion of use, by pragmatic factors. The majority of views in the literature on proper name reference claim that reference is in some way determined by the semantics of the name, either because their reference simply constitutes their semantics (which generally requires a (...) very fine-grained individuation of names), or because names have an indexical-like semantics that returns a referent given certain specific contextual parameters. I discuss and criticize these views in detail, arguing, essentially, in both cases, that there can be no determinate criteria for reference determination—a claim required by both types of semantic view. I also consider a less common view on proper name reference: that it is determined wholly by speakers’ intentions. I argue that the most plausible version of this view—a strong neo-Gricean position whereby all utterance content is determined by the communicative intentions of the speaker—is implausible in light of psychological data. In the positive part of my thesis, I develop a pragmatic view of proper name reference that is influenced primarily by the work of Charles Travis. I argue that the reference of proper names can only be satisfactorily accounted for by claiming that reference occurs not at the level of word meaning, but at the pragmatic level, on an occasion of utterance. I claim that the contextual mechanisms that determine the reference of a name on an occasion are the same kinds of thing that determine the truth-values of utterances according to Travis. Thus, names are, effectively, occasion sensitive in the way that Travis claims predicates and sentences (amongst other expressions) are. Finally, I discuss how further research might address how my pragmatic view of reference affects traditional issues in the literature on names, and the consequences of the view for the semantics of names. (shrink)

Discussion of the relations between ethics and aesthetics has tended to focus on issues concerning judgement: for example, philosophers have often asked whether, or to what extent, ethical considerations of one sort or another should inform aesthetic verdicts. Much less discussed, however, have been the relations between these two domains in their practical aspects. In this paper, I try to defuse a cluster of reasons for believing that practical competence in the ethical domain and practical competence in the aesthetic domain (...) must be understood as importantly, or structurally, distinct from one another. (shrink)

Discussion of the relations between ethics and aesthetics has tended to focus on issues concerning judgement: for example, philosophers have often asked whether, or to what extent, ethical considerations of one sort or another should inform aesthetic verdicts. Much less discussed, however, have been the relations between these two domains in their practical aspects. In this paper, I try to defuse a cluster of reasons for believing that practical competence in the ethical domain and practical competence in the aesthetic domain (...) must be understood as importantly, or structurally, distinct from one another. (shrink)

Beginning Bioethics introduces students to the language of philosophical ethics before leading them in Part Two through six major issues in bioethics. The author gives clear explanations of all sides of a given issue and engages with several major contributions to the debate. This book can stand alone, but was written also to accompany the third edition of Bette-Jane Crigger's Cases in Bioethics, providing the philosophical counterpart to cases discussed there by US medical practitioners. Both books originate with St Martin's (...) Press in the United States. (shrink)

Jehovah's Witnesses are students of the Bible. They refuse transfusions out of obedience to the scriptural directive to abstain and keep from blood. Dr Muramoto disagrees with the Witnesses' religious beliefs in this regard. Despite this basic disagreement over the meaning of Biblical texts, Muramoto flouts the religious basis for the Witnesses' position. His proposed policy change about accepting transfusions in private not only conflicts with the Witnesses' fundamental beliefs but it promotes hypocrisy. In addition, Muramoto's arguments about pressure to (...) conform and coerced disclosure of private information misrepresent the beliefs and practices of Jehovah's Witnesses and ignore the element of individual conscience. In short, Muramoto resorts to distortion and uncorroborated assertions in his effort to portray a matter of religious faith as a matter of medical ethical debate. (shrink)

Nietzsche's late works are brilliant and uncompromising, and stand as monuments to his lucidity, rigour, and style. This volume combines, for the first time in English, five of these works: The Antichrist, Ecce Homo, Twilight of the Idols, Nietzsche contra Wagner, and The Case of Wagner. Here, Nietzsche takes on some of his greatest adversaries: traditional religion, contemporary culture, and above all his one-time hero, the composer Richard Wagner. His writing is simultaneously critical and creative, putting into practice his alternative (...) philosophical vision, which, after more than a hundred years, still retains its startling novelty and audacity. These new translations aim to capture something of the style and rhythm of the original German, so that the reader can get a sense of Nietzsche as not just a philosopher but also a consummate artist, capable of 'dancing with his pen', and as untimely as he claims to be. (shrink)

It seems natural to suppose that Artur Schnabel’s occasionally inaccurate performance of Beethoven’s Hammerklavier would have been even better had it been accurate throughout. In the present paper I defend this supposition against a sceptical argument which purports to show that we have no good reason to believe it. The sceptical argument, which draws on some plausible-seeming thoughts about aesthetic properties, concludes that, because we cannot know whether this or that (as-yet-unachieved) musical result is so much as possible, we have (...) no good reason to suppose that the accurate version of Schnabel’s performance should be preferred to Schnabel’s own. In attempting to defuse this sceptical argument, I open up, and begin to explore, some new and potentially interesting questions about musical creativity and about the species of rationality that it requires and exhibits. (shrink)

Can science explain everything? Brian Ridley, a physicist himself, explores this question and more in this compelling exploration of both the scope and limits of science. Tracing back to the roots of scientific thinking in a world of 'magical ideas', he argues that science shares more with magic than we are often led to believe. The book also explores the often overlooked relationship between science and mathematics and the uneasy relationship between the two. This is neatly linked to a (...) fascinating discussion of relativity and quantum theory, reminding us of the many perspectives on offer _within_ science. _On Science_ is essential reading for all those interested in the way we think about and picture science, where it is now, and where it is going. (shrink)

In the 17th century Sir Francis Bacon advocated the patient study of Nature for the benefit of mankind. Most of science today, in its study of medicine, genetics, electronics etc., continues that pragmatic Baconian tradition without fuss. Over the years, however, as its investigation of Nature probed ever deeper into regions far removed from common experience, science has increasingly exhibited traits more usually associated with fundamentalist religion that with dispassionate study. Articulate voices from biology preach the belief in 18th century (...) materialism in the study of evolution; those from physics promulgate a kind of mathematical theology in its study of elementary particles and cosmology; both inveigh against heresy. But science should be beyond that sort of belief. It should not see its undoubted success in manipulating matter as justifying any sort of religious status, as offering a spiritual foundation alternative to religion. As a scientist himself, Brian Ridley is appalled by such theological trends, hence this book. It is an attempt to address these concerns, to reform science, to place science in its broad historical and philosophical context where dogmatic belief has no place, to remind science itself that it has limitations. (shrink)

Offering a unique 'debate' format, the third edition of_ _the bestselling_ Arguing About Art_ is ideal for newcomers to aesthetics or philosophy of art. This lively collection presents an extensive range of short, clear introductions to each of the discussions which include: sentimentality appreciation interpretation understanding objectivity nature food horror. With revised introductions, updated suggestions for further reading and new sections on pornography and societies without art, _Arguing About Art _provides_ _a stimulating and accessible anthology suitable for those coming to (...) aesthetics for the first time. The book will also appeal to students of art history, literature, and cultural studies. (shrink)

This anthology is intended as a core text for courses in aesthetics or philosophy of art. It contains a wealth of readings from both classic and contemporary sources, and aims to present substantial selections from those texts rather than mere "snippets." Readings are organized historically within four broad themes so that students can see how concepts of art have evolved and been debated. Each reading is introduced by the authors, who suggest connections between the reading and others in the anthology. (...) Unlike other anthologies on the market, The Philosophy of Art is both comprehensive and affordable, making it the ideal book for course use. (shrink)

There is a large body of research on conflict in nonhuman animal groups that measures the costs and benefits of intergroup conflict, and we suggest that much of this evidence is missing from De Dreu and Gross's interesting article. It is a shame this work has been missed, because it provides evidence for interesting ideas put forward in the article.

I am generally unsympathetic to the project, pursued by many recent philosophers of music, of attempting to specify the identity conditions for musical works – of attempting to specify the conditions that something, typically a performance, must satisfy if it is to count as an instance of this or that work. Call this the identity-project. Elsewhere, I have suggested that any such project is fundamentally misconceived. Here, however, I want simply to explore a couple of the difficulties with which the (...) identity-project is confronted, and to point out some of the costs that are likely to be incurred in trying to overcome them. (shrink)

This paper draws on several projects over sixteen years which attempted to develop capacity in educational research at Addis Ababa University. It identifies what might be considered indicators of a thriving research environment as defined from a UK perspective, not simply the necessary skills and infrastructure requirements but also what might be considered 'academic' or 'intellectual' virtues. Having outlined specific project activities, our responses and mutual learning, the paper goes on to consider how such qualities might relate to an Ethiopian (...) academic setting where cultural norms and political contexts have tended to encourage silence and caution rather than critique and argument. Thus through these comparisons, I argue that research capacity building is not just a body of knowledge or set of techniques to be delivered through workshops, but is about the importance of developing a research culture which engages with the underlying attitudes that derive from the country context. (shrink)

The speed with which Bradley became an historical backwater has probably made it easier to think of him as a second-rate philosopher, who was either incompetent or careless, or at any rate uninteresting, and to suppose that his arguments have been refuted as well as rejected. But as far as his metaphysics are concerned this is not the case. His project and his premises are not those of contemporary analytic philosophy, but his arguments are none the less rigorous for that; (...) and attempts to convict him of poor reasoning often redound little to the credit of his critics, as I hope to show. If Bradley is not much read nowadays then the reason is that fashions have changed, rather than that his philosophical shortcomings have been found out. (shrink)

The speed with which Bradley became an historical backwater has probably made it easier to think of him as a second-rate philosopher, who was either incompetent or careless, or at any rate uninteresting, and to suppose that his arguments have been refuted as well as rejected. But as far as his metaphysics are concerned this is not the case. His project and his premises are not those of contemporary analytic philosophy, but his arguments are none the less rigorous for that; (...) and attempts to convict him of poor reasoning often redound little to the credit of his critics, as I hope to show. If Bradley is not much read nowadays then the reason is that fashions have changed, rather than that his philosophical shortcomings have been found out. (shrink)

One of the earliest structural changes observed in cells in response to many extracellular factors is membrane ruffling: the formation of motile cell surface protrusions containing a meshwork of newly polymerized actin filaments. It is becoming clear that actin reorganization is an integral part of early signal transduction pathways, and that many signalling molecules interact with the actin cytoskeleton. The small GTP‐binding protein Rac is a key regulator of membrane ruffling, and proteins that can regulate Rac activity, such as Bcr, (...) are likely to act on this signalling pathway. In addition, several previously characterized signal transducing molecules are implicated in the membrane‐ruffling response, including Ras, the adaptor protein Grb2, phosphatidyl inositol 3‐kinase, phospholipase A2 and phorbol ester‐responsive proteins. Changes in polyphosphoinositide metabolism and intracellular Ca2+ levels may also play a role. A number of actin‐binding and organizing proteins localize to membrane ruffles and are potential targets for these signal transducing molecules. (shrink)

This paper offers an interpretation of Nietzsche’s well known unpublished remark, ‘Truth is ugly. We possess art lest we perish of the truth.’ I argue that it is not helpful to construe this remark as a claim to the effect that art falsifies the truth by, for example, peddling lies or deceptions. Rather, I suggest, the remark should be taken to refer to the various ways in which art can present us with the truth in such a manner that we (...) do not perish of it. And of these ways, I argue, the most interesting is that in which art facilitates awareness of putatively ugly truths while actually abolishing their ugliness: a striking discussion of this possibility is to be found in Nietzsche’s first book, The Birth of Tragedy. I conclude that, overall, Nietzsche is best understood as a conditional cognitivist—as someone who thinks of truth as valuable, but not as valuable no matter what; and I suggest that what makes his position interesting and distinctive is the alethic pessimism that runs through his version of cognitivism. (shrink)

We used attractiveness judgements as a proxy to visualize the ideal female and male body for male and female participants and investigated how individual differences in the internalization of cultural ideals influence these representations. In the first of two studies, male and female participants judged the attractiveness of 242 male and female computer-generated bodies which varied independently in muscle and adipose. This allowed us to map changes in attractiveness across the complete body composition space, revealing single peaks for the attractiveness (...) of both men and women. In the second study, we asked our participants to choose the most attractive male and female bodies in a method of adjustment task in which they could independently vary muscle and adipose to create the most attractive body. We asked whether individual differences in internalization of cultural ideals, drive for muscularity, eating disorder symptomatology and depressive symptoms could systematically shift the location of peak attractiveness in body composition space. We found a clear preference by both genders for a male body with high muscle and low adipose, and a toned, low adipose female body. The degree of internalization of cultural ideals predicted large individual differences in the composition of the most attractive bodies. (shrink)

In this astonishingly rich volume, experts in ethics, epistemology, philosophy of mind, political theory, aesthetics, history, critical theory, and hermeneutics bring to light the best philosophical scholarship on what is arguably Nietzsche's most rewarding but most challenging text. Including essays that were commissioned specifically for the volume as well as essays revised and edited by their authors, this collection showcases definitive works that have shaped Nietzsche studies alongside new works of interest to students and experts alike. A lengthy introduction, annotated (...) bibliography, and index make this an extremely useful guide for the classroom and advanced research. (shrink)