The goal of this paper is methodological. It offers a comprehensive mapping of the theoretical positions on the ethical criticism of art, correcting omissions and inadequacies in the conceptual framework adopted in the current debate. Three principles are recommended as general guidelines: ethical amenability, basic value pluralism, and relativity to ethical dimension. Hence a taxonomy distinguishing between different versions of autonomism, moralism, and immoralism is established, by reference to criteria that are different from what emerging in the current literature. The (...) mapping is then proved capable of (1) locating the various theories that have been proposed so far and clarifying such theories’ real commitments, (2) having the correct relationship with actual art making and art criticism practices, and (3) showing the real weight of the alleged counter-example to a moralist position of a work that succeeds artistically because of its immorality. (shrink)

I defend the ethical fittingness theory (EFT), the thesis that whenever it is legitimate ethically to evaluate a representational artwork for the perspective it embodies, such evaluation systematically bears on the work's artistic value. EFT is a form of radical moralism, claiming that the systematic relationship between the selected type of ethical evaluation and artistic evaluation always obtains, for works of any kind. The argument for EFT spells out the implications of ethically judging an artwork for its perspective, where such (...) an ethical evaluation is understood as an assessment of how well the work's ethical perspective fits extra-fictional reality—how appropriate, correct, or true the perspective is. The argument shows that the ethical legitimacy of judging a work for its perspective ipso facto proves the judgment's art-critical relevance. Hence, the argument effectively amounts to a reductio ad absurdum of theories that admit the legitimacy of ethically judging artworks this way, but deny or qualify the judgment's relevance to artistic merit. Since EFT is stated conditionally, the argument need not indicate how often artworks are subject to this type of ethical evaluation. Nonetheless, I make a case for the relevance of EFT to actual art criticism and contemporary philosophical debate. (shrink)

Offers a comprehensive historical overview of the field of aesthetics. Eighteen specially commissioned essays introduce and explore the contributions of those philosophers who have shaped the subject, from its origins in the work of the ancient Greeks to contemporary developments in the 21st Century. -/- The book reconstructs the history of aesthetics, clearly illustrating the most important attempts to address such crucial issues as the nature of aesthetic judgment, the status of art, and the place of the arts within society. (...) Ideal for undergraduate students, the book lays the necessary foundations for a complete and thorough understanding of this fascinating subject. -/- Table of Contents -/- Introduction \ 1. Plato, Robert Stecker \ 2. Aristotle, Angela Curran \ 3. Medieval Aesthetics, Gian Carlo Garfagnini \ 4. David Hume, Alan Goldman \ 5. Immanuel Kant, Elisabeth Schellekens \ 6. G.W.F. Hegel, Richard Eldridge \ 7. Arthur Schopenhauer and Friedrich Nietzsche, Scott Jenkins \ 8. Benedetto Croce and Robin Collingwood, Gary Kemp \ 9. Roger Fry and Clive Bell, Susan Feagin \ 10. John Dewey, Thomas Leddy \ 11. Martin Heidegger, Joseph Shieber \ 12. Walter Benjamin and T.W. Adorno, Gerhard Richter \ 13. Monroe Beardsley, Noël Carroll \14. Nelson Goodman, Alessandro Giovannelli \ 15. Richard A.Wollheim, Malcolm Budd \ 16. Arthur C. Danto, Sondra Bacharach \ 17. Kendall L. Walton, David Davies \ Some Contemporary Developments, Alessandro Giovannelli . (shrink)

The ethical criticism of art has received increasing attention in contemporary aesthetics, especially with respect to the evaluation of narratives. The most prominent philosophical defenses of this art-critical practice concentrate on the notion of response , specifically on the emotional responses a narrative requires for it to be correctly apprehended and appreciated. I first investigate the mechanisms of emotional participation in narratives ; then, I address the question of the legitimacy of the ethical criticism of narratives and advance an argument (...) in support of such a practice . ;Chapter 1 analyzes different modes of emotional participation in narratives, distinguishing between: emotional inference, affective mimicry, empathy, sympathy, and concern. Chapter 2 first critically discusses Noel Carroll's objections to identificationism and to an empathy-based account of character participation, and then analyzes the sorts of imaginative activities involved in narrative engagement, by investigating the distinctions introduced by Richard Wollheim between central and acentral imagining, and iconic and non-iconic imagination. ;Chapter 3 offers a taxonomy of the possible views on the relationship between the ethical and the artistic values of a narrative, distinguishing between reductionist and non-reductionist views, and sorting the latter ones into autonomism and moralism, radical and moderate. Chapter 4 analyzes the ethical assessment of narratives for their consequences on their perceivers and the means of their production, and indicates the evaluation in terms of the ethical perspective a narrative embodies as the kind of ethical evaluation on which an argument for the ethical criticism of narratives ought to concentrate. Chapter 5 critically assesses the accounts of "imaginative resistance" to fiction offered by Kendall Walton, Richard Moran, and Tamar Gendler, and concludes that none of them is adequate to ground an argument for the ethical criticism of narratives. Chapter 6 looks at Carroll's argument for moderate moralism and Berys Gaut's "merited-response" argument for "ethicism," and finds both arguments wanting. Chapter 7 proposes a version of moralism grounded in the notion of a narrative's ethical perspective, and defended on the grounds of narratives' commitments to provide a realistic representation of reality. (shrink)

(No abstract is available for this citation).

In this paper, I critically examine Berys Gaut’s proposals regarding ethical criticism, that is, regarding the question of whether, and if so how, an ethical evaluation of a work of art can be considered amongst the determinants of the work’s value as art. I critically examine Gaut’s proposed taxonomy on the possible positions on the ethical criticism question as well as his own influential answer to such question: ethicism. My critique focuses on one missing element, I argue, in Gaut’s overall (...) approach and in ethicism as he formulates and defends it: reference to artistic categorization and to the aims and commitments artworks have in virtue of the artistic categories they belong to. I show how reference to artistic categorization facilitates the generation of a more fine-grained taxonomy of positions than the one Gaut proposes. Such taxonomy makes it possible to distinguish between two very different types of positions within what Gaut dubs ‘contextualism’: what I call limited or restricted ethicism and particularism. As an application of this more fine-grained taxonomy, I show how Noël Carroll’s ‘moderate moralism’, which Gaut convincingly claims to be incomplete, need not reduce to either ethicism or contextualism as Gaut claims: the view can also be completed in the direction of a limited or restricted ethicism. As for Gaut’s own proposal, surprisingly it itself proves to have leanings towards particularism, in so far as it delegates the question of the artistic (or aesthetic) relevance of ethical features to case-by-case decisions. Again, reference to artistic categorization would offer Gaut grounds to be less sceptical on the possibility of finding general philosophical principles governing the relevance of ethical features to artistic worth. Further, lack of reference to artistic categorization can be shown to affect Gaut’s claims within all three the arguments he puts forward in defence of ethicism—the moral beauty, the cognitive, and the merited-response argument. I show such claims to be ill founded when not implausible. (shrink)

Recent literature on emotional participation in narratives witnesses a contrast between those who emphasize the role of readers and spectators of narratives as participants and those who emphasize their role as mere onlookers. The former refer to notions like identification, empathy, and what Richard Wollheim calls «central imagining». The latter criticize the idea of identification, and use notions like sympathy and Wollheim’s «acentral imagining». I claim this debate to be vitiated by simplistic accounts of identification and empathy, a lack of (...) attention for the relationships between self- and other-oriented emotions, a misinterpretation of Wollheim’s central/acentral distinction in relation to another distinction suggested by him, that between «iconic» and «non-iconic» imagining. I defend an understanding – different from Wollheim’s correctly interpreted one – of these two distinctions and maintain the importance of iconic and central imaginings to the interpretation and appreciation of narratives. (shrink)

Résumé La critique éthique considère que la valeur éthique d’une œuvre d’art affecte sa valeur artistique. Elle s’intéresse ordinairement à la valeur éthique du point de vue que l’œuvre adopte, ou à celui des effets qu’elles produisent, mais ne considère guère celle du processus de production de l’œuvre. Or celui-ci peut intéresser l’éthique comme lorsqu’une toile est réalisée en laissant des poissons rouges enduits de peinture agoniser et s’agiter sur une toile. C’est précisément de la valeur éthique des procédés utilisés (...) dont il est ici question. L’auteur défend un moralisme des moyens, selon lequel le jugement éthique des procédés a une place légitime dans l’évaluation artistique, et formule deux versions compatibles de cette position : la thèse esthétique et la thèse artistique. (shrink)

Résumé La critique éthique considère que la valeur éthique d’une œuvre d’art affecte sa valeur artistique. Elle s’intéresse ordinairement à la valeur éthique du point de vue que l’œuvre adopte, ou à celui des effets qu’elles produisent, mais ne considère guère celle du processus de production de l’œuvre. Or celui-ci peut intéresser l’éthique comme lorsqu’une toile est réalisée en laissant des poissons rouges enduits de peinture agoniser et s’agiter sur une toile. C’est précisément de la valeur éthique des procédés utilisés (...) dont il est ici question. L’auteur défend un moralisme des moyens, selon lequel le jugement éthique des procédés a une place légitime dans l’évaluation artistique, et formule deux versions compatibles de cette position : la thèse esthétique et la thèse artistique. (shrink)

Riassunto : Il fenomeno delle “near-death experiences”, esperienze soggettive intense e profonde, è caratterizzato dalla percezione di essere in una dimensione diversa da quella ordinaria, di aver abbandonato il proprio corpo e, con esso, la dimensione spazio-temporale del mondo fisico. Il termine NDE è utilizzato per indicare esperienze simili occorse in condizioni cliniche molto diverse, ad esempio l’arresto cardiaco, il coma, lo svenimento o l’assunzione di sostanze psicotrope. In questo lavoro si considerano esclusivamente quelle esperienze sperimentate in condizioni di prossimità (...) alla morte. Il fenomeno viene discusso confrontando gli elementi più comunemente presenti nelle NDE di soggetti occidentali con quelli riportati da soggetti di altre culture. Le varie esperienze pre-morte sono discusse in funzione dei contenuti riportati e delle modalità con cui si sono verificate. Infine, lo stato di coma è stato valutato come condizione di “near-death” nell’ottica di considerare la morte come un processo. Parole chiave: Near-death Experiences; Cultura; Coscienza; Memoria; Arresto cardiaco; Coma Towards a definition of “near-death experiences”: Physiologic, psychologic and cultural dimensions: The phenomenon of near-death experiences, intense and profound subjective experiences, is characterized by the perception of being in a different dimension from the ordinary one, of having abandoned one’s body and, with it, the space-time dimension of the physical world. The term NDE has been used to indicate similar experiences that occurred in very different clinical conditions, namely cardiac arrest, coma, fainting, use of psychotropic substances, etc. In what follows will be considered only experiences taking place in conditions of proximity to death. The phenomenon will be discussed comparing elements most commonly present in NDEs of Western subjects with those reported by subjects from other cultures. The various near-death experiences will be discussed in according to the contents reported and the ways in which they occurred. Finally, the state of coma was considered as a near-death condition under the assumption of death as a process. Keywords: Near-Death Experiences; Culture; Consciousness; Memory; Cardiac Arrest; Coma. (shrink)

Some computational phenomena rely essentially on pragmatic considerations, and seem to undermine the independence of the specification from the implementation. These include software development, deviant uses, esoteric languages and recent data-driven applications. To account for them, the interaction between pragmatics, epistemology and ontology in computational artefacts seems essential, indicating the need to recover the role of the language metaphor. We propose a User Levels (ULs) structure as a pragmatic complement to the Levels of Abstraction (LoAs)-based structure defining the ontology and (...) epistemology of computational artefacts. ULs identify a flexible hierarchy in which users bear their own semantic and normative requirements, possibly competing with the logical specification. We formulate a notion of computational act intended in its pragmatic sense, alongside pragmatic versions of implementation and correctness. (shrink)

The Wealth of Ideas, first published in 2005, traces the history of economic thought, from its prehistory to the present day. In this eloquently written, scientifically rigorous and well documented book, chapters on William Petty, Adam Smith, David Ricardo, Karl Marx, William Stanley Jevons, Carl Menger, Léon Walras, Alfred Marshall, John Maynard Keynes, Joseph Schumpeter and Piero Sraffa alternate with chapters on other important figures and on debates of the period. Economic thought is seen as developing between two opposite poles: (...) a subjective one, based on the ideas of scarcity and utility, and an objective one based on the notions of physical costs and surplus. Professor Roncaglia focuses on the different views of the economy and society and on their evolution over time and critically evaluates the foundations of the scarcity-utility approach in comparison with the Classical/Keynesian approach. (shrink)

Philosophers distinguish between having a property essentially and having it accidentally. The way the distinction has been drawn suggests that it is modal in character, and so that it can be captured in terms of necessity, or cognate notions. The present chapter takes the suggestion at face value by considering a number of modal characterizations of the essential/accidental distinction that have been articulated and discussed since the early 20th century, as well as some of the challenges that they face.

How and to what extent do people take into account the intentions of others? Alessandro Duranti sets out to answer this question, showing that the role of intentions in human interaction is variable across cultures and contexts. Through careful analysis of data collected over three decades in US and Pacific societies, Duranti demonstrates that, in some communities, social actors avoid intentional discourse, focusing on the consequences of actions rather than on their alleged original goals. In other cases, he argues, (...) people do speculate about their own intentions or guess the intentions of others, including in some societies where it was previously assumed they avoid doing so. To account for such variation, Duranti proposes an 'intentional continuum', a concept that draws from phenomenology and the detailed analysis of face-to-face interaction. A combination of new essays and classic re-evaluations, the book draws together findings from anthropology, linguistics and philosophy to offer a penetrating account of the role of intentions in defining human action. (shrink)

Wittgenstein has written a great number of remarks relevant to aesthetical issues: he has questioned the relation between aesthetics and psychology as well as the status of our norms of judgment; he has drawn philosophers attention to such topics as aspect-seeing and aspect-dawning, and has brought insights into the nature of our aesthetic reactions. The examination of this wide range of topics is far from being completed, and the purpose of this book is to contribute to such completion. It gathers (...) both papers discussing some of Wittgenstein s most provocative and intriguing statements on aesthetics, and papers bringing out their implications for art critic and art history, as well as their significance to epistemology and to the study of human mind.". (shrink)

The aim of this paper is to present a system of modal connexive logic based on a situation semantics. In general, modal connexive logics are extensions of standard modal logics that incorporate Aristotle’s and Boethius’ theses, that is the thesis that a sentence cannot imply its negation and the thesis that a sentence cannot imply a pair of contradictory sentences. A key problem in devising a connexive logic is to come up with a system that is both sufficiently strong to (...) fulfill some specific connexive theses and sufficiently well-motivated from a semantical point of view. The approach proposed here tries to address this problem by defining an appropriate connexive relation in terms of more basic notions. The result is a well-motivated system of modal connexive logic that nicely fits in both with the traditional ideas concerning the connexive conditional and with the current developments in connexive logic. (shrink)

L’ambientazione dell’itinerario che qui si propone rinvia ad un’ermeneutica del diritto che concentra l’attenzione non su un settore – costituito da metodologie e principi ai quali attingere per la soluzione di conflitti nella prassi –, ma su una riflessione rigorosa. Tale ordine di pensiero muove dalla filosofia aristotelica del De Interpretatione, sino ai problemi della globalizzazione, trattati interrogandosi se l’ermeneutica occupi o meno un posto prioritario nel complesso universum giuridico. Si prende atto che l’arte dell’interpretazione appare sostituibile con un insieme (...) di teorie argomentative che, con il loro management, rischiano di banalizzare i concetti della responsabilità personale nella vita quotidiana dell’amministrazione della giustizia. (shrink)

This book contains essential contributions to enrich and broaden the application field of pragmatics. It provides an example of how the fruitful reflections and refined conceptual distinctions born in the philosophical field can find a practical application in addressing social, cognitive, clinical, and psychological problems. Its chapters address, from different points of view, the relationship between pragmatic linguistics and philosophy, and outline the possible application of pragmatic theories to different domains. Developed during the third Pragmasophia international conference, whose name is (...) derived from the Greek terms πρᾶγμα (action, fact) and σοφία (knowledge, science), the book aligns itself with its aim to study human actions and activities and how they take shape through language. But ‘Pragma’ and ‘Sophia’ also signal another purpose: highlighting the importance of creating links between empirical investigations on language use, and more traditional philosophical approaches. In this reading, ‘Pragma’ represents the experimental goal devoted to analysing and interpreting language facts. In contrast, the term ‘Sophia’ recalls the original vocation of past philosophers to pursue an ideal of ‘pure knowledge’, disconnected from any practical-economic interest. While maintaining the conference's original purpose of encouraging productive comparisons between different approaches, the book consists of two sections: first, on philosophical approaches, recalls more theoretical aspects (closer to the term ‘Sophia’); the second, ‘Inferential and Cognitive Pragmatics,’ addresses more practical issues affecting domains such as Greek literature, pragmatic disorders, dictionary entries, and speech analysis. The reader, whether in linguists, philosophy or psychology, obtains a complete overview of the most advanced current research lines, both theoretical and empirical, and thus contributes to broadening the scope of pragmatics. (shrink)

El presente ensayo quiere ilustrar, en primer lugar, el significado y el ámbito de aplicación de la bioinformática, entendida como "el campo de la ciencia en el que la biología y la informática se funden en una disciplina única para favorecer nuevos descubrimientos biológicos". En segundo lugar, se detiene sobre las consecuencias biológicas de las biotecnologías, en forma particular sobre el cambiamiento radical de la relación del hombre consigo mismo y con la naturaleza, y sobre la función del bioderecho, que (...) tiene que reglamentar una ciencia, muy a menudo "incierta", y establecer los criterios para la atribución de la subjetividad jurídica a los individuos "genéticamente manipulados".This essay wants to illustrate, in first place, the biocomputing meaning and its field of application, taken it as "the field of science in which biology and computer science melt together in a unique discipline to help new biologic discoveries". In second place, draw up over the biological consequences of biotechnologies, in particular, on the radical changing of the relationship of man with himself and with nature, and about the function of biolaw, which has to regulate these science, "uncertain" very often and to establish the criteria to conferring juridical subjectivity to "genetically manipulated" persons. (shrink)

Ted Sider has famously argued that existence, in the unrestricted sense of ontology, cannot be vague, as long as vagueness is modeled by means of precisifications. The first section of Chapter 9 exposes some controversial assumptions underlying Sider’s alleged reductio of vague existence. The upshot of the discussion is that, although existence cannot be vague, it can be super-vague, i.e. higher-order vague, for all orders. The second section develops and defends a novel framework, dubbed negative supervaluationary semantics, which makes room (...) for the possibility of super-vague existence. (shrink)

Keenan (1987) observed that trivial determiners built from basic existential determiners (e.g.,either zero or else more than zero) are allowed inthere-insertion contexts, and that trivial determiners built from basic non-existential determiners (e.g.,either all or else not all) are not. This result is unexpected under the analyses ofthere-sentences proposed in Barwise and Cooper (1981), Higginbotham (1987), and Keenan (1987). I argue that the class of NPs barred from the postverbal position ofthere-sentences (strong NPs) is correctly characterized in presuppositional terms, as suggested (...) in de Jong and Verkuyl (1985) and Lumsden (1988). According to this characterization, strong NPs share one of the defining components of definiteness proposed in Heim (1982), namely the Descriptive Content Condition (DCC). How to derive the prohibition against strong NPs inthere-insertion contexts (definiteness effect) from the fact that strong NPs meet the DCC is not obvious, however. I argue that accounting for this prohibition involves regarding the XP-coda in [there be NP XP] as providing the contextual domain for the interpretation of the postverbal NP. (shrink)

Philosophers have rightly condemned lookism—that is, discrimination in favor of attractive people or against unattractive people—in education, the justice system, the workplace and elsewhere. Surprisingly, however, the almost universal preference for attractive romantic and sexual partners has rarely received serious ethical scrutiny. On its face, it’s unclear whether this is a form of discrimination we should reject or tolerate. I consider arguments for both views. On the one hand, a strong case can be made that preferring attractive partners is bad. (...) The idea is that choosing partners based on looks seems essentially similar to other objectionable forms of discrimination. (In particular, the preference for attractive partners is arguably both unfair and harmful to a significant degree.) One can try to resist this conclusion in several ways. I consider three possible replies. The first has to do with the possibility of controlling our partner preferences. The second pertains to attractiveness and “good genes”. The last attempts to link certain aspects of attractiveness to a prospective partner’s personality and values. I argue that the first two replies fail conclusively, while the third only amounts to a limited defense of a particular kind of attractiveness preference. So the idea that we should often avoid preferring attractive partners is compelling. (shrink)