The usual strawsonian account of referring won't do for fictional entities. The problem is that we still don't have a sufficiently clear notion of ordinary referring, And the root of this problem is that referring is still perceived in terms of a paradigm relation of a description to an existing thing. But that relation is preceded by the more fundamental relation of thought to an object of thought, Whether real or imaginary. The conclusion reached is that fictional reference is an (...) institutionalized partial use of ordinary referring, Parasitic on it though leading a legitimate life of its own. (shrink)

An overview of Japanese philosophy from the seventh century to the present.

Blocker argues that the literary problem of absurdity is basically a metaphysical problem of being, focusing on the metaphysical distinction of being as essence and being as existence. This book compares philosophical prose with the fiction writing of four major absurdist writers—Camus, Sartre, Ionesco, and Beckett.

A defense of the embattled concept of aesthetic distance is achieved by reinstating a prominent feature of distance ignored in the current controversy. Distance is not the only supposed psychological posturing discussed by bullough, But also the space which is necessary to art between the art medium and the world represented therein. Examples from painting, Film and absurdist literature are discussed in terms of the historical tension between medium "opacity" and "transparency" in order to show how total transparency is avoided (...) to create the space between the art medium and reality, Without which art can neither "say" anything nor even exist. (shrink)

This book brings philosophical aesthetics into a broader cultural interest in the fine arts and draws together the classics of the history of aesthetics, the mid-twentieth century or "Analytic" aesthetics, and late-twentieth century or "Continental" post-structuralist "theory.".

This book is a collection of translations of recent work by contemporary Chinese aestheticians. Because of the relative isolation of China until recently, little is known of this rich and ongoing aesthetics tradition in China. Although some of the articles are concerned with the traditional ancient Chinese theories of art and beauty, many are inspired by Western aesthetics, including Marxism, and all are involved in cross-cultural comparisons of Chinese and Western aesthetic traditions.

This study is the most comprehensive account to date of modern treatments of the love commandment. Gene Outka examines the literature on agape from Nygren's Agape and Eros in 1930. Both Roman Catholic and Protestant writings are considered, including those of D'Arcy, Niebuhr, Ramsey, Tillich, and above all, Karl Barth. The first seven chapters focus on the principal treatments in the theological literature as they relate to major topics in ethical theory. The last chapter explores further the basic normative (...) content of agape and discusses some of the most characteristic problems. "The book is in my judgment the best recent work in religious ethics. Outka brings together analytic moral philosophy and theological ethics, providing a masterly survey of views and issues arising in the past forty years.... I can think of few books of interest to scholars in both philosophy and theology, but Outka's is one. Unlike some scholars who are at home in continental theology, Outka is also at home in secular analytic philosophy; he brings them together in a mutually illuminating way."--Donald Evans "Outka has mastered this vast literature on love, and has brought a critical and clarifying analysis to bear upon it. This is a most important book on a most important subject, and brings the whole discussion into a new phase."--John Macquarrie "The first thing to be said about Outka's book quite simply is that it is excellent; in fact, it is probably the very best available book about contemporary Christian ethical theory."--The Humanities Association Review. (shrink)

An anthology of contemporary readings in analytic aesthetics, this reference reflects the relationships among the central aesthetic concerns of recent years. Providing a new perspective on the contemporary philosophy of art, this volume examines the challenge of Postmodernism and how it may or may not affect the future of analytic aesthetics... offers a case study of the progress that has been made in handling the problem of expression in the arts... reconceptualizes the concepts of the art work, its properties, and (...) our experience and evaluation of it -- to take into account an expanding cultural, sociological contextualization, i.e., art as a culturally emergent product of social institutions and conventions... features several readings organized around clusters of writers discussing each other's ideas and proposals, including: Beardsley, Dickie, and Blizek -- Wolterstorff, Levinson, and Bender -- Stolnitz and Dickie -- Beardsley, Margolis, and Novitz -- and Sibley and Dickie. Suitable for professionals in the art industry and anyone interested in the philosophy or aesthetics of art. (shrink)

: The medical and clinical promise of stem cell research is widely heralded, but moral judgments about it collide. This article takes general stock of such judgments and offers one specific resolution. It canvasses a spectrum of value judgments on sources, complicity, adult stem cells, and public and private contexts. It then examines how debates about abortion and stem cell research converge and diverge. Finally, it proposes to extend the principle of "nothing is lost" to current debates. This extension links (...) historic discussions of the ethics of direct killing with unprecedented possibilities that in vitro fertilization procedures yield. A definite normative region to inhabit is located, within a larger range of rival value judgments. The creation of embryos for research purposes only should be resisted, yet research on "excess" embryos is permissible by virtue of an appeal to the "nothing is lost" principle. (shrink)