While a number of philosophers have argued recently that it is through our emotional response to certain literary works that we might achieve particular moral understanding, what has not been discussed in detail in this connection are works which generate conflicting responses in the reader; which is to say literary works in which there is significant element of ambiguity. Consider Joseph Conrad's novel Lord Jim. I argue that in making sense of our potentially conflicting responses to this novel, and specifically (...) to its central character Jim, we may gain a richer sense of the ways in which literature may contribute to moral understanding – in this case by contributing to an understanding of our own character, its blind spots and its limitations. (shrink)

The Platonic view that art is incapable of providing us with knowledge is sufficiently widely held as to merit a serious attempt at refutation. Once it is acknowledged that there are alternative forms of knowledge other than propositional, then it is possible to establish the truth of the claim that the knowledge which art affords has a value on a par with that provided by other disciplines. Art, it is argued, has a unique potential to provide imaginative insights by reference (...) to which we may understand what it is like to experience and to feel, in ways very different from those with which we may be familiar. It is shown to be instrumental in enabling us to refine our moral concepts as well as in determining what is salient from the moral point of view. As a powerful tool in the education of the emotions, artworks have the power to increase our moral sensitivity and to sharpen our perception of what is required of us inways that are otherwise unobtainable. (shrink)

En este trabajo defiendo una concepción de la filosofía práctica como disciplina impura y normativa. La impureza exige una mirada más sensible a elementos aportados por disciplinas empíricas y a revalorizar la importancia de la historia para el análisis conceptual. La normatividad requiere abandonar la pretensión de neutralidad de la filosofía práctica. Sostengo que la impureza y la normatividad hacen de la filosofía práctica una disciplina intelectualmente próspera. Para defender esta concepción, explicito una crítica a un modo erróneo de caracterizar (...) la filosofía analítica. Además, distingo la filosofía teórica respecto de la filosofía práctica y explicito con qué rasgos de la filosofía analítica me comprometo. (shrink)

In this paper I discuss the viability of the claim that at least some forms of moral theory are harmful for sound moral thought and practice. This claim was put forward by e.g. Elisabeth Anscombe ( 1981 ( 1958 )) and by Annette Baier, Peter Winch, D.Z Phillips and Bernard Williams in the 1970’s–1980’s. To this day aspects of it have found resonance in both post-Wittgensteinian and virtue ethical quarters. The criticism has on one hand contributed to a substantial change (...) and broadening of the scope of analytic moral philosophy. On the other hand it is, at least in its most strongly anti-theoretical formulations, now broadly considered outdated and—to the extent that it is still defended—insensitive to the changes that have occurred within the field in the last 20–30 years. The task of this paper is to relocate the anti-theoretical critique into the field of analytic ethics today. (shrink)

The literary style of Henry James has attracted the attention of a number of leading analytic philosophers who are drawn to make claims for the philosophical significance of works of literature. Many of these philosophical commentators share a common approach: namely, they locate the philosophical center of gravity of James’s style in a philosophical view that his way of writing is understood to embody or corroborate. The aim of this essay is to argue that such an approach fails to capture (...) what is philosophically most significant about how James writes. By contrast, the essay works out a comparison between James’s literary forms of expression and the logically perspicuous modes of representing thought developed by Gottlob Frege. It highlights one use to which Frege sought to put his Begriffsschrift: namely, as a tool for the task of clarifying forms of philosophical confusion. This comparison helps to illuminate what is philosophically most distinctive and powerful about the modes of perspicuously representing human life that James develops. These literary forms inherit a time-honored aspiration of philosophical writing: seeking to represent a reader’s life to the reader herself in such a way as to allow her to recognize her own confusions in living. (shrink)

In this paper I examine how ethics can help us solve the morally relevant problems that arise in crisis situations by distinguishing theoretical from extra-theoretical approach to moral phenomena. I begin by asking how a crisis can be the topic of philosophical examination, subsequently narrowing down the question to ethics. From the perspective of this philosophical discipline, a crisis could be approached in two ways: by applying general theories, such as Kant’s deontology or utilitarianism, to different crisis situations, or by (...) constructing thought experiments. I illustrate both approaches and then, by contrasting heuristic significance of ethical thought experiments with their argumentative function, I introduce the thesis that these experiments reveal truth about morality independently of any particular theory or viewpoint. I also defend the oft-disputed view that fictional scenarios, seen as developed thought experiments, can expand our ‘moral knowledge’, and illustrate that thesis by examining a fictional narrative that deals with a crisis – the explosion of a reactor in the ‘Chernobyl’ nuclear power plant. (shrink)

That Conrad was familiar with Schopenhauer’s philosophy has been proposed by literary scholars and seconded, in passing, by philosophers. This has resulted in one-way studies of literary influence. This thesis is instead a two-way study in the philosophy of literature. It shows how Schopenhauer’s philosophy can illuminate Conrad’s fiction and how the fiction can become an analytical tool for exploring the philosophy. There are two strands in Schopenhauer’s philosophy. One is uncompromisingly concerned with salvation and will-denial. The second focuses on (...) self-knowledge and character, which leads to self-fulfilment and accommodation with the world. It is the latter strand, with character at its core, where the interests of the philosopher and creative writer coincide. My methodology is different from previous studies in that I propose Conrad’s direct source for Schopenhauer was not The World as Will and Idea but his essays, which are directed more towards the worldly strand of his philosophy. I argue that the use by literary scholars of Schopenhauer’s magnum opus as Conrad’s direct source has diverted them from his main area of interest in the philosophy, namely its approach to self-knowledge and character, and that this misplaced focus has tended to distort interpretations of his fiction. (shrink)