First published in 1903, this volume revolutionized philosophy and forever altered the direction of ethical studies. A philosopher’s philosopher, G. E. Moore was the idol of the Bloomsbury group, and Lytton Strachey declared that Principia Ethica marked the rebirth of the Age of Reason. This work clarifies some of moral philosophy’s most common confusions and redefines the science’s terminology. Six chapters explore: the subject matter of ethics, naturalistic ethics, hedonism, metaphysical ethics, ethics in relation to conduct, and the ideal. Moore's (...) simplicity of style and precise use of everyday language exercised an enormous influence on the development of analytic philosophy, and they contribute to the continuing resonance of his compelling arguments. (shrink)

This edition contains the thirty-nine essays included in Essays, Moral, and Literary, that made up Volume I of the 1777 posthumous Essays and Treatises on Several Subjects. It also includes ten essays that were withdrawn or left unpublished by Hume for various reasons. The two most important were deemed too controversial for the religious climate of his time. This revised edition reflects changes based on further comparisons with eighteenth-century texts and an extensive reworking of the index. - Publisher.

Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His book (...) will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives. '...tightly focused and carefully argued... an exceptionally interesting contribution to the philosophy of art: it contains subtle, concise, and convincing discussions of a number of difficult concepts and contentious doctrines... lucid and meticulous'. (shrink)

Art and the aesthetic -- Traditional aestheticism -- A new aestheticism -- Aesthetic communication -- The artworld and the practice of art -- The artifactual concept of function -- Art as an aesthetic practice -- Artistic value as aesthetic.

This paper distinguishes two interpretations of G. E. Moore''s principle of organic unities, which says that the intrinsic value of a whole need not equal the sum of the intrinsic values its parts would have outside it. A holistic interpretation, which was Moore''s own, says that parts retain their values when they enter a whole but that there can be an additional value in the whole as a whole that must be added to them. The conditionality interpretation, which has been (...) defended by Korsgaard, says that parts can change their values when they enter wholes, so no additional value is needed. The paper shows that the two interpretations, which differ on such apparently important issues as the nature of intrinsic value, can always yield the same conclusions about the overall value in a state of affairs, so there is in that sense nothing to choose between them. At the same time, though, the differences between the interpretations make sometimes one and sometimes the other more appropriate for expressing a given evaluative view. In this last connection the paper considers views about beauty, posthumous achievement, vices of disproportion, deserved and compassionate pain, and undeserved and malicious pleasure. (shrink)

In this paper I sketch a virtue theory of art, analogous to a virtue theory of ethics along Aristotelian lines. What this involves is looking beyond a parochial conception of art understood as work of art, as product, to include intentions, motives, skills, traits, and feelings, all of which can be expressed in artistic activity. The clusters of traits that go to make up the particular virtues of art production and of art appreciation are indeed virtues in part because, when (...) they are expressed in artistic activity, that activity is chosen for its own sake, ‘under the concept of art’; and also they are virtues in part because, when they are so expressed, the activities are themselves partly constitutive of human well-being, along with other activities, including leading an ethical life, and what Aristotle called contemplation. With a virtue theory of art before us, we can begin to see the point of art, to see why art matters to us as human beings. (shrink)

What is the point of art, and why does it matter to us human beings? The answer that I will give in this paper, following on from an earlier paper on the same subject, is that art matters because our being actively engaged with art, either in its production or in its appreciation, is part of what it is to live well. The focus in the paper will be on the dispositions—the virtues of art production and of art appreciation—that are (...) necessary for this kind of active engagement with art. To begin with, I will argue that these dispositions really are virtues and not mere skills. Then I will show how the virtues of art, and their exercise in artistic activity, interweave with the other kinds of virtue which are exercised in ethical and contemplative activity. And finally, I will argue that artistic activity affords, in a special way, a certain kind of emotional sharing that binds us together with other human beings. (shrink)

This essay focuses on three recent books on morality and virtue, Michael Slote's 'Morals from Motives', Rosalind Hursthouse's 'On Virtue Ethics', and Philippa Foot's 'Natural Goodness'. Slote proposes an "agent-based" ethical theory according to which the ethical status of acts is derivative from assessments of virtue. Following Foot's lead, Hursthouse aims to vindicate an ethical naturalism that explains human goodness on the basis of views about human nature. Both Hursthouse and Slote take virtue to be morally basic in a way (...) that Foot, to her credit, does not. We argue that all three views face a range of serious difficulties. (shrink)

Auth: University College London, Distributed by Viking.

Nozick analyzes fundamental issues, such as the identity of the self, knowledge and skepticism, free will, the foundations of ethics, and the meaning of life.

What are virtue and vice, and how do they relate to other moral properties such as goodness and rightness? This book defends a perfectionist account of virtue and vice that gives distinctive answers to these questions. The account treats the virtues as higher‐level intrinsic goods, ones that involve morally appropriate attitudes to other, independent goods and evils. Virtue by itself makes a person's life better, but in a way that depends on the goodness of other things. This account was accepted (...) by many early twentieth‐ century consequentialists, including Franz Brentano, G. E. Moore, Hastings Rashdall, and W. D. Ross. The book elaborates it further than has been done before, describing its mathematical structure, connecting it to individual virtues and vices, and applying it to specific issues such as the morality of fantasy and the proper roles of private charity and the welfare state. While doing so, it argues for the account's superiority over rival views of virtue, including those defended under the heading of “virtue ethics.”. (shrink)

The Critique of the Power of Judgment (a more accurate rendition of what has hitherto been translated as the Critique of Judgment) is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This entirely new translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume includes: for the first time the indispensable first draft of Kant's (...) introduction to the work; the only English edition notes to the many differences between the first (1790) and second (1793) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this new edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)