One of the most influential of the Victorian philosophers, Henry Sidgwick also made important contributions to fields such as economics, political theory, and classics. An active promoter of higher education for women, he founded Cambridge's Newnham College in 1871. He attended Rugby School and then Trinity College, Cambridge, where he remained his whole career. In 1859 he took up a lectureship in classics, and held this post for ten years. In 1869, he moved to a lectureship in moral philosophy, the (...) subject where he left arguably his greatest mark when he produced this work, regarded as his masterpiece. Published in 1874, the book argues the utilitarian approach to ethics, and a systematic and historically sensitive approach to ethical research that influenced utilitarian philosophers well into the twentieth century. It remains a valuable introduction to the philosophy, practice and history of ethics. This reissue includes the 1877 supplement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments ENJOYING NEGATIVE EMOTIONS IN FICTIONS by John Morreall There is a puzzle going back to Aristotle and Augustine that has sometimes been called the "paradox of tragedy": how is it that nonmasochistic, nonsadistic people are able to enjoy watching or reading about fictional situations which are filled with suffering? The problem here actually extends beyond tragedy to our enjoyment of horror films and other fictional depictions (...) of situations which we would not enjoy in real life. What is it about fiction that turns intensely unpleasant situations into situations we can enjoy? Ofthe many solutions proposed to this puzzle, I shall mentionjust four. Aristotle held that in viewing tragedy we experience negative emotions — pity and fear — but get pleasure from the experience nonetheless because we are thereby purged of excess pity and fear. For Aristotle, too, there is a pleasure which tragedy shares with fiction in general, the delight we take in representations.1 Hume put more weight on this latter delight. Our pleasure in tragedy, he said, is based on our appreciation of the skill with which the literary or other artist has depicted the unpleasant scenes.2 Susan Feagin has recently located the pleasure we take in tragic art not in our direct responses to the work, which are "unpleasant experiences," she says, but in our meta-response of moral self-congratulation at these responses.3 The fourth solution to our puzzle is really a dissolution: it consists of denying that we actually feel fear, pity, and other negative emotions in our experience of fiction. The guiding principle here is that in order to have some emotion toward a situation, we must believe that it is a real situation. This principle is articulated in an influential article by Kendall Walton, though he does not apply it to our puzzle.4 95 96Philosophy and Literature I believe that this last solution is no solution at all because we do in fact feel emotions in our appreciation of fiction (a point I will develop later). The other three solutions above address the puzzle, and the pleasures they appeal to all have some explanatory power. But these solutions seem to me to overlook perhaps the most basic pleasure we take in tragedy, horror films, and the like — the direct pleasure of feeling (ear, pity, and similar emotions. The idea of enjoying negative emotions seems counterintuitive at first; indeed it may seem analytically false. But let us look more closely at those emotions to see what there might be to enjoy in them. Because the idea that we experience real emotions in response to fiction is controversial, we will begin not with fiction but with real life. After seeing how negative emotions can be enjoyed in real life, we can then consider their enjoyment in response to fiction. Fear is perhaps the most basic negative emotion, and at first glance one of the least likely to be enjoyed. To feel fear, many have claimed, we have tojudge that we are in danger, and danger is disturbing to us. And so it is natural that in fear there is the motivation to eliminate the danger, by fleeing, protecting ourselves, or attacking. Changes in the autonomic nervous system and the endocrine system equip us forjust such actions. They produce an increase in alertness and muscle tension, a faster and stronger heartbeat, a redistribution of the blood from the skin and internal organs to the voluntary muscles and brain, and a release of stored sugar from the liver into the bloodstream. Now although we may not be able to identify all these changes when we are in a state of fear, we can feel many of them directly, and we certainly feel the overall excitement which they produce. It is this excitement, I think, that makes fear potentially enjoyable. Especially for someone who leads a relatively dull life, the stimulation provided by fear can be pleasurable by contrast with the ordinary lack of stimulation. Many people, indeed, go to considerable trouble to put themselves into dangerous situations, in part, at least, for the thrill of fear that the danger will provide. Consider mountain climbers and skydivers, for instance. Now there are many sources... (shrink)

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)

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

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.

For as long as humans have pondered philosophical issues, they have contemplated the good life. Yet most suggestions about how to live a good life rest on assumptions about what the good life actually is. Thomas Carson here confronts that question from a fresh perspective. Surveying the history of philosophy, he addresses first-order questions about what is good and bad as well as metaethical questions concerning value judgments. Carson considers a number of established viewpoints concerning the good life. He offers (...) a new critique of Mill's and Sidgwick's classic arguments for the hedonistic theory of value, employing thought experiments that invite us to clarify our preferences by choosing between different kinds of lives. He also assesses the desire- or preference-satisfaction theory of value in detail and takes a fresh look at both Nietzsche's Übermensch ideal and Aristotle's theory of the good life. In exploring foundational questions, Carson observes that many established theories rest on undefended assumptions about the truth of moral realism. Arguing against this stand, he defends the view that good means desirable and presents a divine-preference version of the desire-satisfaction theory. In this he contends that, if there exists a kind and omniscient God who created the universe, then what is good or bad is determined by His preferences; if such a God does not exist, what is good or bad depends on what we as rational humans desire. Value and the Good Life is the only book that defends a divine-preference theory of value as opposed to a divine-command theory of right and wrong. It offers a masterfully constructed argument to an age-old question and will stimulate all who seek to know what the good life truly is. (shrink)

This Hackett edition, first published in 1981, is an unabridged and unaltered republication of the seventh edition as published by Macmillan and Company, Limited. From the forward by John Rawls: In the utilitarian tradition Henry Sidgwick has an important place. His fundamental work, The Methods of Ethics, is the clearest and most accessible formulation of what we may call 'the classical utilitarian doctorine.' This classical doctrine holds that the ultimate moral end of social and individual action is the greatest net (...) sum of the happiness of all sentient beings. Happinesss is specified by the net balance of pleasure over pain, or, as Sidgwick preferred to say, as the net balance of agreeable over disagreeable consciousness.... (shrink)

1 Department of Philosophy, University of Dundee, Dundee DD1 4HN. [email protected].

This paper is a short review of Roger Crisp's book Reasons and the Good.

Many of the most popular genres of narrative art are designed to elicit negative emotions: emotions that are experienced as painful or involving some degree of pain, which we generally avoid in our daily lives. Melodramas make us cry. Tragedies bring forth pity and fear. Conspiratorial thrillers arouse feelings of hopelessness and dread, and devotional religious art can make the believer weep in sorrow. Not only do audiences know what these artworks are supposed to do; they seek them out in (...) pursuit of prima facie painful reactions.Traditionally, the question of why people seek out such experiences of painful art has been presented as the paradox of tragedy. Most solutions to the paradox of tragedy assume that the reason we seek out tragedies, horror films, melodramas, and the like is because they afford pleasureful experiences. From there, theorists attempt to account for the source of this pleasure, a pleasure assumed to be had from representations of events from which we do not derive pleasure in real life. I argue that this assumption is suspect: the motive for seeking out devotional religious art, melodrama, tragedy, and some horror is not clearly to find pleasure. (shrink)

Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same negative emotions? Although the domain of relevant artworks encompasses far more than just tragedy, the general problem is typically called the paradox of tragedy. The paradox boils down to a simple question: If people avoid pain then why do people want to experience art that is painful? I discuss six popular solutions to the (...) paradox: conversion, control, compensatory, meta-response, catharsis, and rich experience theories. (shrink)

I defend these claims: (1) 'Pleasure' has exactly one English antonym: 'unpleasure.' (2) Pleasure is the most convincing example of an organic unity. (3) The hedonic calculus is a joke. (4) An important type of pleasure is background pleasure. (5) Pleasures in bad company are still good. (6) Higher pleasures aren't pleasures (and if they were, they wouldn't be higher). Thesis (1) merely concerns terminology, but theses (2)-(6) are substantive, evaluative claims.

Unpleasant experiences include backaches, moments of nausea, moments of nervousness, phantom pains, and so on. What does their unpleasantness consist in? The unpleasantness of an experience has been thought to consist in: (1) its representing bodily damage; (2) its inclining the subject to fight its continuation; (3) the subject's disliking it; (4) features intrinsic to it. I offer compelling objections to (1) and (2) and less compelling objections to (3). I defend (4) against five challenging objections and offer two reasons (...) to believe it. Hence, I advocate "Intrinsic Nature," the idea that unpleasantness is intrinsic to unpleasant experiences. (shrink)

In these remarks on Feldman's recent book, Pleasure and the Good Life, I concentrate on Feldman's account of pleasure as attitudinal. I argue that an account of pleasure according to which pleasure need not have any feel is implausible. I suggest that Feldman could avoid this problem but retain the advantages of his attitudinal hedonism by giving an account of the attitude such that the attitude has a feel.

ACTION, EMOTION AND WILL "This a clear and persuasive book which contains as many sharp points as a thorn bush and an array of arguments that as neat and ...

What are the limits of well-being? This question nicely captures one of the central debates concerning the nature of the individual human good. For rival theories differ as to what sort of facts directly constitute a person's being well-off. On some views, well-being is limited to the presence of pleasure and the absence of pain. But other views push the boundaries of well-being beyond this, so that it encompasses a variety of mental states, not merely pleasure alone. Some theories then (...) draw the line here, limiting well-being to the presence of the appropriately broadened set of mental states. But still others extend the limits of well-being even further, so that it is constituted in part by facts that are not themselves mental states at all; on such views, well-being is partly constituted by states of affairs that are “external” to the individual's experiences. In this essay, I want to explore some of this debate by focusing on a particular stretch of the dialectic. That is, I want to think hard about a particular connected series of arguments and counterarguments. These arguments – or, at least, the concerns they seek to express – emerge naturally in the give and take of philosophical discussion. Together they make up a rather simple story, whose plot, in very rough terms, is this: first there is an attempt to push the limits of well-being outward, moving from a narrow to a broader conception; then comes the claim that the resulting notion is too broad, and so we must retreat to a narrower conception after all. (shrink)

One of the leading approaches to the nature of sensory pleasure reduces it to desire: roughly, a sensation qualifies as a sensation of pleasure just in case its subject wants to be feeling it. This approach is, in my view, correct, but it has never been formulated quite right; and it needs to be defended against some compelling arguments. Thus the purpose of this paper is to discover the most defensible formulation of this rough idea, and to defend it against (...) the most interesting objections. (shrink)

Hedonism and the desire-satisfaction theory of welfare are typically seen as archrivals in the contest over identifying what makes one's life go best. It is surprising, then, that the most plausible form of hedonism just is the most plausible form of desire satisfactionism. How can a single theory of welfare be a version of both hedonism and desire satisfactionism? The answer lies in what pleasure is: pleasure is, in my view, the subjective satisfaction of desire. This thesis about pleasure is (...) clarified and defended only after we proceed through the dialectics that get us to the most plausible forms of hedonism and desire satisfactionism. (shrink)

Pleasure and Desire The Case of Hedonism Reviewed.

Hedonic pluralism is the thesis that 'pleasure' cannot be given a single, all-embracing definition. In this paper I criticize the reasoning people use to support this thesis and suggest some plausible all-encompassing analyses that easily avoid the kinds of objections people raise to all-encompassing analyses.

...there can be cases in which we reject pleasure because there is too much of it. Sometimes we decide that pleasure is bad, or not worth having, not because of an extrinsic factor like moral, aesthetic etc. constraints but rather because one is experiencing enough pleasure to the point that more would in itself be undesirable. (2005: 144).

In comments originally presented at the ISUS conference at Dartmouth College in 2005, Elinor Mason and Alastair Norcross raised a number of objections to various things I said in Pleasure and the Good Life. One especially interesting objection concerns one of my central claims about the nature of pleasure. I distinguished between sensory pleasure and attitudinal pleasure. I said that a feeling counts as a sensory pleasure if the one who feels it takes intrinsic attitudinal pleasure in the fact that (...) he is then feeling it. I also said that attitudinal pleasure is a propositional attitude that does not intrinsically involve any particular 'feelings'. On my view, a person can take attitudinal pleasure in things at a time even though he does not feel any pleasurable feelings at that time. In their comments, Mason and Norcross expressed doubts about my account of attitudinal pleasure. In my reply, I try to answer those doubts. (shrink)

In this article, I first present the Sidgwickian conception of pleasure. I then present the resulting formulation of the hedonic thesis. Next I turn to arguments. I try to reveal the conceptual conflict at the heart of the thesis, so interpreted. In a final section, I sketch a more promising approach. I begin with some thoughts about the nature of pleasure.

What is death? Do people survive death? What do we mean when we say that someone is "dying"? Presenting a clear and engaging discussion of the classic philosophical questions surrounding death, this book studies the great metaphysical and moral problems of death. In the first part, Feldman shows that a definition of life is necessary before death can be defined. After exploring several of the most plausible accounts of the nature of life and demonstrating their failure, he goes on to (...) propose his own conceptual scheme for death and related concepts. In the second part, Feldman turns to ethical and value-theoretical questions about death. Addressing the ancient Epicurean ethical problem about the evil of death, he argues that death can be a great evil for those who die, even if they do not exist after death, because it may deprive them of the goods they would have enjoyed if they had continued to live. Confrontations with the Reaper concludes with a novel consequentialist theory about the morality of killing, applying it to such thorny practical issues as abortion, suicide, and euthanasia. (shrink)

In Reasons and the Good Roger Crisp answers some of the oldest questions in moral philosophy. Fundamental to ethics, he claims, is the idea of ultimate reasons for action; and he argues controversially that these reasons do not depend on moral concepts. He investigates the nature of reasons themselves, and how we come to know them. He defends a hedonistic theory of well-being and an account of practical reason according to which we can give some, though not overriding, priority to (...) our own good over that of others. (shrink)

This is a wide-ranging defense of a distinctive version of hedonistic act utilitarianism. It is plainly written, forthright, and stimulating. Also, it is replete with disputable assertions and arguments. I shall pursue one issue here, after sketching the project of each substantial chapter.

Despite being co-opted by economists and politicians for their own purposes, ‘welfare’ traditionally refers to well-being, and it is in this sense that L. W. Sumner understands the term. His book is a clear, careful, and well-crafted investigation into major theories of welfare, accompanied by a one-chapter defense of “welfarism,” the view that welfare is the only foundational value necessary for ethics. Sumner himself is attracted to utilitarianism, but he makes no commitment to it in this work, which will be (...) of interest to many moral philosophers. (shrink)

What system of morals should rational people select as the best for society? Using a contemporary psychological theory of action and of motivation, Richard Brandt's Oxford lectures argue that the purpose of living should be to strive for the greatest good for the largest number of people. Brandt's discussions range from the concept of welfare to conflict between utilitarian moral codes and the dictates of self-interest.

Moral philosophers agree that welfare matters. But they disagree about what it is, or how much it matters. In this vital new work, Wayne Sumner presents an original theory of welfare, investigating its nature and discussing its importance. He considers and rejects all notable theories of welfare, both objective and subjective, including hedonism and theories founded on desire or preference. His own theory connects welfare closely with happiness or life satisfaction. Reacting against the value pluralism that currently dominates moral philosophy, (...) he advances welfare as the only basic ethical value. He concludes by discussing the implications of this thesis for ethical and political theory. Written in clear, non-technical language, and including a definitive survey of other work in this area, Sumner's book is essential reading for moral philosophers, political theorists, and welfare economists. (shrink)

Fred Feldman is an important philosopher, who has made a substantial contribution to utilitarian moral philosophy. This collection of ten previously published essays plus a new introductory essay reveal the striking originality and unity of his views. Feldman's version of utilitarianism differs from traditional forms in that it evaluates behaviour by appeal to the values of accessible worlds. These worlds are in turn evaluated in terms of the amounts of pleasure they contain, but the conception of pleasure involved is a (...) novel one and the formulation of hedonism improved. In Feldman's view pleasure is not a feeling but a propositional attitude. He also deals with problems of justice that affect standard forms of utilitarianism. The collection is ideally suited for courses on contemporary utilitarian theory. (shrink)

Fred Feldman's fascinating new book sets out to defend hedonism as a theory about the Good Life. He tries to show that, when carefully and charitably interpreted, certain forms of hedonism yield plausible evaluations of human lives. Feldman begins by explaining the question about the Good Life. As he understands it, the question is not about the morally good life or about the beneficial life. Rather, the question concerns the general features of the life that is good in itself for (...) the one who lives it. Hedonism says (roughly) that the Good Life is the pleasant life. After showing that received formulations of hedonism are often confused or incoherent, Feldman presents a simple, clear, coherent form of sensory hedonism that provides a starting point for discussion. He then presents a catalogue of classic objections to hedonism, coming from sources as diverse as Plato, Aristotle, Brentano, Ross, Moore, Rawls, Kagan, Nozick, Brandt, and others. One of Feldman's central themes is that there is an important distinction between the forms of hedonism that emphasize sensory pleasure and those that emphasize attitudinal pleasure. Feldman formulates several kinds of hedonism based on the idea that attitudinal pleasure is the Good. He claims that attitudinal forms of hedonism - which have often been ignored in the literature -- are worthy of more careful attention. Another main theme of the book is the plasticity of hedonism. Hedonism comes in many forms. Attitudinal hedonism is especially receptive to variations and modifications. Feldman illustrates this plasticity by formulating several variants of attitudinal hedonism and showing how they evade some of the objections. He also shows how it is possible to develop forms of hedonism that are equivalent to the allegedly anti-hedonistic theory of G. E. Moore and the Aristotelian theory according to which the Good Life is the life of virtue, or flourishing. He also formulates hedonisms relevantly like the ones defended by Aristippus and Mill. Feldman argues that a carefully developed form of attitudinal hedonism is not refuted by objections concerning 'the shape of a life'. He also defends the claim that all of the alleged forms of hedonism discussed in the book genuinely deserve to be called 'hedonism'. Finally, after dealing with the last of the objections, he gives a sketch of his hedonistic vision of the Good Life. (shrink)