People’s concept of free will is often assumed to be incompatible with the deterministic, scientific model of the universe. Indeed, many scholars treat the folk concept of free will as assuming a special form of nondeterministic causation, possibly the notion of uncaused causes. However, little work to date has directly probed individuals’ beliefs about what it means to have free will. The present studies sought to reconstruct this folk concept of free will by asking people to define the concept (Study (...) 1) and by confronting them with a neuroscientific claim that free will is an illusion (Study 2), which invited them to either reconcile or contrast free will with determinism. The results suggest that the core of people’s concept of free will is a choice that fulfills one’s desires and is free from internal or external constraints. No evidence was found for metaphysical assumptions about dualism or indeterminism. (shrink)
Moral judgments about an agent's behavior are enmeshed with inferences about the agent's mind. Folk psychology—the system that enables such inferences—therefore lies at the heart of moral judgment. We examine three related folk-psychological concepts that together shape people's judgments of blame: intentionality, choice, and free will. We discuss people's understanding and use of these concepts, address recent findings that challenge the autonomous role of these concepts in moral judgment, and conclude that choice is the fundamental concept of the three, defining (...) the core of folk psychology in moral judgment. (shrink)
This study examines social desirability bias in the context of ethical decision-making by accountants. It hypothesizes a negative relation between social desirability bias and ethical evaluation. It also predicts an interaction effect between religiousness and gender on social desirability bias. An experiment using five general business vignettes was carried out on 121 accountants (63 males and 58 females). The results show that social desirability bias is higher (lower) when the situation encountered is more (less) unethical. The bias has religiousness and (...) gender main effects as well as an interaction effect between these two independent variables. Women who were more religious recorded the highest bias scores relative to less religious women and men regardless of their religiousness. (shrink)
The purpose of this exploratory study is to examine the use of an ethical intervention strategy – counterexplanation – on individuals’ ethical decision-making. As opposed to providing reasons to support a decision in the case of explanation, counterexplanation is the provision of reasons that either speak against or provide evidence against a chosen course of action. The number of explanations and/or counterexplanations provided by the participants is expected to have a significant effect on ethical evaluation and intention. The number of (...) explanations is expected to be negatively related to ethical decision-making while the number of counterexplanations is expected to be positively related to ethical decision-making. The experiment, that made use of five ethical vignettes, manipulated four treatment groups – explanation, counterexplanation, explanation/counterexplanation, and counterexplanation/explanation. Participants were randomly assigned to one of the four reatments. They performed the requirements of their treatment before recording their ethical evaluations and intentions. As expected, larger numbers of explanations led to less ethical decision-making and larger numbers of counterexplanations led to more ethical decision-making. However, when both types of explanations are required, the order of counterexplaining before explaining is more desirable as it leads to more ethical decision-making. The study also reports that individuals with high social desirability bias (a tendency to present oneself in a culturally acceptable manner) may generate less counterexplanations. Implications of the findings are explained in the paper. (shrink)
Food & Philosophy offers a collection of essays which explore a range of philosophical topics related to food; it joins Wine & Philosophy and Beer & Philosophy in in the "Epicurean Trilogy." Essays are organized thematically and written by philosophers, food writers, and professional chefs.
Much has been written about the relationship between biology and social science during the early twentieth century. However, discussion is often drawn toward a particular conception of eugenics, which tends to obscure our understanding of not only the wide range of intersections between biology and social science during the period but also their impact on subsequent developments. This paper draws attention to one of those intersections: the British economist and social reformer William Beveridge’s controversial efforts to establish a Department of (...) Social Biology at London School of Economics during the 1920s and 1930s. Featuring a fully equipped laboratory headed by a leading geneticist, the Department of Social Biology was Beveridge’s attempt to “cross-fertilise” biology and social science and, in so doing, take the ideological heat out of social scientific, in particular economic, methods of investigation. Exploring why Beveridge’s project failed and throwing light on its long-term legacies, this paper considers what we can learn from the short-lived Department of Social Biology. (shrink)
Stephen T. Casper and Steve Fuller’s commentaries on my paper “Completing Circle of the Social Sciences? William Beveridge and Social Biology at the London School of Economics during the 1930s” raises important questions about the historical entanglement of the political left, welfarism, biology, and social science. In this response, I clarify questions about my analysis of events at the London School of Economics in the early twentieth century and identify ways in which they are important in the present. I suggest (...) that there is much to be learned from the school’s failed experiment with social biology, not least when it comes to thinking about the historical contingency of relationships between progressive politics and biology. (shrink)
Chris Renwick’s recent research into the fate of William Beveridge’s attempt to establish social biology as the foundational social science at the London School of Economics is history at its best by uncovering a moment in the past when decisions were taken comparable to ones being taken today. In this case, the issues concern the political and scientific foundations of the welfare state. By connecting Beveridge’s original reasoning to recruit Lancelot Hogben for the Rockefeller-sponsored social biology chair with his (...) later formative role in the design of the British welfare state, we are able to witness an alternative vision of the left, one associated with the Fabian movement, which proceeded independently of its Marxist cousin. The Fabian focus on taxing “inheritance” in the broadest sense remains relevant to how we think about the human condition in an era when capitalism has come to encompass the ownership of genetic material. (shrink)
Why would anyone want there to be natural foundations for the social sciences? In a provocative essay exploring precisely that question, historian Chris Renwick uses an interwar debate featuring William Beveridge, Lancelot Hogben, and Friedrich Hayek to begin to imagine what might have been had such a program calling for biological knowledge to form the natural bases of the social sciences been realized at the London School of Economics. Yet perhaps Renwick grants too much attention to differences and (...) “what-ifs” and not enough to the historical question of “what happened” afterward. “Chickens and Eggs” offers an alternative view of this rather vexed question—one grounded in what happened, which suggests that Renwick’s concerns may be somewhat misplaced. (shrink)
Monroe C. Beardsley has made seminal contributions to the on-going discussions of metaphor, contributions of continuing relevance and influence. His "Verbal Opposition Theory," like Max Black's "Interaction Theory," is a classic document of the contemporary semantic approach to metaphor, and has placed special emphasis upon the recognition of metaphor --the problem of the metaphorical warrant--which has lead to a deeper understanding of the complexities of this problem.
Pessoa, Thompson & Noë present compelling evidence in support of their central claims about the diversity of filling-in, but they embed those claims within a larger framework that rejects analytical isomorphism and uses the personal/subpersonal distinction to challenge the explanatory importance of filling-in. The latter views seem more problematic.
From Aristotle's Poetics to contemporary aestheticians grappling with the politics and poetics of rap, intellectual traffic between philosophy and poetry has formed an appreciable undercurrent in the historical ebb and flow of cross-disciplinary bridge building. If anything, in the postwar years this undercurrent has only become more pronounced. Not to look too far, Wittgenstein himself admonished in Culture and Value that philosophy ought really to be written only as a form of poetic composition. Skeptics will, of course, take Wittgenstein with (...) a grain of salt, arguing that few statements could be more self-serving and that, like in the case of T.S. Eliot and the metaphysical school of poetry, Wittgenstein was .. (shrink)
“Between the earliest and the latest of the works included here, we have two hundred and fifty years of vigorous and adventurous philosophizing,” Monroe Beardsley writes in his Introduction to this collection. “If the modern period can be only vaguely or arbitrarily bounded, it can at least be studied, and we can ask whether any dominant themes, overall patterns of movement, or notable achievements can be found within it. This question is one that is best asked by the reader (...) after he has read, or read around in, these works.” This Modern Library Paperback Classic also includes a newly updated Bibliography. (shrink)
The October 1996 issue of Life magazine included, among other things, a photograph of Marilyn Monroe naked.1 Most people will agree that had the same picture appeared in the pages of Hustler, it would have been pornographic. Furthermore, the picture was considered pornographic when it originally appeared in a calendar in the late 1940’s, and it was banned in two states. But is it pornography in the pages of Life? Should Life have warned its readers that the October 1996 (...) issue was an “adults only” issue, to be sold only from the top shelf of the magazine rack? Perhaps one will say that the difference is that in Hustler and in the calendar in which it originally appeared, but not in Life, the picture would have been treated primarily as a source of sexual arousal. But that can’t be the whole story. It is a common joke that generations of American boys have treated the Sears catalog and National Geographic primarily as sources of sexual arousal without thereby making them pornographic. Or perhaps one will say that the difference is that the producers of the calendar and of Hustler but not the producers of Life ~or of the Sears catalog and National Geographic! intend for the pictures they publish to be treated primarily as sources of arousal. But. (shrink)
Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter-relations between the appreciative and ethical character of works as art. Consideration of these issues has a (...) distinguished philosophical history but as the Compass survey article suggests ('Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter-Relations to Artistic Value.' Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work's moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1. Carroll, Noël. 'Art, Narrative and Moral Understanding.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2. Carroll, Noël. Beyond Aesthetics: Philosophical Essays . Cambridge: Cambridge UP, 2009. Part IV consists of six distinct essays on questions concerning the inter-relations between art and morality including the essay cited above and the author's articulation and defence of moderate moralism. 3. Gaut, Berys. 'The Ethical Criticism of Art.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4. Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work's value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5. Jacobson, Daniel. 'In Praise of Immoral Art.' Philosophical Topics 25 (1997): 155–99. A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6. Kieran, Matthew. 'Forbidden Knowledge: The Challenge of Cognitive Immoralism.' Art and Morality . Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. A general argument for immoralism is elaborated by outlining when, where and why a work's morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7. Kieran, Matthew. Revealing Art . London: Routledge, 2005. Chapter 4. This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8. Lamarque, Peter. 'Cognitive Values in the Arts: Marking the Boundaries.' Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9. Stolnitz, Jerome. 'On the Cognitive Triviality of Art.' British Journal of Aesthetics 32.3 (1992): 191–200. This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10. Walton, Kendall. 'Morals in Fiction and Fictional Morality, I.' Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials 'Aesthetics and Ethics: The State of the Art.' American Society of Aesthetics online (Jeffrey Dean): http://www.aesthetics-online.org/articles/index.php?articles_id=15 >. 'Art, Censorship and Morality' downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/OU Open2.net as part of the Ethics Bites series): http://www.open2.net/ethicsbites/art-censorship-morality.html >. 'Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter-Relations to Artistic Value.' Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran): http://www3.interscience.wiley.com/journal/118557779/abstract >. 'Ethical Criticism of Art.' Internet Encyclopedia of Philosophy (Ella Peek): http://www.iep.utm.edu/a/art-eth.htm >. 'Fascinating Fascism.' New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag): http://www.nybooks.com/articles/9280 >. 'The Beheading of St. John the Baptist (1450s), Giovanni de Paolo' (Tom Lubbock): http://www.independent.co.uk/arts-entertainment/art/great-works/great-works-the-beheading-of-st-john-the-baptist-1450s-giovanni-di-paolo-1684900.html >. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS): http://www.listal.com/video/3848698 >. Sample Syllabus Topic I Autonomism/Aestheticism • Anderson, James C. and Jeffrey T. Dean. 'Moderate Autonomism.' British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism . New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith . Oxford: Oxford UP, 1952 . • Lamarque, Peter. 'Cognitive Values in the Arts: Marking the Boundaries.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. 'Tragedy and Moral Value.' Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature . Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. 'On the Cognitive Triviality of Art.' British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. 'The Expression of Feeling in Imagination.' Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. 'Just the Imagination: Why Imagining Doesn't Behave Like Believing'. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. 'The Evaluative Character of Imaginative Resistance'. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. 'Morals in Fiction and Fictional Morality, II'. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). 'Morals in Fiction and Fictional Morality, I'. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. 'Configuring the Cognitive Imagination.' New Waves in Aesthetics . Eds. K. Stock and K. Thomson-Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. 'Moderate Moralism.' British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. 'Art, Narrative and Moral Understanding.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. Chapter 10. • ——. 'The Ethical Criticism of Art.' Aesthetics and Ethics: Essay at the Intersection . Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. 'Of the Standard of Taste.' Selected Essays . Oxford: Oxford UP, 1993 . 133–53. • Kieran, Matthew. 'Emotions, Art and Immorality.' Oxford Handbook to the Philosophy of Emotions . Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art? . London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics . Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. 'The Wheel of Virtue: Art, Literature and Moral Knowledge.' Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics . Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. 'Art and Cognition.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. 'Art, Imagination and the Cultivation of Morals.' Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. 'Finely Aware and Richly Responsible: Literature and the Moral Imagination.' Love's Knowledge . New York: Oxford UP, 1990. 148–68. • Plato. The Republic . Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. 'Immoralism and the Valence Constraint.' British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. 'In Praise of Immoral Art.' Philosophical Topics 25 (1997): 155–99. • ——. 'Ethical Criticism and the Vices of Moderation.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. 'Artistic Value and Moral Opportunism.' Contemporary Debates in Aesthetics and the Philosophy of Art . Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. 'Forbidden Knowledge:The Challenge of Cognitive Immoralism.' Art and Morality . Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art . London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. 'Moral Vices as Artistic Virtues: Eugene Onegin and Alice.' Philosophia 36.2 (2008): 181–93. Focus Questions 1. What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2. What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3. How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4. How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5. What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)
Numerous studies have documented the demand for information regarding corporations’ relationships to society. Much recent research has demonstrated why stakeholders need this information, and how it benefits both companies and the public. These studies suggest numerous methods by which companies can effectively disclose corporate social responsibility (CSR) information to the public, but in practice, reporting this type of information is fraught with legal and ethical uncertainty often unexplored in most literature. This article represents a fresh analysis of the numerous pragmatic (...) consequences and legal and ethical complications inherent in CSR reporting, using Nike Corporation as a case example. The article discusses the theoretical viewpoints surrounding the ethics of CSR disclosure, and presents the case of Nike and the complications it encountered while advertising CSR information. The article ends with an analysis of CSR auditing as a possible solution to companies seeking to improve the method and transparency of social responsibility reporting. (shrink)
Over the past twenty-five years, numerous articles in Hypatia have clarified, revised, and defended increasingly more nuanced views of both feminist empiricism and standpoint feminism. Feminist empiricists have argued that scientific knowledge is contextual and socially situated (Longino 1990; Nelson 1990; Anderson 1995), and standpoint feminists have begun to endorse virtues of theory choice that have been traditionally empiricist (Wylie 2003). In fact, it is unclear whether substantive differences remain. I demonstrate that current versions of feminist empiricism and standpoint feminism (...) now have much in common but that key differences remain. Specifically, they make competing claims about what is required for increasing scientific objectivity. They disagree about 1) the kind of diversity within scientific communities that is epistemically beneficial and 2) the role that ethical and political values can play. In these two respects, feminist empiricists have much to gain from the resources provided by standpoint theory. As a result, the views would be best merged into “feminist standpoint empiricism.”. (shrink)
The relationship of the author's intention to the meaning of a literary work has been a persistently controversial topic in aesthetics. Anti-intentionalists Wimsatt and Beardsley, in the 1946 paper that launched the debate, accused critics who fueled their interpretative activity by poring over the author's private diaries and life story of committing the 'fallacy' of equating the work's meaning, properly determined by context and linguistic convention, with the meaning intended by the author. Hirsch responded that context and convention are not (...) sufficient to determine a unique meaning for a text; to avoid radical ambiguity we must appeal to the author's intention, which actualizes one of the candidate meanings. Subsequent writers have defended refined versions of these views, and a variety of positions on the spectrum between them, in a debate that remains central to philosophical aesthetics. While much of the debate has focused on literature, similar questions arise with respect to the interpretation of visual artworks. Some of the readings listed below address this matter explicitly. Author Recommends: William K. Wimsatt and Monroe C. Beardsley, 'The Intentional Fallacy', Sewanee Review 54 (1946): 468–88. Locus classicus of the anti-intentionalist position: Wimsatt and Beardsley hold that appeal to the author's intention is always extraneous, since intention cannot override the role of linguistic convention and context in determining meaning. Criticism, they argue, should thus proceed by careful examination of the literary work rather than by sifting through biographical material that might hint at the author's intentions. E. D. Hirsch, Jr., Validity in Interpretation (New Haven, CT: Yale University Press, 1967). The seminal statement of actual intentionalism: Hirsch holds that 'meaning is an affair of consciousness and not of physical signs or things' (23), though he allows that linguistic convention constrains the meanings the author can intend for a particular utterance. He argues that the author's intention is necessary to fix meaning, since the application of conventions alone would typically leave a text wildly indeterminate. Alexander Nehamas, 'The Postulated Author: Critical Monism as a Regulative Ideal', Critical Inquiry 8 (1981): 133–49. Nehamas argues for a version of hypothetical intentionalism according to which interpretation is a matter of attributing an intended meaning to a hypothetical author, distinct from the historical writer. This view allows the interpreter to find meaning even in features of the work that may have been mere accidents on the part of the historical writer. Gary Iseminger, ed., Intention and Interpretation (Philadelphia, PA: Temple University Press, 1992). Intention and Interpretation is an outstanding collection including both classic and new essays representing most of the major viewpoints in the debate. Noël Carroll, 'Art, Intention, and Conversation', Intention and Interpretation , ed. Gary Iseminger (Philadelphia, PA: Temple University Press, 1992), 97–131. The essay defends modest actual intentionalism, according to which the work's meaning is one compatible both with the author's meaning intentions and with the conventionally allowable meanings of the text. Carroll holds that literature is on a continuum with ordinary conversation, to which an intentionalist analysis is apt; for this reason he rejects anti-intentionalism and hypothetical intentionalism, which emphasize the purported autonomy of literary works from their authors. Daniel Nathan, 'Irony, Metaphor, and the Problem of Intention', Intention and Interpretation , ed. Gary Iseminger (Philadelphia, PA: Temple University Press, 1992), 183–202. Nathan argues that even irony and metaphor, which are often thought to require an analysis in terms of the author's actual intentions, are in fact best understood on an anti-intentionalist approach. Jerrold Levinson, 'Intention and Interpretation in Literature', The Pleasures of Aesthetics: Philosophical Essays (Ithaca, NY: Cornell University Press, 1996), 175–213. Revised version of 'Intention and Interpretation: A Last Look', Intention and Interpretation , ed. Gary Iseminger (Philadelphia, PA: Temple University Press, 1992), 221–56. The essay defends a version of hypothetical intentionalism according to which the meaning of a literary work is the meaning that would be attributed to the actual author by members of the ideal audience. Levinson argues that literary works should be treated differently from everyday utterances, since it is a convention of literature that its works are substantially autonomous from their authors. Paisley Livingston, Art and Intention: A Philosophical Study (Oxford: Clarendon Press, 2005). Livingston examines competing accounts of the nature of intentions as they pertain to a variety of issues in the philosophy of art, including the ontology of art, the nature of authorship, and art interpretation. In chapter 6, Livingston argues for partial intentionalism, according to which some, but not all, of a work's meanings are non-redundantly determined by the author's intentions. Stephen Davies, 'Authors' Intentions, Literary Interpretation, and Literary Value', British Journal of Aesthetics 46 (2006): 223–47. Davies defends the value-maximizing view, according to which, when there is more than one conventional meaning consistent with the work's features, the meaning that should be attributed to the work is the one that makes the work out to be most aesthetically valuable. He allows for the attribution of multiple meanings when more than one candidate (approximately) maximizes the work's value. Online Materials: http://plato.stanford.edu/entries/beardsley-aesthetics/ Beardsley's Aesthetics (Michael Wreen) http://plato.stanford.edu/entries/conceptual-art/ Conceptual Art (Elisabeth Schellekens) http://plato.stanford.edu/entries/speech-acts/ Speech Acts (Mitchell Green) http://plato.stanford.edu/entries/hermeneutics/ Hermeneutics (Bjørn Ramberg and Kristin Gjesdal) Sample Syllabus: Week 1: Foundations 1. Wimsatt and Beardsley, 'The Intentional Fallacy'. 2. Livingston, 'What Are Intentions?', Art and Intention , 1–30. Weeks 2–3: Actual Intentionalism 1. Hirsch, Validity in Interpretation , ch. 1–2, 1–67. 2. Gary Iseminger, 'An Intentional Demonstration?', Intention and Interpretation , ed. Iseminger, 76–96. Optional reading: 1. Stephen Knapp and Walter Benn Michaels, 'Against Theory', Critical Inquiry 8 (1982): 723–742. 2. Stephen Knapp and Walter Benn Michaels, 'Against Theory 2: Hermeneutics and Deconstruction', Critical Inquiry 14 (1987): 49–58. Weeks 4–5: Modest, Moderate and Partial Intentionalism 1. Carroll, 'Art, Intention, and Conversation'. 2. Robert Stecker, Interpretation and Construction: Art, Speech, and the Law (Malden, MA: Blackwell, 2003), ch. 2, 29–51. 3. Livingston, 'Intention and the Interpretation of Art', Art and Intention , 135–74. Optional reading: 1. Carroll, 'Interpretation and Intention: The Debate between Hypothetical and Actual Intentionalism', Metaphilosophy 31 (2000): 75–95. 2. Stecker, 'Moderate Actual Intentionalism Defended', Journal of Aesthetics and Art Criticism 64 (2006): 429–38. Weeks 6–7: Hypothetical Intentionalism 1. William E. Tolhurst, 'On What a Text Is and How It Means', British Journal of Aesthetics 19 (1979): 3–14. 2. Nehamas, 'Postulated Author'. 3. Levinson, 'Intention and Interpretation in Literature'. Optional reading: 1. Nehamas, 'What an Author Is', Journal of Philosophy 83 (1986): 685–91. 2. Nehamas, 'Writer, Text, Work, Author', Literature and the Question of Philosophy , ed. A. J. Cascardi (Baltimore, MD: Johns Hopkins University Press, 1987), 265–91. 3. Levinson, 'Hypothetical Intentionalism: Statement, Objections, and Replies', Is There a Single Right Interpretation? , ed. M. Krausz (University Park, PA: Pennsylvania State University Press, 2002), 309–18. Week 8: The Value-Maximizing View 1. Davies, 'The Aesthetic Relevance of Authors' and Painters' Intentions', Journal of Aesthetics and Art Criticism 41 (1982): 65–76. 2. Davies, 'Authors' Intentions, Literary Interpretation, and Literary Value'. Weeks 9–10: Anti-Intentionalism 1. Beardsley, 'The Authority of the Text,' The Possibility of Criticism (Detroit: Wayne State University Press, 1970), 16–37. 2. Nathan, 'Irony, Metaphor, and the Problem of Intention'. 3. Nathan, 'Art, Meaning, and Artist's Meaning', Contemporary Debates in Aesthetics and the Philosophy of Art , ed. M. Kieran (Malden, MA: Blackwell, 2006), 282–95. Optional reading: 1. Beardsley, 'Intentions and Interpretations: A Fallacy Revived', The Aesthetic Point of View: Selected Essays , ed. M. J. Wreen and D. M. Callen (Ithaca, NY: Cornell University Press, 1982), 188–207. 2. Nathan, 'Irony and the Author's Intentions', British Journal of Aesthetics 22 (1982): 246–56. Sample Mini-Syllabus: Week 1: Foundations 1. Wimsatt and Beardsley, 'The Intentional Fallacy'. 2. Livingston, 'What Are Intentions?', Art and Intention , 1–30. Week 2: Actual and Modest Intentionalism 1. Hirsch, Validity in Interpretation , ch. 1–2, 1–67. 2. Carroll, 'Art, Intention, and Conversation'. Week 3: Hypothetical Intentionalism and Anti-Intentionalism 1. Levinson, 'Intention and Interpretation in Literature'. 2. Nathan, 'Irony, Metaphor, and the Problem of Intention'. Focus Questions 1. Is the difficulty of ascertaining the author's intentions a good reason to reject actual intentionalism? 2. Should literary works be seen as largely autonomous from their authors, even if we think that interpretation of ordinary utterances is properly a matter of ascertaining the speaker's intentions? 3. Are linguistic context and convention sufficient to determine the meaning of a literary work, or is the author's intention required to stave off an unacceptable degree of ambiguity? 4. Should the author's intentions about the genre or category to which the work belongs have a different status than intentions about the work's meaning? 5. Can the author's intentions have a non-redundant role to play in fixing meaning even if we take the role of context and linguistic convention seriously? 6. Should we expect the author's intention to play the same role (if any) in the interpretation of visual artworks that it plays in the interpretation of literature, or do differences between these two art forms require distinct approaches? (shrink)
Abstract On Schellenberg’s formulation of the problem of divine hiddenness, a loving God would ensure that anyone capable of having a relationship with Him, and not resisting it, would be granted sufficient evidence to make belief in God rationally indubitable. And He would do this by granting a powerful religious experience to every person at the moment he or she reaches the age of reason. Here I lay out a new reason why God might delay revelation of himself, justifiably allowing (...) for some nonresistant nonbelief. Content Type Journal Article Category Article Pages 1-11 DOI 10.1007/s11153-012-9338-5 Authors Travis Dumsday, Department of Religious Studies, Livingstone College, 701 West Monroe St., Salisbury, NC 28144, USA Journal International Journal for Philosophy of Religion Online ISSN 1572-8684 Print ISSN 0020-7047. (shrink)
Several have argued that the aims of scientific research are not always independent of social and ethical values. Yet this is often assumed only to have implications for decisions about what is studied, or which research projects are funded, and not for methodological decisions or standards of evidence. Using the case of the recently developed HPV vaccines, we argue that the social aims of research can also play important roles in justifying decisions about (1) how research problems are defined in (...) drug development, (2) evidentiary standards used in testing drug “success”, and (3) clinical trial methodology. As a result, attending to the social aims at stake in particular research contexts will produce more rational methodological decisions as well as more socially relevant science. (shrink)
Thanks in large part to the record of scholarship fostered by Hypatia, feminist philosophers are now positioned not just as critics of the canon, but as innovators advancing uniquely feminist perspectives for theorizing about the world. As relatively junior feminist scholars, the five of us were called upon to provide some reflections on emerging trends in feminist philosophy and to comment on its future. Despite the fact that we come from diverse subfields and philosophical traditions, four common aims emerged in (...) our collaboration as central to the future of feminist philosophies. We seek to: 1) challenge universalist and essentialist frameworks without ceding to relativism; 2) center coloniality and embodiment in our analyses of the intermeshed realities of race and gender by shifting from oppression in the abstract to concrete cosmologies and struggles, particularly those of women of color and women of colonized communities across the globe; 3) elaborate the materialities of thought, being, and community that must succeed atomistic conceptions of persons as disembodied, individually constituted, and autonomous; 4) demonstrate what is distinctive and valuable about feminist philosophy, while fighting persistent marginalization within the discipline. In our joint musings here, we attempt to articulate how future feminist philosophies might advance these aims, as well as some of the challenges we face. (shrink)
Lewis makes a strong case for the interdependence and integration of emotion and cognitive processes. Yet, these processes exhibit considerable independence in early life, as well as in certain psychopathological conditions, suggesting that the capacity for their integration emerges as a function of development. In some circumstances, the concept of highly interactive emotion and cognitive systems seems a viable alternative hypothesis to the idea of systems integration.
This study examines the methods students use to cheat on class examinations and suggests ways of deterring using an international sample from Australia, China, Ireland, and the United States. We also examine the level of cheating and reasons for cheating that prior research has highlighted as a method of demonstrating that our sample is equivalent to those in prior studies. Our results confirm the results of prior research that primarily employs students from the United States. The data indicate that actions (...) such as having multiple versions of the examination and scrambling the questions on these versions would deter cheating. In addition, given the increased level of cheating and students' increased perception of the social acceptability of cheating in college, the data provided by our international sample also suggest that some relatively simple precautions by instructors could dramatically reduce the level of cheating on in-class examinations. (shrink)
Several feminist philosophers of science have argued that social and political values are compatible with, and may even enhance, scientific objectivity. A variety of normative recommendations have emerged regarding how to identify, manage, and critically evaluate social values in science. In particular, several feminist theorists have argued that scientific communities ought to: 1) include researchers with diverse experiences, interests, and values, with equal opportunity and authority to scrutinize research; 2) investigate or “study up” scientific phenomena from the perspectives, interests, and (...) conditions of marginalized stakeholders potentially affected by the research; and 3) make gender, ethnicity, class, and geographical location “visible,” or use them as categories of analysis when appropriate. Yet, more work is needed to determine what exactly these recommendations would require, and the benefits they would yield, in specific research contexts.Using the recent development of the human papillomavirus (HPV) vaccines, we examine how these three feminist recommendations would have applied. We argue that these principles would have yielded several epistemic and social benefits in the HPV case, as well as in biomedical research more generally. That is, biomedical research guided by these principles would not only be epistemically superior, but also more socially responsible. (shrink)
Several feminist theorists have claimed that feminist values ought to influence theory choice. Susan Haack has argued that this is implausible because normative claims about what ought to be the case can never provide justification for descriptive claims. I argue against one of the premises of Haack's argument. Furthermore, I attempt to show that the most promising defense of this premise would cast doubt on a second premise of Haack's argument. My aim is to open up the possibility that value (...) judgments can play a legitimate role in theory choice. (shrink)
The notion of common ground is important for the production of referring expressions: In order for a referring expression to be felicitous, it has to be based on shared information. But determining what information is shared and what information is privileged may require gathering information from multiple sources, and constantly coordinating and updating them, which might be computationally too intensive to affect the earliest moments of production. Previous work has found that speakers produce overinformative referring expressions, which include privileged names, (...) violating Grice’s Maxims, and concluded that this is because they do not mark the distinction between shared and privileged information. We demonstrate that speakers are in fact quite effective in marking this distinction in the form of their utterances. Nonetheless, under certain circumstances, speakers choose to overspecify privileged names. (shrink)
There are increasing calls internationally for the development of regulation and policies related to the rapidly growing nanotechnologies sector. As part of the process of policy formation, it is widely accepted that deliberative community engagement processes should be included, enabling publics to have a say about nanotechnologies, expressing their hopes and fears, issues and concerns, and that these will be considered as part of the policy process. The Australian Federal and State governments have demonstrated a commitment to these ideals, undertaking (...) a number of public engagement activities in recent years. However, despite promises that these community engagement activities will enable policy makers to identify complex and contested community attitudes, and that these will be included as part of the policy making process, a closer look at Australia’s engagement activities reveals something quite different. Through an analysis of a number of Australia’s nano-engagement activities, this paper demonstrates the limits of public engagement related to the development of nanotechnology related policies and regulation in Australia. Our analysis reveals the extent to which industry interests have captured policy makers and regulators, dissenting voices have been excluded from engagement processes, and engagement processes have not connected with actual policy making activities. Reflecting on these limits, this paper concludes with recommendations for improving public engagement processes related to nanotechnologies in Australia. (shrink)