During the evolution of business ethics as a profession, the fields it draws from have identified separate knowledge and skills they believe define business ethics; however, there is little agreement among these fields. This means the strengths of each are seldom combined to guide ethical decision making in business and industry, which leaves business ethicists looking less effective, and perhaps less professional, than their counter-parts in medicine and law. It also means that those who have been thrust into the role (...) of guiding business ethics – or those who have added the title of ethics consultant after their name, without having the preparation to do so, have no standards to look to.This article examines one of the touchstones of mature professions, performance standards by which members of the profession can measure themselves and the profession can self-monitor. Further, it suggests that business ethics has not yet addressed one of the standards by which all professions are measured, that of service. (shrink)
This article outlines a training activity that can enable both business and governmental professionals to translate the principles in a code of ethics to a specific list of company-related behaviors ranging from highly ethical to highly unethical. It also explores how this list can become a concrete model to follow in making ethical decisions. The article begins with a discussion as to what will improve ethical decision making in business and government. This leads us to explore the factors that can (...) most easily lead to improvement, namely a comprehensive code of conduct and employee training. From there we look at the Critical Incident Technique as a training strategy that has the potential for identifying those behaviors that distinguish really outstanding behaviors from those that go by the book, and can be used to encourage more independent thinking and to set expectations for future decisions. If employees are given the skills and examples that will enable them to make better decisions, they can apply them to any situation. (shrink)
We examined the attitudes of 600 students in large introductory algebra and psychology classes toward an actual or hypothetical cheating incident and the subsequent retake procedure. Overall, 57% of students in one class and 49Y0 in the other reported that they either cheated or would have cheated if given the opportunity. More men (59%) than women (53%) reported cheating or potential cheating. Students who had actually experienced a retake procedure to handle cheating were more satisfied with such a procedure than (...) others were about a hypothetical situation. Despite having a retake, cheaters were significantly more likely than noncheaters to predict that they would cheat again. Results suggest that instructors who require a retake following extensive cheating should devote class time to a discussion of the issue and all possible alternatives. (shrink)
This article investigates how historians have sought to foster empathic identification with victims in various narratives on the genocide of European Jewry. It takes historians’ extreme reactions to Daniel Jonah Goldhagen’s Hitler’s Willing Executionersas a point of departure, and argues that most historical narratives fail to address how graphic writing about atrocities generates identification with both perpetrators and victims. The essay then analyses how some historians have sought, successfully or not, to overcome this problem.
New standards adopted by the Association to Advance Collegiate Schools of Business International (AACSB) stress business curriculum-wide learning objectives, of which ethics is a critical part. “Knowledge and skills” in ethical responsibilities are required as part of institutionalaccreditation. An exploratory study offers insight into ethics integration, perceived comfort in teaching ethics, and methods used. The main tension presented balances calls for ethics across business curricula with the assertion that ethics instruction, in the hands of an untrained professor, may do more (...) damage than good. Results suggest that while faculty include ethics in their courses, only slightly more than half have received some kind of ethics training. We also explore ethics pedagogies and found differences between methods respondents used in the classroom and desired learning methods for themselves. We offer insights about and possible explanations for the gaps we found in our study, contextualizing them in new literature. We finish with a brief discussion of how our findings impact accreditation assessment. (shrink)
This essay renews a discussion of how historians do, and should, represent atrocity. It argues that the problems of representing extreme violence remain under-conceptualized; in this context it discusses the strengths and weaknesses of minimalism, a style prevalent both in historiography and in an intellectual culture that values understatement in approaches to violence. The essay traces the general cultural preference for minimalist narratives of suffering, which, it claims, is driven by the widespread conviction that experimental and exuberant narratives convert victims' (...) suffering into kitsch. It then focuses on two works, by Saul Friedlander and by Jan Gross, on the history of Jewish victims during and after the Second World War in order to assess how each uses sophisticated minimalist understatement to represent suffering, but with radically different effects. Finally, it asks historians to reflect upon the representation of extreme events by focusing on narrative style, on questions of ethics, and on the cultural narratives within which their own work on suffering and violence is inevitably embedded-especially given that historians are paying increasing attention to violent events that generate tremendous difficulties in relation to the representation both of victims and perpetrators. (shrink)
During the past decade and a half, the field of family literacy has gone from its infancy on the educational periphery toward a position closer to the mainstream. Characteristic ofthe field’s growth is the nation’s largest endeavor in family literacy, the federal Even Start program, which began from scratch in the late 1980s and now claims more than 800 local programs in 50 states and Puerto Rico.Despite several national evaluations of Even Start, no comprehensive study in the family literacy literature (...) specifically focuses on this quarter-billion dollar program’s attempts to measure the progress of its adult students. Accordingly, this study sought to discover the ways in which adult assessment is performed by Even Start programs.This essay emphasizes critical thinking with regards to assessment in Even Start programs Critical thought and reflection drive the exploration of several themes in the study’s data that carry itnplications for the families served by Even Start. These implications, gleaned from what Brookfield (1987) calls “reflective skepticism” and careful study of the data, bring the survey’s numbers to life and ultimately yield useful, potentially program-enhancing information.The article offers background on family literacy and Even Start programs and briefly illustrates the study’s methodology. Then follows a discourse that views the study’s findings through the lens of critical thought, drawing meaning from selected findings that contain repercussions for Even Start families. The piece concludes with recommendations for the improvement of Even Start programs through enhanced assessment and continued study. (shrink)
The publication of 'Animal Rights and Souls in the 18th Century' will be welcomed by everyone interested in the development of the modern animal liberation movement, as well as by those who simply want to savour the work of enlightenment thinkers pushing back the boundaries of both science and ethics. At last these long out-of-print texts are again available to be read and enjoyed - and what texts they are! Gems like Bougeant's witty reductio of the Christian view of animals (...) are included together with path-breaking works of ethics such as Primatt's A Dissertation on the Duty of Mercy and Sin of Cruelty to Brute Animals . There are works I have never seen before, including the remarkable Cry of Nature by the Scottish revolutionary Jacobin, John Oswald. In this set, everyone will find something novel, delightful and truly enlightening. - Peter Singer The discussion of animal rights and the moral status of animals, so prevalent in the late twentieth century, has its roots in the mid to late eighteenth century. Some of the themes we consider of recent invention - the legal standing of animals, the ethical status of vegetarians, cruelty towards animals, ultimately resulting in cruelty to humans - are of long standing. But in the eighteenth-century literature they are interconnected with theological issues surrounding animal souls, the birth of the life sciences, the great chain of being and other peculiarly eighteenth-century problems. This collection explores the exciting early discussions of moral theories concerning animals, placing them within their historical and social context. It reveals that issues such as vivisection, animal souls and vegetarianism were very much live philosophical subjects 200 years ago. The six volumes reprinted here includes complete works and edited extracts from such key eighteenth-century thinkers as Oswald, Primatt, Smellie, Monboddo and Jenyns. Many of the materials are extremely rare and never previously reprinted. The collection, edited with a new introduction and bio-bibliography by Aaron V. Garrett provides valuable original source material to supplement contemporary discussions of animal rights. --18th-century material on the theme of animal rights and practical ethics --an important supplement to contemporary animal rights discussions --provides a broader account of early discussions of the 'science of human nature' through animals --widens our understanding of 18th-century ethics through an important area of practical ethics --includes many scarce texts, most of which have never been reprinted before. (shrink)
In May 2010, philosophers, family and friends gathered at the University of Notre Dame to celebrate the career and retirement of Alvin Plantinga, widely recognized as one of the world's leading figures in metaphysics, epistemology, and the philosophy of religion. Plantinga has earned particular respect within the community of Christian philosophers for the pivotal role that he played in the recent renewal and development of philosophy of religion and philosophical theology. Each of the essays in this volume engages with some (...) particular aspect of Plantinga's views on metaphysics, epistemology, or philosophy of religion. Contributors include Michael Bergman, Ernest Sosa, Trenton Merricks, Richard Otte, Peter VanInwagen, Thomas P. Flint, Eleonore Stump, Dean Zimmerman and Nicholas Wolterstorff. The volume also includes responses to each essay by Bas van Fraassen, Stephen Wykstra, David VanderLaan, Robin Collins, Raymond VanArragon, E. J. Coffman, Thomas Crisp, and Donald Smith. (shrink)
The nature of persons is a perennial topic of debate in philosophy, currently enjoying something of a revival. In this volume for the first time metaphysical debates about the nature of human persons are brought together with related debates in philosophy of religion and theology. Fifteen specially written essays explore idealist, dualist, and materialist views of persons, discuss specifically Christian conceptions of the value of embodiment, and address four central topics in philosophical theology: incarnation, resurrection, original sin, and the trinity.
This extensively revised and expanded edition of van Inwagen and Zimmerman’s popular collection of readings in metaphysics now features twenty-two additional selections, new sections on existence and reality, and an updated editorial commentary. Collects classic and contemporary readings in metaphysics Answers some of the most puzzling questions about our world and our place in it Covers an unparalleled range of topics Now includes a new section on existence and reality, expanded discussions on many classic issues, and an updated editorial commentary.
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)
Metaphysics: 5 Questions is a collection of short interviews based on 5 questions presented to some of the most influential and prominent philosophers in the field. We hear their views on metaphysics, the aim, the scope, the future direction of research and how their work fits in these respects. Interviews with Lynne Rudder Baker, Helen Beebee, Thomas Hofweber, Hugh Mellor, Peter Menzies, Stephen Mumford, Daniel Nolan, Eric T.Olson, L. A. Paul, Lorenz B. Puntel, Gonzalo Rodriguez-Pereyra, Gideon Rosen, Jonathan Schaffer, (...)Peter Simons, Barry Smith, Michael Tooley, Peter van Inwagen, Dean Zimmerman. (shrink)
The Oxford Handbook of Metaphysics offers the most authoritative and compelling guide to this diverse and fertile field of philosophy. Twenty-four of the world's most distinguished specialists provide brand-new essays about 'what there is': what kinds of things there are, and what relations hold among entities falling under various categories. They give the latest word on such topics as identity, modality, time, causation, persons and minds, freedom, and vagueness. The Handbook's unrivaled breadth and depth make it the definitive reference work (...) for students and academics across the philosophical spectrum. (shrink)
Peter van Inwagen's brand of materialism leads him to speculate that God actually removes the deceased at the moment of death and replaces the corpse with a simulacrum that decays or is cremated. Dean Zimmerman offers an account of resurrection that is loyal to Peter van Inwagen's commitment to a materialist metaphysics, with its stress on the earlier life processes of an organism immanently causing its later ones, while maintaining that resurrection is possible without involving God in (...) any ‘body snatching’. My contention is that Zimmerman's account is metaphysically impossible. His alleged ‘solution’ is at odds with the principles governing the ways in which an organism can assimilate new parts. Instead of providing a scenario where we can be resurrected, Zimmerman has merely sketched a scenario where we are duplicated. An alternative materialist account of resurrection is offered, one in which immanent causation is not necessary. (shrink)
Contemporary Kant scholarship generally takes Kant’s conception of humanity in his ethical writings to refer to beings with rational capacities. 1 According to this interpretation, when Kant tells us in the Categorical Imperative’s Formula of Humanity [FH] to “act so that you use humanity…always at the same time as an end, never merely as a means,” we are to treat anyone with rational capacities this way. 2 However, Richard Dean has recently revived an alternative interpretation that he traces to (...) H. J. Paton. 3 According to this interpretation, by ‘humanity’ Kant really means the good will, and, furthermore, Dean takes this interpretation to be the more defensible view within Kant’s ethical system. (shrink)
Democracy can be a means to independently valuable ends and/or it can be intrinsically (or non-instrumentally) valuable. One powerful non-instrumental defence of democracy is based on the idea that only it can publicly justify political authority. I contend that this is an argument about the reasonable acceptability of political authority and about the requirements of publicity and that satisfying these requirements has nothing to do with whether a society is democratic or not. Democracy, then, plays no role in publicly justifying (...) political authority. I also show that any non-instrumental defence of democracy must make claims about what justice requires and make several further claims that require substantial justification. (shrink)