This study assesses the extent to which job application forms violate the New Zealand Human Rights Act. The sample for the study includes 229 job application forms, collected from a variety of large and small, public- and private-sector organizations that together employ approximately 200,000 workers. Two hundred and four or 88% of the job application forms contain at least one violation of the Act. One hundred and sixty five or 72% contain two or more and 140 or 61% contain three (...) or more violations. The most common violations concern age, gender, nationality, and disability. The least common concern political opinion, ethical belief, religious belief, and sexual orientation. Despite widespread violations, many forms do have non-discriminatory questions that yield the same kind of useful information as discriminatory questions. Employers could incorporate these into their job application forms to bring themselves into compliance with the law. The same lessons also generally apply to North American employers, given the high degree of comparability between American, Canadian, and New Zealand anti-discrimination laws. (shrink)
[Michael Smith] The requirements of instrumental rationality are often thought to be normative conditions on choice or intention, but this is a mistake. Instrumental rationality is best understood as a requirement of coherence on an agent's non-instrumental desires and means-end beliefs. Since only a subset of an agent's means-end beliefs concern possible actions, the connection with intention is thus more oblique. This requirement of coherence can be satisfied either locally or more globally, it may be only one among a number (...) of such requirements on an agent's total set of desires and beliefs, and it has no special connection with reasoning. An appreciation of these facts leads to a better understanding of both the nature and the significance of instrumental rationality. /// [Edward Harcourt] I argue that the incoherence Smith claims to identify in agents who desire that q, believe that p is a necessary means to q, but fail to desire that p is illusory, since it rests on the false assumption that every property I know to be possessed by an object of my desire is an object of my desire. Though the failure of Smith's account of the irrationality of this pattern of attitudes leaves it open that the pattern is indeed irrational, I argue that there are instances of it that are not irrational where the desires are desires for what the agent knows to be impossible for him. This conclusion casts doubt on the overall strategy-that of making a Humean theory of action explanation do duty as a theory of instrumental rationality-which implies that the norms of instrumental rationality apply to desires simply as such. I then try to criticise the strategy in such a way as to leave the Humean theory of action explanation unaffected. (shrink)
The paper develops an attack on quasi-realism in ethics, according to which expressivism about ethical discourse—understood as the thesis that the states that discourse expresses are non-representational—is consistent with some of the discourse's familiar surface features, thus ‘saving the ethical appearances’. A dilemma is posed for the quasi-realist. Either ethical discourse appears, thanks to those surface features, to express representational states, or else there is no such thing as its appearing to express such states. If the former then, by expressivism, (...) the appearance presented by ethical discourse is false, so the ethical appearances are not saved. If the latter, it is unintelligible why an appeal to projection should be needed to explain how the surface features come to express non-representational states if no explanation is needed—as evidently none is—to explain how they come to express representational states. The conclusion of this argument is then argued to converge with some other considerations which show that there is no gap between ethical discourse's possessing the surface features in question and its expressing representational states. (shrink)
As Lamarque agrees, to read philosophy is to read for truth, so if literary fiction non-accidentally conveys philosophical claims, Lamarque's anti-cognitivist position on it must be flawed. Deploying Iris Murdoch's notion of the ‘work’ an author does in a text, I try to expand what should be understood by an argument in this context, and thus address Lamarque's argument that literary fiction cannot non-accidentally convey philosophical claims because it typically contains no arguments. The main literary example is George Eliot's Felix (...) Holt ; special reference is made to the idea of an author's complicity with the reader. (shrink)
In this paper, I argue against an influential view of Frege''s writings on indexical and other context-sensitive expressions, and in favour of an alternative. The centrepiece of the influential view, due to (among others) Evans and McDowell, is that according to Frege, context-sensitiveword-meaning plus context combine to express senses which are essentially first person, essentially present tense and so on, depending on the context-sensitive expression in question. Frege''s treatment of indexicals thus fits smoothly with his Intuitive Criterion of difference of (...) sense. On my view, by contrast, Frege stuck by the view which he held in his unpublished 1897 Logic, namely that the senses expressed by the combination of context-sensitive word-meaning and context could just as well be expressed by means of non-context-sensitive expressions: being first person, present tense and so on are properties, in Frege''s view, only of language, not of thought. Given the irreducibility of indexicals – a phenomenon noticed by Castañeda, Perry and others – Frege''s treatment of indexicals thus turns out to be inconsistent with the Intuitive Criterion. I argue that Frege was not aware of the inconsistency because he was not aware of the irreducibility of indexicals. This oversight was possible because the source of Frege''s interest in indexicals, as inother context-sensitive expressions, differed from that of contemporary theorists. Whereas contemporary theorists are most often interested in indexicals (and in Frege''s treatment of them) because they are interested in the indexical versions of Frege''s Puzzle and their relation to psychological explanation, Frege himself was interested in them because they pose a prima facie threat to his general conception of thoughts. The only indexical expression Frege''s view of which the above account does not cover is I insofar as it is associated with special and primitive senses, but Frege did not introduce such senses with a view to explaining theirreducibility of I his real reason for introducing them remains obscure. (shrink)
Crisp is right to detect a clash between Dancy's leading formulation of holism about reasons and the phenomenon of invariance. Replying to Crisp on behalf of the particularist, I suggest a better formulation of holism modelled on a standard treatment in the philosophy of language of context-sensitive expressions. Key Words: context-sensitivity • Crisp • Dancy • holism • invariance • particularism.
The relationship among morality, reflection, and ideology is extremely intricate, with many avenues open for investigation. In this intriguing collection, an eminent group of scholars, including Bernard Williams, address the question of how far our moral beliefs and practices can survive the reflective understanding we have of them. From the work of a particular historical figure to the discussion of moral metaphysics, psychology, and political theory, the contributors approach the question from a variety of different fascinating angles.
Union security has long been an industrial relations controversy. While compulsory unionism supporters say it benefits the working class, right-to-work advocates denounce it as an unethical infringement of individual rights and freedom. Unfortunately, neither side has adequately addressed the shortcomings of their viewpoint, nor the broader worker concerns about effective representation beyond just “unionism”. In this paper, we examine the ethical and practical problems of compulsory (union security) and voluntary (right-to-work) unionism and propose a new resolution, compulsory proportional representation, that (...) has the advantages of: (a) ensuring workers’ freedom to associate or not associate, (b) promoting freedom to contract, (c) allowing free competition in representation in line with anti-trust principles, (d) improving industrial peace and efficiency, (e) enhancing fairness and social justice, and (f) addressing the employer–employee power imbalance. It is superior to either voluntary unionism, which often lead to management unilateralism, or compulsory unionism, where workers are compelled to join unions against their will. (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 [1790]. • 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 [1757]. 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)
Moral discourse is propositionally clothed, that is, it exhibits those features – such as the ability of its sentences to intelligibly embed in conditionals and other unasserted contexts – that have been taken by some philosophers to be constitutive of discourses that express propositions. If there is nothing more to a mental state being a belief than it being characteristically expressed by sentences that are propositionally clothed then the version of expressivism which accepts that moral discourse is propositionally clothed (‘quasi-realism’) (...) is self-refuting. Fortunately for quasi-realists, this view of belief, which I label ‘minimalism’, is false. I present three arguments against it and dismiss two possible defences (the first drawn from the work of Wright, the second given by Harcourt). The conclusion is that the issue between expressivists and their opponents cannot be settled by the mere fact that moral discourse wears propositional clothing. (shrink)
Machine generated contents note: List of contributors; Acknowledgements; Note on texts, translations, references; Introduction Simon May; 1. The future of evil Raymond Geuss; 2. On the nobility of Nietzsche's priests R. Lanier Anderson; 3. The genealogy of guilt Bernard Reginster; 4. Why Nietzsche is still in the morality game Simon May; 5. Who is the 'sovereign individual'? Nietzsche on freedom Brian Leiter; 6. Ressentiment and morality Peter Poellner; 7. The role of life in the Genealogy Nadeem Hussain; 8. The relevance (...) of history for moral philosophy: a study of Nietzsche's Genealogy Paul Katsafanas; 9. Why would master morality surrender its power? Lawrence Hatab; 10. 'Genealogy' and the Genealogy Peter Kail; 11. The promising animal: the art of reading On the Genealogy of Morality as testimony Stephen Mulhall; 12. Nietzsche and the 'aesthetics of character' Edward Harcourt; 13. Nietzsche and the virtues of mature egoism Christine Swanton; 14. Une promesse de bonheur? Beauty in the Genealogy Aaron Ridley; Bibliography; Index. (shrink)
An important worry about what Simon Blackburn has called ‘quasi-realism’ is that it collapses into realism full-stop. Edward Harcourt has recently pressed the worry about collapse into realism in an original way. Harcourt presents the challenge in the form of a dilemma. Either ethical discourse appears to ordinary speakers to express representational states or not. If the former then expressivism means that this appearance is not saved after all, in which case quasi-realism fails in its own terms. If (...) the latter, then we lose our grip on the idea that ordinary descriptive utterances are somehow paradigmatic assertions of fact and with it our ability to explain why such utterances really do express representational states. Finally, Harcourt argues that the expressivist’s only hope for meeting these concerns relies on (a) a distinction between states of mind with a ‘world-directed’ direction of fit (representational states) and those with a ‘state-directed’ direction of fit (desire-like states), (b) the thesis that no state of mind has both directions of fit, and (c) the thesis that a state-directed direction of fit entails no truth-conditions. Previous critics have attacked (a) and (b), but Harcourt takes a novel turn and attacks (c). The challenge is a bracing one. If Harcourt is right, then the quasi-realist project inevitably destroys the very distinction in terms of which his position is cast – roughly, the distinction between beliefs and desires. I argue that Harcourt’s challenge can be met. To anticipate, I argue that Harcourt’s critique presumes that the quasi-realist’s fundamental distinction is best understood semantically, whereas I shall argue that it is better understood functionally. (shrink)
The limits of ignorance Content Type Journal Article Pages 1-2 DOI 10.1007/s11016-011-9571-z Authors Constantine Sandis, Westminster Institute of Education, Oxford Brookes University, Harcourt Hill Campus, Oxford, OX2 9AT UK Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.
In contrast to many of his contemporaries, A. J. Ayer was an analytic philosopher who had sustained throughout his career some interest in developments in the work of his ‘continental’ peers. Ayer, who spoke French, held friendships with some important Parisian intellectuals, such as Camus, Bataille, Wahl and Merleau-Ponty. This paper examines the circumstances of a meeting between Ayer, Merleau-Ponty, Wahl, Ambrosino and Bataille, which took place in 1951 at some Parisian bar. The question under discussion during this meeting was (...) whether the sun existed before humans did, over which the various philosophers disagreed. This disagreement is tangled with a variety of issues, such as Ayer’s critique of Heidegger and Sartre (inherited from Carnap), Ayer’s response to Merleau-Ponty’s critique of empiricism, and Bataille’s response to Sartre’s critique of his notion of ‘unknowing’, which uncannily resembles Ayer’s critique of Sartre. Amidst this tangle one finds Bataille’s statement that an ‘abyss’ separates English from French and German philosophy, the first recorded announcement of the analytic-continental divide in the twentieth century. References H. B. Acton. Philosophy in France. Philosophy, 22(82):161-166, 1947. http://dx.doi.org/10.1017/S0031819100025365 A. J. Ayer & T. Honderich. An Interview with A. J. Ayer. In A. P. Griffiths, editor, A.J. Ayer Memorial Essays, pages 209-226. Cambridge, Cambridge University Press, 1991. A. J. Ayer. Language, Truth and Logic. London, Gollancz, 1936. A. J. Ayer. Novelist-Philosopher, Jean-Paul Sartre. Horizon, 12(67):12–26, & 12(68):101-110, 1945. A. J. Ayer. Novelist-Philosopher, Albert Camus. Horizon, 13(75):155-168, 1946a. A. J. Ayer. Secret Session. Polemic, 2:60-63, 1946b. A. J. Ayer. Some Aspects of Existentialism. In F. Watts, editor, H. B. Acton. Philosophy in France. Philosophy, 22(82):161-166, 1947. http://dx.doi.org/10.1017/S0031819100025365 A. J. Ayer & T. Honderich. An Interview with A. J. Ayer. In A. P. Griffiths, editor, A.J. Ayer Memorial Essays, pages 209-226. Cambridge, Cambridge University Press, 1991. A. J. Ayer. Language, Truth and Logic. London, Gollancz, 1936. A. J. Ayer. Novelist-Philosopher, Jean-Paul Sartre. Horizon, 12(67):12–26, & 12(68):101-110, 1945. A. J. Ayer. Novelist-Philosopher, Albert Camus. Horizon, 13(75): 155-168, 1946a. A. J. Ayer. Secret Session. Polemic, 2:60-63, 1946b. A. J. Ayer. Some Aspects of Existentialism. In F. Watts, editor, The Rationalist Annual, pages 5-13. London, Watts & Co, 1948. A. J. Ayer. The Definition of Liberty: Jean-Paul Sartre’s Doctrine of Commitment. The Listener, 44(1135):633-634, 1950. A. J. Ayer. Jean-Paul Sartre. Encounter, 15(4):75-77, 1961. A. J. Ayer. On Existentialism. Modern Languages, 48(1):1-12, 1967. A. J. Ayer. Sartre on the Jews. The Spectator, 211(7317):394-395, 1968. A. J. Ayer. Reflections on Existentialism. In Metaphysics and Common Sense, pages 203-218. 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distraction that leads innocent Post Keynesians into “classical sin.” Davidson (1994, 1996) argues that core Post Keynesian (PK) ideas such as that insufficient aggregate demand arise from fundamental uncertainty in a monetary economy do not depend on nonlinearity or complexity, that these core concepts are axiomatically and ontologically true, and that the inability of agents to forecast well in dynamically complex situations reflects mere epistemological problems of insufficient computational abilities. Thus complex dynamics is merely a classical stalking horse. This writer (...) (Rosser, 1990, 1998, 2001) disagrees with the argument presented above and its relatives (Mirowski, 1990; Carrier, 1993). Dynamic complexity provides a foundation for fundamental uncertainty in Keynesian and PK models, and this applies to most of the various sub-branches of PKE besides Davidson’s “fundamentalist” or “Keynes-Post Keynesian”2 approach. The argument will be considered regarding three subdivisions of Post Keynesianism as identified by Hamouda and Harcourt (1988): the aforementioned fundamentalist Keynesianism, Sraffian (or neo-Ricardian), and Kaleckian (or Kaleckian- Robinsonian).3 Following King (2002, chap. 10), I admit to being more in sympathy with those he describes as “synthesizers” than with the more partisan sectarians of these approaches.4 I shall describe how each sub-branch has been analyzed using ideas of.. (shrink)
Schools of business are being blamed for much of the unethical behavior in business today (Harcourt, 1990: p. 17); Ethics can and should be integrated into coursework throughout students' college careers (Spencer and Lehman, 1990: p. 7); ... business schools have been charged with inadequate attention to ethics (Bishop, 1992: p. 291); The American Assembly of Collegiate Schools of Business (AACSB) encourages schools of business to incorporate business ethics throughout the curricula (Davidet al., 1990: p. 26). These quotations indicate (...) the concern for providing ethics education in today's business curriculums. In 1976, the AACSB urged business educators to include ethics in their course curricula, however, over 15 years later there is still concern as to whether the coverage of this topic in the business curriculum is adequate.A review of the literature indicates that professors are beginning to integrate this topic into its curriculum. But what are the techniques that work? And is the topic of ethics truly being integrated into the entire business curricula? (shrink)
Bernard E. Harcourt, Illusion of Order: The False Promise of Broken Windows Policing Cambridge, MA: Harvard University Press, 2001, x + 294 pp. David Garland, The Culture of Control: Crime and Social Order in Contemporary Society Chicago: University of Chicago Press, 2001, xiii + 307 pp. Andrea McArdle and Tanya Erzen (eds.), Zero Tolerance: Quality of Life and the New Police Brutality in New York City New York: New York University Press, 2001, xvi + 299 pp. Phillipe Bourgois, In (...) Search of Respect: Selling Crack in El Barrio New York: Cambridge University Press, 1995, xii + 392 pp. Loïc Wacquant, Les Prisons de la Misère Paris: Raisons D'Agir Éditions, 1999, 189 pp. (shrink)
Offers a comprehensive historical overview of the field of aesthetics. Eighteen specially commissioned essays introduce and explore the contributions of those philosophers who have shaped the subject, from its origins in the work of the ancient Greeks to contemporary developments in the 21st Century. -/- The book reconstructs the history of aesthetics, clearly illustrating the most important attempts to address such crucial issues as the nature of aesthetic judgment, the status of art, and the place of the arts within society. (...) Ideal for undergraduate students, the book lays the necessary foundations for a complete and thorough understanding of this fascinating subject. -/- Table of Contents -/- Introduction \ 1. Plato, Robert Stecker \ 2. Aristotle, Angela Curran \ 3. Medieval Aesthetics, Gian Carlo Garfagnini \ 4. David Hume, Alan Goldman \ 5. Immanuel Kant, Elisabeth Schellekens \ 6. G.W.F. Hegel, Richard Eldridge \ 7. Arthur Schopenhauer and Friedrich Nietzsche, Scott Jenkins \ 8. Benedetto Croce and Robin Collingwood, Gary Kemp \ 9. Roger Fry and Clive Bell, Susan Feagin \ 10. John Dewey, Thomas Leddy \ 11. Martin Heidegger, Joseph Shieber \ 12. Walter Benjamin and T.W. Adorno, Gerhard Richter \ 13. Monroe Beardsley, Noël Carroll \14. Nelson Goodman, Alessandro Giovannelli \ 15. Richard A.Wollheim, Malcolm Budd \ 16. Arthur C. Danto, Sondra Bacharach \ 17. Kendall L. Walton, David Davies \ Some Contemporary Developments, Alessandro Giovannelli . (shrink)
