In lieu of an abstract, here is a brief excerpt of the content:Response and Rejoinder DOES PHILOSOPHY NEED LITERATURE? a critical response by Hugh Mercer Curtler In the second issue of this journal,1 Jesse Kalin argues most provocatively that "philosophy needs literature" because the latter is capable of "rehearsing and exhibiting," as philosophy is not, "the moral construction of one's own life, namely that part of it in which concern and value" are involved (p. 182). Two of (...) John Barth's novels— The Floating Opera and The End of The Road—are used as examples and, according to Kalin, provide evidence for his thesis that philosophical novels present a certain kind of philosophical material in the only way it can be presented. More specifically, Kalin claims that these two novels (1) are both about nihilism, (2) advance the philosophical argument that nihilism is false, and (3) present this argument in a way it could not otherwise be presented. In Kalin's words, "the philosophical argument of these two novels cannot be presented in the normal non-literary mode exemplified by the essay and journal article" (p. 178). I shall examine each of these claims in turn. To say that Barth's novels are "about" moral nihilism is either trivially true or wrong-headed. If Kalin means that the novels "have to do with" moral nihilism, this is^ certainly true but not very significant. We might also say The End of The Road is about illegal abortion, the delights of teaching in a community college, or the trials and tribulations of a bachelor in a small town in Maryland. It appears, then, that Kalin has something more in mind; namely, that the point of the novel is an examination of moral nihilism. That this is indeed Kalin's intention would seem apparent from the second claim listed above: that Barth's novels argue that moral nihilism is "false." I shall examine the question ofwhether these novels "argue" the falsity of moral nihilism in a moment, but first I must raise an objection to the prior claim that such is the point of the novel. A novel does not make a point; it makes a great many points, it 110 Hugh Mercer Curtler111 provokes thought and raises questions, it suggests possibilities, it states truths (plural), and above all else it presents dramatically. That is to say, insofar as the novel is a work of art it does these things, and it is primarily a work of art. In terms of the contents of the novel, what we find is a host of images, thought fragments, figures, suggestions, hints, bits and pieces, and —if the novelist is a good one, like Barth—some valuable insights. If the novelist is a great one, then the insights are profound and worthy of repeated examination and reflection, although we may not always be able to make out precisely what the novelist has said; the novelist is a master of disguises and sleight of hand. The way of saying things is for him quite often more important than what is said. It is clear I share with Kalin very few assumptions about the nature of literature, or poetry, and its relationship to philosophy. With regard to his central claim that the "argument" of Barth's novels is (1) philosophical and (2) incapable of being presented in another form, I shall argue that because (2) is true (1) must be false. To prepare the way, I shall begin with a brief examination of the nature of "argument" as it applies in our present context. Kalin states that the argument presented by Barth in the novels is a "literarily advanced exhibitionary argument" (p. 180). What does it mean, though, to say the novel "argues" at all? Kalin surely does not contend that Barth is arguing philosophically in the manner of, say, Gilbert RyIe or even Kalin himself, hence his characterization of the argument as "exhibitionary." Barth's "argument," we must assume, seeks to persuade rather than to prove in any narrow logical sense of that term. Persuasion, in turn, is intuitive rather than reasoned, as suggested by Kalin's insistance that the argument cannot be separated from its literary form. As Kalin would have it, the novelist creates a... (shrink)

Designed to immediately engage students and other readers in philosophical reflection, the new edition of Ethical Argument: Critical Thinking in Ethics bridges the gap between ethical theory and practice. This brief introduction combines a discussion of ethical theory with fundamental elements of critical thinking--including informal fallacies and the basics of logic--and uses case studies and practical applications to illustrate concepts. Author Hugh Mercer Curtler presents a carefully formulated critique of ethical relativism, encouraging students to reason along with (...) him and to question his argument at every point. This approach enables students to think systematically about ethical issues and to acquire basic skills in argumentation at the same time. They will learn how to bring principles to bear on ethical conflict, how to weigh pros and cons, how to recognize good ethical reasons, and how to distinguish sound argumentation from rationalization. The second edition of Ethical Argument: Critical Thinking in Ethics includes new exercises and examples, summary boxes, cartoons, and sample dialogues that demonstrate how to effectively debate ethical positions. It features more than forty case studies on ethical issues that are interesting and relevant to students. An ideal core text for courses in introductory ethics, this concise volume can be used along with additional primary sources, case studies, or newspaper articles and novels. It is also a helpful supplementary text for courses in applied ethics--including professional, business, and medical ethics--and in critical thinking. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry (...) in order to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry (...) in order to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 1-11 [Access article in PDF] The Artistic Failure of Crime and Punishment Crime and Punishment Hugh Mercer Curtler This essay begins by noting some fundamental differences between poets, in the broad sense of that term, and philosophers, or those who reflect discursively. It then moves to an examination of the epilogue to Crime and Punishment where Dostoevsky abandons poetry (...) in order to make a philosophical statement about human freedom. 1 Indeed, it can be said that much of Dostoevsky's mature writing was a battle between the man's urge to make pronouncements and the poet's need to control those urges. Fortunately, the poet nearly always won; at times he did not. This can be seen in the case of Crime and Punishment where Dostoevsky, the man, insisted on formulating an idea, specifically, the "idea of freedom." This statement marks the artistic failure of the novel, a concession on the part of the poet to the man. The tension in this novel, and indeed in many novels, is an important focalpoint in the teaching of great literature, because readers of fiction frequently forget that great novels are also great works of art. In this regard, despite the fact that he is an extremely careful reader of Dostoevsky's books, the psychologist/critic René Girard misses in his quest to find hidden messages — precisely what makes Dostoevsky a great artist who writes novels. 2 What this means to teachers of exceptional literature is that we must be attuned not only to what the author says, but also to the way in which he or she says it. In his writings about Dostoevsky, Girard is not terribly interested in what the poet has to say; he is interested in the way the man works out a particular psychological problem. Consequently, like many other critics, Girardglosses over the fundamental difference between the body of Crime and Punishment and its epilogue. Poetry and Philosophy Contrasted There is no truth in art, strictly speaking. If the term "true" has any application whatever to the world of art, it means "honest," or "true to life" [End Page 1] (which, as Kafka has shown, is not terribly important). Moreover, "true" may refer to the work's adherence to rules of craft, its internal harmony and coherence as a distinctive work of the human imagination. What one finds in poetry or linguistic art is a hodgepodge of images, thought fragments, figures, episodes, incidents, hints, and bits and pieces, and (if the poet is a good one) stunning insights. Poetry is, like all art, ineluctably ambiguous. It does not have a "message"; it has many messages. This is precisely why we need art and what makes art different from philosophy in its struggle to eliminate ambiguity. We will not find truth, in the form of knowledge or understanding, among the poet's wares, since knowledge, systematized and rendered coherent by means of the laws of thought, is the charge of the philosopher and his modern stepchildren.What this means is that those who approach novels intent upon finding a message run the risk of hammering poetry into a sheet by reducing it to philosophy. But novels, if they are any good, are not philosophical treatises, and this sort of reduction glosses over fundamental differences of scope and method.In an age that collapses distinctions lazily in order to reduce complex matters to simple terms, we must insist upon the fundamental differences between poets and philosophers. The domain of the philosopher is that of the concept or the principle, of ideas as objects of reflection. Philosophers deal in discursive thought as they seek logical coherence and conceptual clarity. The poet may employ ideas, but he uses them and embodies them imagistically: he does not try to develop them or verify them. 3 The philosopher's domain is unfriendly and unfamiliar to the poet. The law of contradiction reigns supreme there, and this law is anathema to the poet with his love of paradox.The poem presents images that must be apprehended in... (shrink)

THE ESSAY IS A REPLY TO NORMAN BOWIE'S EARLIER ARTICLE "ASPECTS OF KANT'S PHILOSOPHY OF LAW" IN THE "FORUM" (VOL. II, 4). CONTRARY TO BOWIE, I CONTEND THAT THE NATURAL LAW ELEMENTS PREDOMINATE IN KANT'S PHILOSOPHY OF LAW. THE CITIZEN CONFRONTED BY A CIVIL LAW THAT RUNS COUNTER TO THE MORAL LAW HAS ALTERNATIVES OTHER THAN REBELLION. HE CAN (1) SEEK REFORM OF THE LAW, (2) OFFER 'NEGATIVE RESISTANCE' TO THE LAW, OR (3) 'AVOID SOCIETY ALTOGETHER'-BREAK THE SOCIAL CONTRACT.

Reading good books -- After virtue, what? -- All's fair in war and politics -- Captain relative, be gone! -- Dumbing down the kids -- What became of God? -- The philosopher meets John Madden -- What's on TV tonight? -- Flotsam and Jetsam.

In these essays, Hugh J. McCann develops a unified perspective on human action. Written over a period of twenty-five years, the essays provide a comprehensive survey of the major topics in contemporary action theory. In four sections, the book addresses the ontology of action ; the foundations of action ; intention, will, and freedom; and practical rationality. McCann works out a compromise between competing perspectives on the individuation of action ; explores the foundations of action and defends a volitional (...) theory; argues for a libertarian view of both the formation and the execution of intention; and considers the question of consistency in rational intentions, as well as the relationship between practical and theoretical reasoning. -/- Among the original features of McCann's work are his defense of both fine- and coarse-grained actions and his arguments for a noncausal theory of the relation between intention and action. He also suggests that intentions need not be consistent, either with each other or with beliefs about success. And he contends that intention formation is an intrinsically ratiocinative procedure, distinct from reasoning about what action would be best. (shrink)

The literary relations between the Harlem Renaissance and the Negritude Movement have, we believe, been sufficiently documented. It has been demonstrated that Senghor, Damas and Césaire avidly perused the pages of Crisis, Opportunity and Garvey's Negro World—Journals in which Langston Hughes, Claude Mckay, Countee Cullen and Jean Tommer—the poets of the Harlem Renaissance, first had their poems published. It is equally literary history now, that some of the poems of the Afro-American writers were reprinted in such Parisian Black-oriented journals and (...) little magazines as Les Continents, La Dépêche Africaine, Le Cri des Nègres, La Revue du Monde Noir and Légitime Défense. In this dissemination of ideas across the Atlantic, Paulette Nardal, Edward A. Jones, Louis T. Achille and Mercer Cook played the important role of literary intermediaries through their translations. (shrink)

Codes of ethics currently offer no guidance to scientists acting in capacity of expert. Yet communicating their expertise is one of the most important activities of scientists. Here I argue that expert communication has a specifically ethical dimension, and that experts must face a fundamental trade-off between "actionability" and "transparency" when communicating. Some recommendations for expert communication are suggested.

Creation and the Sovereignty of God brings fresh insight to a defense of God.

This paper challenges current dominant thinking in Universities about the processes of ethical appraisal of research studies in the Social Sciences. It considers this to be founded on unjustifiable and inappropriate principles, the origins of which are presented before discussing alternative, more inclusive and ethically defensible approaches. The latter are based on dialogic processes to sustain respectful and empowering ethical reviews which appreciate the situated nature of research. The empirical evidence for this comes from papers about ethnographic studies with children (...) and adults in various educational spaces in Western Europe, originally a symposium on the practice of ethics in educational ethnography at ECER, 2017, now forming a book published by Routledge, 2019. The dialogic processes help researchers to carry out culturally-appropriate research with the demonstrable ethical integrity that participants and stakeholders reasonably expect. The authors argue that currently risk-averse Universities need to change their research cultures to support all research methodologies and fieldwork practices that have ethical integrity and create valuable research that is socially beneficial, to enhance their lustre. (shrink)

This paper challenges current dominant thinking in Universities about the processes of ethical appraisal of research studies in the Social Sciences. It considers this to be founded on unjustifiable and inappropriate principles, the origins of which are presented before discussing alternative, more inclusive and ethically defensible approaches. The latter are based on dialogic processes to sustain respectful and empowering ethical reviews which appreciate the situated nature of research. The empirical evidence for this comes from papers about ethnographic studies with children (...) and adults in various educational spaces in Western Europe, originally a symposium on the practice of ethics in educational ethnography at ECER, 2017, now forming a book published by Routledge, 2019. The dialogic processes help researchers to carry out culturally-appropriate research with the demonstrable ethical integrity that participants and stakeholders reasonably expect. The authors argue that currently risk-averse Universities need to change their research cultures to support all research methodologies and fieldwork practices that have ethical integrity and create valuable research that is socially beneficial, to enhance their lustre. (shrink)

A number of health care professionals assert a right to be exempt from performing some actions currently designated as part of their standard professional responsibilities. Most advocates claim that they should be excused from these duties simply by averring that they are conscientiously opposed to performing them. They believe that they need not explain or justify their decisions to anyone; nor should they suffer any undesirable consequences of such refusal. Those who claim this right err by blurring or conflating three (...) issues about the nature and role of conscience, and its significance in determining what other people should permit them to do (or not do). Many who criticize those asserting an exemption conflate the same questions and blur the same distinctions, if not expressly, by failing to acknowledge that sometimes a morally serious agent should not do what she might otherwise be expected to do. Neither side seems to acknowledge that in some cases both claims are true: a conscientious professional should not do her professional duty AND others need not permit or excuse her refusal. I identify these conflations and specify conditions in which a professional might reasonably refuse to do what she is required to do. Then I identify conditions in which the public should exempt a professional from some of her responsibilities. I argue that professionals should refuse far less often than most advocates do . . . and that they should be even less frequently exempt for that failure. Finally, there are compelling reasons why we could not implement a consistent moral policy giving advocates what they want, likely not even in qualified form. (shrink)

This volume is a philosophical introduction and exploration of the nature and value of personal relationships. It is an ideal text for introductory philosophy, ethics, or applied ethics courses.

Five leading figures in the philosophy of mind and cognitive science debate the central topic of mental representation. Each author's contribution is specially written for this volume, and then collectively discussed by the others. The editor frames the discussions and provides a way into the debates for new readers. An exciting feature of this collection is the transcribed discussion among all the contributors following each exchange. This is the latest thinking on mental representation carefully and critically analysed by the leading (...) thinkers in the field. (shrink)

John Broome argues that when all claims cannot be perfectly fairly satisfied in outcome, the contribution to fairness from entering claims into a lottery, and so providing them some surrogate satisfaction, ought to be weighed against, and can outweigh, what fairness can be achieved directly in outcome. I argue that this is a mistake. Instead, I suggest that any contribution to fairness from entering claims into a lottery is lexically posterior to fairness in outcome.

Providing theoretical grounding, case studies and practical solutions, Implementing Ethics in Educational Ethnography examines how researchers can overcome ethical dilemmas associated with and encountered during ethnographic research. From the initial stages of research design such as consideration from regulatory bodies, through research occurring in the field to project completion and reporting, it explores many of the factors associated with ensuring culturally sensitive and ethical studies. The book covers key questions including: What can researchers expect of ethical review boards? Where and (...) with whom should dialogue take place about ethicality within research? What effect does a research focus have on regulation and research practice? What is the effect of context on ethical practices? Does the positionality of a researcher have an effect on ethical practices? How do we ensure that ethicality supports the trustworthiness of research projects? Using a range of international case studies, Implementing Ethics in Educational Ethnographyprovides researchers and students with invaluable details about how to navigate the field, ensuring that they can sustain good ethical practice throughout the life of a research project. have an effect on ethical practices? How do we ensure that ethicality supports the trustworthiness of research projects? Using a range of international case studies, Implementing Ethics in Educational Ethnographyprovides researchers and students with invaluable details about how to navigate the field, ensuring that they can sustain good ethical practice throughout the life of a research project. (shrink)

Building on the strengths of the highly successful first edition, the extensively updated _Blackwell Guide to Ethical Theory_ presents a complete state-of-the-art survey, written by an international team of leading moral philosophers. __ A new edition of this successful and highly regarded _Guide_, now reorganized and updated with the addition of significant new material Includes 21 essays written by an international team of leading philosophers Extensive, substantive essays develop the main arguments of all the leading viewpoints in ethical theory Essays (...) new to this edition cover evolution and ethics, capability ethics, virtues and consequences, and the implausibility of virtue ethics. (shrink)

Although systems for licensing professionals are far from perfect, and their problems and costs should not be ignored, they are justified as a necessary means of protecting innocent people's vital interests. Licensing defends patients from inept doctors, pharmacists, and physical therapists; it protects clients from unqualified lawyers. We should protect people who are highly vulnerable to those who are supposed to serve them, those with whom they have a special relationship. Requiring professionals to be licensed is the most plausible way (...) of doing that. Given the overwhelming support for the licensing of these professionals, I find it odd that so many people categorically reject proposals to license parents. Although the relationship between a parent and her children is different in some respects, it is also relevantly similar to that between a professional and those she serves. To defend these claims, I show how and why the rationale for licensing parents parallels the rational for licensing professionals. I then ask whether such a program could be justifiably implemented. Finally, I describe and reject what I see as the flawed view of the relationship between parents and their children. (shrink)

ABSTRACT Biomedical experimentation on animals is justified, researchers say, because of its enormous benefits to human beings. Sure, animals suffer and die, but that is morally insignificant since the benefits of research incalculably outweigh the evils. Although this utilitarian claim appears straightforward and relatively uncontroversial, it is neither straightforward nor uncontroversial. This defence of animal experimentation is likely to succeed only by rejecting three widely held moral presumptions. We identify these assumptions and explain their relevance to the justification of animal (...) experimentation. We argue that, even if non‐human animals have considerably less moral worth than humans, experimentation is justified only if the benefits are overwhelming. By building on and expanding on arguments offered in earlier papers, we show that researchers cannot substantiate their claims on behalf of animal research. We conclude that there is currently no acceptable utilitarian defence of animal experimentation. Moreover, it is unlikely that there could be one. Since most apologists of animal experimentation rely on utilitarian justifications of their practice, it appears that biomedical experimentation on animals is not morally justified. (shrink)

History teems with instances of “man’s inhumanity to man.” Some wrongs are perpetrated by individuals; most ghastly evils were committed by groups or nations. Other horrific evils were established and sustained by legal systems and supported by cultural mores. This demands explanation. I describe and evaluate four common explanations of evil before discussing more mundane and psychologically informed explanations of wrong-doing. Examining these latter forms helps isolate an additional factor which, if acknowledged, empowers us to diagnose, cope with, and prevent (...) many ordinary and serious moral wrongs. In so doing, I do not assert that the explanations of first call are never appropriate. I claim only that their role is smaller than many of us reflexively suppose, and that the role of the later feature I identify is more significant, in part, because it supports and amplifies the more mundane and psychologically informed factors prompting wrong-doing. (shrink)

Our actions, individually and collectively, inevitably affect others, ourselves, and our institutions. They shape the people we become and the kind of world we inhabit. Sometimes those consequences are positive, a giant leap for moral humankind. Other times they are morally regressive. This propensity of current actions to shape the future is morally important. But slippery slope arguments are a poor way to capture it. That is not to say we can never develop cogent slippery slope arguments. Nonetheless, given their (...) most common usage, it would be prudent to avoid them in moral and political debate. They are often fallacious and have often been used for ill. They are normally used to defend the moral status quo. Even when they are cogent, we can always find an alternate way to capture their insights. Finally, by accepting that the moral roads on which we travel are slippery, we become better able to successfully navigate them. (shrink)

Cognitive values are the characteristics that are constitutive of good theories, the criteria to which we appeal when choosing among competing theories. I argue that, in order to count as a cognitive value, a characteristic must be needed to explain actually made theory choices, and its cognitive significance must be well defended especially in view of considerations derived from the objective of science. A number of proposed objectives of science are entertained, and it is argued that adopting a par-ticular objective (...) is dialectically intertwined with commitment to certain social values.Then, the ways in which science is, and is not value free is explored briefly, leading to the identification of a level of analysis where values may influence theory choice without causing paradox or threatening the impartiality of soundly-made scientific judgments. (shrink)