Is there one univocal or generic notion of ground? Monists answer yes, while pluralists answer no. Pluralists argue that monism cannot meet plausible constraints on an adequate theory of ground. My aim in this paper is to articulate a monist theory of ground that can satisfy the pluralist constraints in a way that leaves the pluralists with no reasons not to endorse the monist picture of ground. I do this by adopting a tripartite conception of ground and then showing that (...) it has the resources to vindicate monism while satisfying the pluralist constraints on a theory of ground. (shrink)

We offer an account of the metaphysics of persons rooted in Latter-day saint scripture that vindicates the essentiality of origins. We then give theological support for the claim that prospects for the success of God’s soul making project are bound up in God creating particular persons. We observe that these persons would not have existed were it not for the occurrence of a variety of evils (of even the worst kinds), and we conclude that Latter-day saint theology has the resources (...) to endorse a strong soul-making non-identity theodicy. We then introduce two complications for this account rooted in the problem of horrendous evils. First, horrendous evils threaten to undermine our confidence that God is good to each created person within the context of their life. And second, horrendous evils raise concerns about the value of persons whose existence depends on the occurrence of those evils. We may wonder whether those whose existence depends on the occurrence of horrendous evils are valuable enough to motivate God’s allowance of those evils. We show that by attending to important structural features of a post-mortem, pre-eschatological state called the spirit world, Latter-day Saints can ameliorate these concerns about horrendous evils . (shrink)

In her paper, “True Faith: Against Doxastic Partiality about Faith (in God and Religious Communities) and in Defense of Evidentialism,” Katherine Dormandy argues against the view that there is a partiality norm on faith. Dormandy establishes this by showing that partiality views can’t give the right responses to encounters with stubborn counter evidence. Either they (anti-epistemic-partiality views) recommend flouting the evidence altogether in order hold on to positive beliefs about the object of faith or they (epistemic-partiality views) lower the epistemic (...) standards in objectionable ways to alleviate the epistemic pressure imposed by the counterevidence. However, one cannot have praiseworthy faith when one refuses to really grapple with the evidence against the goodness of the faith’s object. So, partiality norms, far from constituting what makes for great faith, importantly stand in its way. Thus, we should reject any partiality norms on faith. We argue that cases of praiseworthy faith involve dispositions to confront the object of faith when presented with stubborn counter evidence against their goodness. Recognizing this enables us to endorse a partiality norm while avoiding Dormandy’s worries. We argue that dispositions to confront the object of faith presuppose positive beliefs about it, thus vindicating partiality. We further argue that the confrontation makes an epistemic demand of the object of faith: produce high confidence in whether it is still worth having faith in, thus carving out a central role for evidentialist norms. (shrink)

There is a puzzle about divine justice stemming from the fact that God seems required to judge on the basis of criteria that are vague. Justice is proportional, however, it seems God violates proportionality by sending those on the borderline of heaven to an eternity in hell. This is Ted Sider’s problem of Hell and Vagueness. On the face of things, this poses a challenge only to a narrow class of classical Christians, those that hold a retributive theory of divine (...) punishment. We show that this puzzle can be extended to the picture of divine judgement and the afterlife found in Mormon theology. This is significant because at first glance, the Mormon picture of the afterlife looks like it fails to co-operate with Sider’s puzzle. In Mormon theology, there are not two afterlife states, but three: a low, a middle, and a high kingdom. There is no afterlife state quite like Hell, and the states that function similarly to Hell aren’t places of eternal suffering. We argue that appearances are misleading. While it may be true that no place in the Mormon afterlife is bad in the sense that its inhabitants suffer eternal bodily harm, it is true that many of the places in the Mormon afterlife are bad in the sense that their inhabitants lack access to significant goods. This allows Sider’s puzzle to re-engage as a puzzle about distributive Justice. After setting out this alternative version of the puzzle, we argue that Mormon theology has sufficient resources to reject proportionality as a constraint on divine judgment by adopting a nuanced version of universalism called escapism. (shrink)

This book investigates the impact of misinformation and the role of truth in political struggle. It develops a theory of objective truth for political controversy over topics such as racism and gender, based on the insights of intersectionality, the Black feminist theory of interlocking systems of oppression. Truth is defined using the tools of model theory and formal semantics, but the theory also captures how social power dynamics strongly influence the operation of the concept of truth within the social fabric. (...) Systemic ignorance, propagated through false speech and misinformation, sustains oppressive power structures and perpetuates systemic inequity. Truth tends to empower marginalized groups precisely because oppressive systems are maintained through systemic ignorance. If the truth sets people free, then power will work to obscure it. Hence, the rise of misinformation as a political weapon is a strategy of dominant power to undermine the political advancement of marginalized groups. (shrink)

For Malraux, modernity in art is not only about modern art; it is also about the birth of what he aptly terms “the first universal world of art.” This event was a consequence of the process of metamorphosis which is central to Malraux’s account of the relationship between art and time. The article explains this event, noting also that modern aesthetics has not provided an explanation. (This is the English version of the final which will be in French.).

Modern aesthetics is divided into two branches – the Anglo-American and the Continental. A major cause of this division is their divergent views about the place of history in aesthetics, the first tending to minimize historical considerations, while the second readily embraces them. This article explores the place of history in André Malraux's theory of art and argues that his thinking quickly resolves this long-standing disagreement. (This text is a translation of the published French version.).

In this paper I challenge the currently fashionable view that we should assess the basic premises of an argument for acceptability rather than for truth, and argue in favour of recognizing premise-truth as a criterion of argument goodness in one important sense and premise-acceptability as a criterion of argument goodness in another important sense.

This chapter presents a thorough analysis of Neurath’s physicalist syntacticism. It explores connections between syntacticism and other elements of Neurath’s philosophy such as the unity of science and the sociological imperative of empiricism. It also defends the intelligibility of syntacticism. Finally, the case is made that Neurath’s fear of semantics was warranted: logical empiricism was undermined to a large extent by the widespread acceptance of semantics.

The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.

A difference of opinion exists among some philosophers who have recently inquired whether Marx thinks that capitalism is distributively unjust. What has to be determined is whether in Marx's view the wage worker suffers an injustice in not receiving most or all of the surplus value he creates. Allen Wood argues that this is not Marx's view, and George Brenkert agrees, for quite similar reasons; but Ziyad Husami and Gary Young, on the other hand, argue in reply to Wood, and (...) on overlapping grounds, for the opposite interpretation; Wood, in turn, has defended himself against Husami. (shrink)

The conventional view is that Enlightenment thinkers all believed that the fruits of Reason would always be beneficial. Is this accurate? Laclos's celebrated novel "Les Liaisons dangereueses", published in 1782, provides a perspective on the world of Reason that certainly does not square with that view. Working at the level of individual psychology, Reason in Laclos's novel divides the world into the strong and the weak – more specifically, the astute and the naïve. It defines human worth in terms of (...) a capacity to deceive and control others, a capacity that can only be fully expressed by the complete defeat and humiliation of one’s adversary. (shrink)

It’s common knowledge that those objects we regard as great works of art have a capacity to survive across time. But that observation is only a half-truth: it tells us nothing about the nature of this power of survival – about how art endures. -/- This question was once at the heart of Western thinking about art. The Renaissance solved it by claiming that great art is “timeless”, “eternal” – impervious to time, a belief that exerted a powerful influence on (...) Enlightenment philosophers and, later, on modern aesthetics. -/- The notion that art is timeless was contradicted by nineteenth century thinkers such as Hegel, Marx, and Taine who stressed the historical embeddedness of art. The conflict of these two ideas, together with other major factors discussed in this paper, has left us today without a viable account of the nature of art’s capacity to transcend time. -/- This paper proposes an alternative solution: the proposition that art survives by a process of metamorphosis. But the principal emphasis of the paper is on the question itself: how does art transcend time? (a question that has nothing to do with the so-called “test of time”). If modern aesthetics is to remain relevant to our modern world of art, in which the art of the past – stretching back to Lascaux and beyond – is as important as Picasso and contemporary art, it urgently needs to address this neglected question. (shrink)

One might naturally suppose that philosophers of art would take a strong interest in the idea of creation in the context of art. In fact, this has often not been the case. In analytic aesthetics, the issue tends to dwell on the sidelines and in continental aesthetics a shadow has sometimes been cast over the topic by the notion of the “death of the author” and by the claim, as Roland Barthes put it, that the author is only ever able (...) to “imitate a gesture that is always anterior, never original”. This paper explains the understanding of artistic creation developed by the French art theorist André Malraux in his well-known book The Voices of Silence. Malraux argues that the true artist is involved in a creative act in the full sense of the term – creation ex nihilo – despite the debt he or she often owes to other artists. The paper also comments briefly on possible reasons why traditional post-Enlightenment aesthetics has said so little about the topic in question. (shrink)

Can novels, plays and poetry tell us something important and true about who we are, about others, and about life generally? The question seems to be of interest not only to writers on literary theory and aesthetics, but to people generally. This paper considers the issues involved.

Examines (1) the birth of art-as-beauty in Western art and the concomitant birth of the idea of art itself; (2) the death of art-of-beauty from Manet onwards. Also looks briefly at some major implications for aesthetics (the philosophy of art). Paper includes some relevant reproductions.

It has long been recognised that great art, whether visual art, literature or music, has a special capacity to “live on” – to endure – long after the moment of its creation. Thus, our world of art today includes, for example, ancient Mesopotamian sculpture, Shakespeare’s plays, and the music of medieval times. How does this capacity to endure operate? Or to ask that question another way: what does “endure” mean in the case of art? The Renaissance concluded that art endures (...) because it is timeless – impervious to change, “eternal”, “immortal” – and this solution, which was ratified without question by Enlightenment philosophers of art such as Hume and Kant, still lingers on in some quarters today. But developments since the nineteenth century have gravely weakened the credibility of the proposition that art is immortal, and the idea is now effectively dead. This leaves us with a major dilemma: if art is not impervious to change, how exactly does it endure? If the time-honoured solution of immortality is no longer viable, what alternative explanation can we find to replace it? -/- This paper explains why immortality is dead, describes our contemporary dilemma, and briefly canvasses a possible solution. (shrink)

From the Renaissance onwards, the Western tradition singled out the term beauty for a unique and highly prestigious role. As Christian belief began its gradual decline, Renaissance art invented a rival transcendence in the form of an exalted world of nobility, harmony and beauty – the world exemplified by the works of painters such as Raphael, Titian and Poussin. Beauty in this sense quickly became the ruling ideal of Western art, subsequently underpinning the explanations of the nature and function of (...) art (the aesthetics) developed by Enlightenment thinkers such as Hume and Kant – explanations that continue to be influential among contemporary philosophers of art. Today, however, there are fundamental questions to be asked: Is beauty still the ruling ideal of art? If not, what becomes of traditional, post-Enlightenment aesthetics which continues to shape much modern thinking about art? (shrink)

The paper highlights analytic aesthetics’ unacknowledged assumption that art is timeless, a view it inherited from Enlightenment thinkers such as Hume and Kant, who in turn inherited it from the Renaissance. This view, I contend, is no longer tenable because it is at odds with our experience of the art of the past. Analytic aesthetics bypasses this dilemma because it confines its attention to topics such as the nature of aesthetic pleasure, whether the appreciation of art should be disinterested and (...) so on, which it partitions off from historical change and encases in a world where time stands still and where, by consequence, the temporal nature of art, including art’s capacity to transcend time, can be ignored. (shrink)

A conference paper examining the relationship between art and what is loosely termed the “real world”.

A difference of opinion exists among some philosophers who have recently inquired whether Marx thinks that capitalism is distributively unjust. What has to be determined is whether in Marx's view the wage worker suffers an injustice in not receiving most or all of the surplus value he creates. Allen Wood argues that this is not Marx's view, and George Brenkert agrees, for quite similar reasons; but Ziyad Husami and Gary Young, on the other hand, argue in reply to Wood, and (...) on overlapping grounds, for the opposite interpretation; Wood, in turn, has defended himself against Husami. (shrink)

A brief discussion of André Malraux's concept of the musée imaginaire (Imaginary Museum or Museum without Walls) and a comment on the neglect of Malraux's theory of art. (Link provided).

The engineer Kirillov, a major character in Dostoevsky's 'Demons', has provoked considerable critical disagreement. In 'The Myth of Sisyphus', Albert Camus argues that he expresses the theme of ‘logical suicide’ with ‘the most admirable range and depth’. Some recent commentators, however, have dismissed Kirillov as a madman in the grip of a mad theory. -/- While dissenting from Camus’s analysis in certain respects, this article offers an interpretation consistent with his basic argument. Kirillov’s suicide is based on a simple, if (...) implacable, logic which convinces him that as long as he kills himself for the right reason, his death will be an act of redemption for all humanity. Kirillov is a wholly ‘metaphysical’ character – one of the earliest in modern fiction – whose ambition to become the ‘man-god’ is explored by Dostoevsky to its ultimate, desolate conclusion. (shrink)

Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of his times. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a much deeper significance. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the humanist artistic tradition that began with the Renaissance - a tradition founded on the (...) pursuit of a transcendent world of nobility, harmony and beauty. Following an illness that left him deaf for life, Goya developed an art of a fundamentally different kind - an art, Malraux writes, ruled by ‘the unity of the prison house’ which replaced transcendence with a pervasive feeling of dependence and from which all trace of humanism has been erased. Foreshadowing modern art's abandonment of the Renaissance ideal, the etchings and black paintings are the first announcement of the death of beauty in Western art. (shrink)

" Suitable for both newcomers to Malraux and more advanced students, the study also examines critical responses to these works by figures such as Maurice ...

A well-known feature of great works of art is their power to “live on” long after the moment of their creation – to remain vital and alive long after the culture in which they were born has passed into history. This power to transcend time is common to works as various as the plays of Shakespeare, the Victory of Samothrace, and many works from early cultures such as Egypt and Buddhist India which we often encounter today in major art museums. (...) -/- What is the nature of this power and how does it operate? The Renaissance decided that works of art are timeless, “immortal” – immune from historical change – and this idea has exerted a profound influence on Western thought. But do we still believe it? Does it match our experience of art today which includes so many works from the past that spent long periods in oblivion and have clearly not been immune from historical change? -/- This book examines the seemingly miraculous power of art to transcend time – an issue widely neglected in contemporary aesthetics. Tracing the history of the question from the Renaissance onwards, and discussing thinkers as various as David Hume, Hegel, Marx, Walter Benjamin, Sartre, and Theodor Adorno, the book argues that art transcends time through a process of metamorphosis – a thesis first developed by the French art theorist, André Malraux. The implications of this idea pose major challenges for traditional thinking about the nature of art. (shrink)

I criticize a case made by George Bowles for a certain theory pertaining to the evaluation of arguments on which the (degree of) attributed favourable relevance of an argument's premises to its conclusion is relevant to its evaluation, but nevertheless argue that such favourable relevance is indeed relevant to an argument's evaluation.

Very little has been written in recent decades about the temporal nature of art. The two principal explanations provided by our Western cultural tradition are that art is timeless (`eternal') or that it belongs within the world of historical change. Neither account offers a plausible explanation of the world of art as we know it today, which contains large numbers of works which are self-evidently not timeless because they have been resurrected after long periods of oblivion with significances quite different (...) from those which they originally held, and which also seem to have escaped history because, though long-forgotten, they have `come alive' again for us today. In his two key works on the theory of art, "Les Voix du silence" and "La Métamorphose des dieux", André Malraux offers an entirely new account of the temporal nature of art based on the concept of metamorphosis. Unlike the traditional explanations, Malraux's account makes sense of the world of art as we now know it. He revolutionizes our understanding of the relationship between art and time. (shrink)

Examines an aspect of Malraux's exploration of action as a value.

This study provides a step by step explanation of André Malraux’s theory of art. Drawing on his major works, such as "The Voices of Silence" and "The Metamorphosis of the Gods," it examines topics such as the nature of artistic creation, the psychology of our response to art, the birth of the notion of “art” itself and its transformation after Manet, the birth and death of the idea of beauty, the neglected question of the relationship between art and the passage (...) of time, the emergence of our “first universal world of art,” the contemporary role of the art museum and the musée imaginaire, and the contentious question of the relationship between art and history. -/- Rejecting negative criticisms from writers such as Maurice Merleau-Ponty and E. H. Gombrich, the study argues that Malraux offers us a theory of art that is fully coherent and highly illuminating. In addition, the analysis shows that he presents a radical challenge to the traditional explanations of art inherited from the Enlightenment that have dominated Western thinking for some three hundred years. In short, the study unveils a way of understanding art that is nothing short of an intellectual revolution. -/- The book is the English version of a study entitled André Malraux et l’Art: Une Révolution Intellectuelle published in French by Peter Lang in April 2021. (shrink)

Examines the birth of art-as-beauty in Western art and the concomitant birth of the idea of art itself. Also discusses the death of art-as-beauty from Manet onward and certain implications for aesthetics (the philosophy of art). Includes relevant reproductions. (The essay is a longer version of my paper "The Birth and Death of Beauty in Western Art" also listed on PhilPapers.).