In my book God’s Call1 I gave an historical account of the debate within twentieth century analytic philosophy between moral realism and expressivism. Moral realism is the view that moral properties like goodness or cruelty exist independently of our making judgements that things have such properties. Such judgements are, on this theory, objectively true when the things referred to have the specified properties and objectively false when they do not. Expressivism is the view that when a person makes a moral (...) judgment, she is expressing emotion or desire or will. I used the term ‘orectic’ to refer to these mental states, because we do not have in English a sufficiently general term. In God’s Call, I started with a moral realist whom I called a ‘platonist’, G. E. Moore, and then I traced the argument through the emotivists, A. J. Ayer and Charles Stevenson, and the prescriptivist, R. M. Hare, and Iris Murdoch, whom I called a ‘humble platonist’, and J. L. Mackie’s ‘error theory’, and John McDowell, whose theory I call ‘disposition theory’, and David Brink, the ‘new-wave realist’, and Allan Gibbard, who calls his own theory ‘ norm expressivism ’. My project was to collect together the concessions that the two sides of the debate have made to each other over the course of this history, and then to construct a position which molds these concessions into a single coherent theory. I called this theory ‘prescriptive realism’. (shrink)

JOHN E. MURDOCH AND EDITH DUDLEY SYLLA INTRODUCTION Conferences and colloquia are held and their results often published, but very rarely is any account ...

This paper explores the notions of hope and how individual patient autonomy can trump carefully reasoned ethical concerns and policies intended to regulate stem cell transplants. We argue that the same limits of knowledge that inform arguments to restrain and regulate unproven treatments might also undermine our ability to comprehensively dismiss or condemn them. Incautiously or indiscriminately reasoned policies and attitudes may drive critical information and data underground, impel patients away from working with clinical researchers, and tread needlessly on hope, (...) the essential motivator of patients, advocates and researchers alike. We offer recommendations to clinicians and health care providers to help balance the discourse with individuals seeking treatment while guarding against fraud, misconception, and patient harm. (shrink)

As a work of a scholarship it seems to me to compare favourably with the best books on the subject, including those by Marcus Singer and Onora Nell.' Prof.

Examines Arthur Schopenhauer's (1788-1860) conception of human agency and responsibility, his unique ethics of the morally virtuous character, and his assessment of life as fundamentally suffering. This title focuses on his contention that the human will and the human body cannot have a cause and effect relationship with each other.

In response to Charles Taylor's book "Sources of the Self: The Making of the Modern Identity," Becker defends the Western view of ethical conceptions based on our unique identity, reasoning, and historical heritage.

This article, taking a social semiotic approach, analyses two pieces of music written, shared and exalted by two pre-1945 European fascist movements – the German NSDAP and the British Union of Fascists. These movements, both political and cultural, employed mythologies of unity, common identity and purpose in order to elide the realities of social distinction and political–economic inequalities between bourgeois and proletarian groups in capitalist societies. Visually and inter-personally, the fascist cultural project communicated a machine-like certainty about a vision for (...) a new society based on discipline, conformity and the might of the nation. In this article, we are interested in the ways that these very same discourses are also communicated through sound and music in two songs: The Horst Wessel Lied and the BUF marching song, two songs that used the same melody. We analyse the discourses communicated by the semiotic choices made in melody, arrangements, sound qualities, rhythms as well as in lyrics. The article first identifies some of the underlying semiotic resources for meaning making in sound and then shows how these are used in order to communicate specific ideas, values and attitudes. (shrink)