In order to create sustainable health systems, many countries are introducing ways to prioritize health services underpinned by a process of health technology assessment. While this approach requires technical judgments of clinical effectiveness and cost-effectiveness, these are embedded in a wider set of social (societal) value judgments, including fairness, responsiveness to need, non-discrimination and obligations of accountability and transparency. Implementing controversial decisions faces legal, political and public challenge. To help generate acceptance for the need for health prioritization and the resulting (...) decisions, the purpose of this paper is to develop a novel way of encouraging key stakeholders, especially patients and the public, to become involved in the prioritization process. (shrink)

A range of emergent studies have explored the idea of a renewed human-centered society, termed “Society 5.0,” and the role therein, of servant leadership. In this regard, in East Asian cultural contexts, existing scholarship does not yet provide sufficient theoretical and practical guidance for intercultural contexts, such as when a predominantly individualistic UK business culture interacts with generally collectivist Japanese culture. This is an important gap because if Society 5.0 is to be realized then a more in-depth intercultural contextual appreciation (...) and understanding are required. The study examines the UK/Japan setting and adopts a social constructivist epistemology and case study approach to illustrate dimensions of servant leadership (DSLs) manifesting in the lived experience of a UK business leader in Japan. Connections to business leader training are drawn and the importance of intercultural dyad specificity is highlighted. The study is also important because recent widespread exposure of various global corporate scandals creates a view that many business leaders care only for themselves or organizational profits, especially in individualistic-orientated societies. This original case study research herein commences the process of developing detailed and focal studies on underpinning drivers and raises hope that ethical behavior, as comprised in the DSLs, can potentially manifest in an individualistic UK/collectivist Japan intercultural dyad context. (shrink)

Contemporaneously, management studies have focused considerable attention on postmodernity. This engagement is premised on a particular reading of modernity and this paper identifies the frequent implication that spiritual and anti-rational aspects cannot be located in modernist experience and thus seek responses within post-modernism. However, the paper suggests that the spiritual and the anti-rational are integral to modernity through modernistic constructions in the arts. While a tension between the rational and the anti-rational within modernity is occasionally acknowledged, art studies discussed underwrite (...) the dominance of science as illustrated particularly through Greenberg’s account of abstract art. Alternative accounts of abstract art foreground the spiritual in the lives and work of some leading artists and the Theosophy Movement during the High, Modernist period (1890 – 1930). The surfaced tensions between the scientific and the spiritual at the heart of Modernity are related to management theory and its engagement with postmodernity. (shrink)

Peer review is a widely accepted instrument for raising the quality of science. Peer review limits the enormous unstructured influx of information and the sheer amount of dubious data, which in its absence would plunge science into chaos. In particular, peer review offers the benefit of eliminating papers that suffer from poor craftsmanship or methodological shortcomings, especially in the experimental sciences. However, we believe that peer review is not always appropriate for the evaluation of controversial hypothetical science. We argue that (...) the process of peer review can be prone to bias towards ideas that affirm the prior convictions of reviewers and against innovation and radical new ideas. Innovative hypotheses are thus highly vulnerable to being “filtered out” or made to accord with conventional wisdom by the peer review process. Consequently, having introduced peer review, the Elsevier journal Medical Hypotheses may be unable to continue its tradition as a radical journal allowing discussion of improbable or unconventional ideas. Hence we conclude by asking the publisher to consider re-introducing the system of editorial review to Medical Hypotheses. (shrink)

In this paper I do two things: (1) I support the claim that there is still some confusion about just what the Quine-Putnam indispensability argument is and the way it employs Quinean meta-ontology and (2) I try to dispel some of this confusion by presenting the argument in a way which reveals its important meta-ontological features, and include these features explicitly as premises. As a means to these ends, I compare Peter van Inwagen’s argument for the existence of properties (...) with Putnam’s presentation of the indispensability argument. Van Inwagen’s argument is a classic exercise in Quinean meta-ontology and yet he claims – despite his argument’s conspicuous similarities to the Quine-Putnam argument – that his own has a substantially different form. I argue, however, that there is no such difference between these two arguments even at a very high level of specificity; I show that there is a detailed generic indispensability argument that captures the single form of both. The arguments are identical in every way except for the kind of objects they argue for – an irrelevant difference for my purposes. Furthermore, Putnam’s and van Inwagen’s presentations make an assumption that is often mistakenly taken to be an important feature of the Quine-Putnam argument. Yet this assumption is only the implicit backdrop against which the argument is typically presented. This last point is brought into sharper relief by the fact that van Inwagen’s list of the four nominalistic responses to his argument is too short. His list is missing an important – and historically popular – fifth option. (shrink)

This article provides a spatial analysis of the conceptual framework of fluid dynamics during the nineteenth century, focusing on the transition from the Euler equation to the Navier–Stokes equation. A dynamic version of Peter Gärdenfors's theory of conceptual spaces is applied which distinguishes changes of five types: addition and deletion of special laws; change of metric; change in importance; change in separability; addition and deletion of dimensions. The case instantiates all types but the deletion of dimensions. We also (...) provide a new view upon limiting case reduction at the conceptual level that clarifies the relation between the predecessor and successor conceptual framework. The nineteenth-century development of fluid dynamics is argued to be an instance of normal science development. (shrink)

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...) creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

Since its original publication in 1975, this groundbreaking work has awakened millions of concerned men and women to the shocking abuse of animals everywhere--inspiring a worldwide movement to eliminate much of the cruel and unnecessary laboratory animal experimentation of years past. In this newly revised and expanded edition, author Peter Singer exposes the chilling realities of today's "factory farms" and product-testing procedures--offering sound, humane solutions to what has become a profound environmental and social as well as moral issue. An (...) important and persuasive appeal to conscience, fairness, decency and justice, Animal Liberation is essential reading for the supporter and the skeptic alike.--From publisher description. (shrink)

Peter Goldie opens the path to a deeper understanding of our emotional lives through a lucid philosophical exploration of this surprisingly neglected topic. Drawing on philosophy, literature and science, Goldie considers the roles of culture and evolution in the development of our emotional capabilities. He examines the links between emotion, mood, and character, and places the emotions in the context of consciousness, thought, feeling, and imagination. He explains how it is that we are able to make sense of our (...) own and other people's emotions, and how we can explain the very human things which emotions lead us to do. He argues that it is only from the personal point of view that thoughts, reasons, feelings, and actions come into view. This fascinating book gives an accessible but penetrating exploration of an important but mysterious subject. Any reader interested in emotion and its role in understanding our lives will find much to think about here. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Michael L. MarkPatrice Madura Ward-SteinmanI met Michael Mark at the first Philosophy of Music Education conference held at Indiana University in the summer of 1990. I was a doctoral student at IU then and had studied the writings of many of the conference presenters and so the experience of hearing and meeting them in person was a heady one, indeed. I will never forget those impressions of Phil Alperson, (...) Wayne Bowman, Allen Britton, David Elliott, Peter Kivy, Gerard Knieter, Thomas Regelski, Bennett Reimer, John Shepherd, Ann Stokes, Eleanor Stubley, Keith Swanwick, and many others.I was interested in meeting Michael after hearing his response to the presentation of one of my favorite IU professors of musicology, Austin Caswell. Caswell’s provocative paper, “How We Got into Canonicity and What it has Done to Us: An American Music Historian’s View of Music in Academia,” claimed that “the effect of canonicity on American musical life is destructive,” while Michael’s response was characterized by his style of writing that I came to recognize over the decades as distinct, calm, logical, methodical, and based in an extraordinarily wide and deep wealth of historical knowledge. While I greatly admired my rebellious and passionate professor’s views and temperament which were not unlike my own, I also appreciated hearing Michael’s measured and thoughtful response. Thus began my friendship with Michael, who, I learned, was not only a professor [End Page 92] and dean at Towson State University but also an avid big band woodwind doubler who showed interest in my doctoral research in the art of vocal jazz improvisation. That friendship lasted for almost twenty-eight years and we enjoyed memorable reunions at other conferences. For example, there was the ISPME conference held at UCLA where he invited me to dinner with his good friend and connoisseur of fine wines, Bennett Reimer, and the ISPME conference in Helsinki where, after I tripped and severely broke my ankle, requiring surgery, Michael, Estelle Jorgensen, Iris Yob, and two then-doctoral students (Kasia Bugaj and Leonard Tan) visited me in the Helsinki hospital.When I began teaching at the University of Southern California in 1995, it was fortuitous that Michael’s brother, Brian, lived in the Los Angeles area. His frequent visits allowed him to make several guest lectures to my graduate research methods classes, very welcome opportunities. After one of those lectures, I relayed the history of my family’s ballroom in the Chicago area that was open for business with big band music from 1929 until 1967. He asked if I had any artifacts from Madura’s Danceland, and when I mentioned my father’s stacks of dusty record books, newsletters, photos, and posters in our basement, he became very enthusiastic and told me that I had a “gold mine” of an archive with which to write a book about the place! As a trained quantitative researcher, I began to explore the record books to analyze trends in band pay over the Depression and World War II years.1 Over the next ten years, with help from Michael’s regular prodding and encouragement, I organized the large archive into the history of Madura’s Danceland.2 I owe this personally important accomplishment to Michael Mark.Michael invited me (in his endearing way which I could not refuse) to coauthor a music education textbook with him3 and our writing partnership went so smoothly that he invited me to co-author the 4th edition of his Contemporary Music Education.4 Although our writing styles and areas of expertise were very different, I learned much from his narrative approach which included illustrative scenarios, interviews, and the informal use of contractions, a style of writing that was not second nature for me. We wrote both books without meeting in person, except to celebrate the publication of the first at the Metropolitan Art Museum café in New York with our beloved spouses, Lois Mark and David Ward-Steinman.Dr. Michael L. Mark will long be remembered for his many books, chapters, and articles on the history of music education and his many symposium presentations; for his university teaching and administrative achievements; and for his... (shrink)

The relationship of part to whole is one of the most fundamental there is; this is the first and only full-length study of this concept. This book shows that mereology, the formal theory of part and whole, is essential to ontology. Peter Simons surveys and criticizes previous theories, especially the standard extensional view, and proposes a more adequate account which encompasses both temporal and modal considerations in detail. 'Parts could easily be the standard book on mereology for the next (...) twenty or thirty years.' Timothy Williamson, Grazer Philosophische Studien. (shrink)

Acting Now to End World Poverty Peter Singer. were our own, and we cannot deny that the suffering and death are bad. The second premise is also very difficult to reject, because it leaves us some wiggle room when it comes to situations in.

The topic of personal identity has prompted some of the liveliest and most interesting debates in recent philosophy. In a fascinating new contribution to the discussion, Peter Unger presents a psychologically aimed, but physically based, account of our identity over time. While supporting the account, he explains why many influential contemporary philosophers have underrated the importance of physical continuity to our survival, casting a new light on the work of Lewis, Nagel, Nozick, Parfit, Perry, Shoemaker, and others. Deriving from (...) his discussion of our identity itself, Unger produces a novel but commonsensical theory of the relations between identity and some of our deepest concerns. In a conservative but flexible spirit, he explores the implications of his theory for questions of value and of the good life. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction 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. 2 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. 4 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. 7 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. 9 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. 11 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. 13 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. 15 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. 17 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. 19 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):. ‘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):. ‘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):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. 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)

Peter Anstey presents a thorough and innovative study of John Locke's views on the method and content of natural philosophy. Focusing on Locke's Essay concerning Human Understanding, but also drawing extensively from his other writings and manuscript remains, Anstey argues that Locke was an advocate of the Experimental Philosophy: the new approach to natural philosophy championed by Robert Boyle and the early Royal Society who were opposed to speculative philosophy. On the question of method, Anstey shows how Locke's pessimism (...) about the prospects for a demonstrative science of nature led him, in the Essay, to promote Francis Bacon's method of natural history, and to downplay the value of hypotheses and analogical reasoning in science. But, according to Anstey, Locke never abandoned the ideal of a demonstrative natural philosophy, for he believed that if we could discover the primary qualities of the tiny corpuscles that constitute material bodies, we could then establish a kind of corpuscular metric that would allow us a genuine science of nature. It was only after the publication of the Essay, however, that Locke came to realize that Newton's Principia provided a model for the role of demonstrative reasoning in science based on principles established upon observation, and this led him to make significant revisions to his views in the 1690s. On the content of Locke's natural philosophy, it is argued that even though Locke adhered to the Experimental Philosophy, he was not averse to speculation about the corpuscular nature of matter. Anstey takes us into new terrain and new interpretations of Locke's thought in his explorations of his mercurialist transmutational chymistry, his theory of generation by seminal principles, and his conventionalism about species. (shrink)

This volume collects a wealth of articles covering a range of topics of practical concern in the field of ethics, including active and passive euthanasia, abortion, organ transplants, capital punishment, the consequences of human actions, slavery, overpopulation, the separate spheres of men and women, animal rights, and game theory and the nuclear arms race. The contributors are Thomas Nagel, David Hume, James Rachels, Judith Jarvis Thomson, Michael Tooley, John Harris, John Stuart Mill, Louis Pascal, Jonathan Glover, Derek Parfit, R.M. Hare, (...) Janet Radcliffe Richards, Peter Singer, and Nicholas Measor. (shrink)

ABSTRACT In Germany, applied ethics is under attack from a diverse coalition of left‐wing organisations, disability groups, and some conservative defenders of a strict doctrine of the sanctity of human life. The attack has been pressed to the point of forcing the cancellation of conferences and disrupting lectures or classes so that they cannot take place. This essay describes the extent and nature of the attack, and makes a preliminary assessment of its significance.

Formal logic provides us with a powerful set of techniques for criticizing some arguments and showing others to be valid. These techniques are relevant to all of us with an interest in being skilful and accurate reasoners. In this highly accessible book, Peter Smith presents a guide to the fundamental aims and basic elements of formal logic. He introduces the reader to the languages of propositional and predicate logic, and then develops formal systems for evaluating arguments translated into these (...) languages, concentrating on the easily comprehensible 'tree' method. His discussion is richly illustrated with worked examples and exercises. A distinctive feature is that, alongside the formal work, there is illuminating philosophical commentary. This book will make an ideal text for a first logic course, and will provide a firm basis for further work in formal and philosophical logic. (shrink)

This systematic introduction to Buddhist ethics is aimed at anyone interested in Buddhism, including students, scholars and general readers. Peter Harvey is the author of the acclaimed Introduction to Buddhism, and his new book is written in a clear style, assuming no prior knowledge. At the same time it develops a careful, probing analysis of the nature and practical dynamics of Buddhist ethics in both its unifying themes and in the particularities of different Buddhist traditions. The book applies Buddhist (...) ethics to a range of issues of contemporary concern: humanity's relationship with the rest of nature; economics; war and peace; euthanasia; abortion; the status of women; and homosexuality. Professor Harvey draws on texts of the main Buddhist traditions, and on historical and contemporary accounts of the behaviour of Buddhists, to describe existing Buddhist ethics, to assess different views within it, and to extend its application into new areas. (shrink)

Peter Szondi´s pathbreaking work is a succinct and elegant argument for distinguishing between a philosophy of the tragic and the poetics of tragedy espoused by Aristotle. The first of the book´s two parts consists of a series of commentaries on philosophical and aesthetic texts from twelve thinkers and poets between 1795 and 1915: Schelling, Hölderlin, Hegel, Solger, Goethe, Schopenhauer, Vischer, Kierkegaard, Hebbel, Nietzsche, Simmel, and Scheler. The various definitions of tragedy are read not so much in terms of their (...) specific philosophies, but rather in the way their views assist in analyzing tragedies with an aim to establish a general concept of the tragic. The second part presents exemplary analyses of eight tragedies: Sophocles’Oedipus Rex, Calderon´s Life Is a Dream, Shakespeare´s Othello, Gryphius´ Leo Armenius, Racine´s Phaedra, Schiller´s Demetrius, Kleist’s The Schroffenstein Family and Büchner’s Danton's Death. The readings neither presuppose a concept of the tragic determined by context (as in Hegel's idea of the conflict between two orders of right), nor do they focus exclusively on the texts´ explicit contents. Instead, they elaborate the dialectical or aporetic structures at the heart of the tragic. The works analyzed represent the four great epochs of tragic poetry: the age of Greek tragedy; the Baroque era in Spain, England, and Germany; French Classicism; and the age of Goethe. (shrink)

_One World Now_ seamlessly integrates major developments of the past decade into Peter Singer's classic text on the ethics of globalization, _One World_. Singer, often described as the world's most influential philosopher, here addresses such essential concerns as climate change, economic globalization, foreign aid, human rights, immigration, and the responsibility to protect people from genocide and crimes against humanity, whatever country they may be in. Every issue is considered from an ethical perspective. This thoughtful and important study poses bold (...) challenges to narrow nationalistic views and offers valuable alternatives to the state-centric approach that continues to dominate ethics and international theory. Singer argues powerfully that we cannot solve the world’s problems at a national level, and shows how we should build on developments that are already transcending national differences. This is an instructive and necessary work that confronts head-on both the perils and the potentials inherent in globalization. (shrink)

While ancient civilizations worshipped strong, active emotions, modern societies have favored more peaceful attitudes, especially within the democratic process. We have largely forgotten the struggle to make use of _thymos_, the part of the soul that, following Plato, contains spirit, pride, and indignation. Rather, Christianity and psychoanalysis have promoted mutual understanding to overcome conflict. Through unique examples, Peter Sloterdijk, the preeminent posthumanist, argues exactly the opposite, showing how the history of Western civilization can be read as a suppression and (...) return of rage. By way of reinterpreting the _Iliad_, Alexandre Dumas's _Count of Monte Cristo_, and recent Islamic political riots in Paris, Sloterdijk proves the fallacy that rage is an emotion capable of control. Global terrorism and economic frustrations have rendered strong emotions visibly resurgent, and the consequences of violent outbursts will determine international relations for decades to come. To better respond to rage and its complexity, Sloterdijk daringly breaks with entrenched dogma and contructs a new theory for confronting conflict. His approach acknowledges and respects the proper place of rage and channels it into productive political struggle. (shrink)

Peter Spader has written a magisterial study on Max Scheler, one of phenomenology’s earliest and greatest figures, whose theory of ethical personalism has become a major voice in the formulation of phenomenological ethics today. Spader follows Scheler’s use of the classic phenomenological approach, by means of which he presented a fresh view of values, feelings, and the person, and thereby staked out a new approach in ethics. Spader recreates the logic of Scheler’s quest, revealing the basis of his thought (...) and the reasons for his dramatic changes of direction. This remarkable study provides a framework that allows us to understand Scheler’s insights in the context of their dynamic evolution of his thought. It corrects imbalances in the presentation of his ideas and defends Scheler against key misunderstandings and criticisms. In short, Spader’s work continues the process of developing Scheler’s pioneering theory of ethical personalism. (shrink)

Nanotechnologies are enabling technologies which rely on the manipulation of matter on the scale of billionths of a metre. It has been argued that scientific uncertainties surrounding nanotechnologies and the inability of regulatory agencies to keep up with industry developments mean that voluntary regulation will play a part in the development of nanotechnologies. The development of technological applications based on nanoscale science is now increasingly seen as a potential test case for new models of regulation based on future-oriented responsibility, lifecycle (...) risk management, and upstream public engagement. This article outlines findings from a project undertaken in 2008–2009 for the UK Government’s Department of Environment, Food and Rural Affairs (DEFRA) by BRASS at Cardiff University, involving an in-depth survey both of current corporate social responsibility (CSR) reporting in the UK nanotechnologies industry, and of attitudes to particular stakeholder issues within the industry. The article analyses the results to give an account of the nature of corporate social performance (CSP) within the industry, together with the particular model of CSR operating therein (‘do no harm’ versus ‘positive social force’). It is argued that the nature of emerging technologies requires businesses to adopt particular visions of CSR in order to address stakeholder issues, and that the nanotechnologies industry presents specific obstacles and opportunities in this regard. (shrink)

"Divination and Human Nature" casts a new perspective on the rich tradition of ancient divination--the reading of divine signs in oracles, omens, and dreams. Popular attitudes during classical antiquity saw these readings as signs from the gods while modern scholars have treated such beliefs as primitive superstitions. In this book, Peter Struck reveals instead that such phenomena provoked an entirely different accounting from the ancient philosophers. These philosophers produced subtle studies into what was an odd but observable fact--that humans (...) could sometimes have uncanny insights--and their work signifies an early chapter in the cognitive history of intuition. Examining the writings of Plato, Aristotle, the Stoics, and the Neoplatonists, Struck demonstrates that they all observed how, setting aside the charlatans and swindlers, some people had premonitions defying the typical bounds of rationality. Given the wide differences among these ancient thinkers, Struck notes that they converged on seeing this surplus insight as an artifact of human nature, projections produced under specific conditions by our physiology. For the philosophers, such unexplained insights invited a speculative search for an alternative and more naturalistic system of cognition. Recovering a lost piece of an ancient tradition, "Divination and Human Nature" illustrates how philosophers of the classical era interpreted the phenomena of divination as a practice closer to intuition and instinct than magic. (shrink)

Abstract A growing number of theorists have argued that toleration, at least in its traditional sense, is no longer applicable to liberal democratic political arrangements—especially if these political arrangements are conceived of as neutral. Peter Jones has tried make sense of political toleration while staying true to its more traditional (disapproval yet non-prevention) meaning. In this article, while I am sympathetic to his motivation, I argue that Jones’ attempt to make sense of political toleration is not successful. Content Type (...) Journal Article Pages 1-6 DOI 10.1007/s11158-012-9177-3 Authors Peter Balint, The University of New South Wales, Canberra, ACT 2602, Australia Journal Res Publica Online ISSN 1572-8692 Print ISSN 1356-4765. (shrink)

Peter Singer identifies the central vision that unifies Marx's thought, enabling us to grasp Marx's views as a whole. He sees him as a philosopher primarily concerned with human freedom, rather than as an economist or a social scientist. In plain English, he explains alienation, historical materialism, the economic theory of Capital, and Marx's ideas of communism, and concludes with an assessment of Marx's legacy.

Illustrated throughout, Peter Mitchell's highly readable and non-technical Introduction to Theory of Mind focuses on the latest research in the field and integrates work carried out on humans, apes and children with autism.

One can rightly say of Peter Sloterdijk that each of his essays and lectures is also an unwritten book. That is why the texts presented here, which sketch a philosophical physiognomy of Martin Heidegger, should also be characterized as a collected renunciation of exhaustiveness. In order to situate Heidegger's thought in the history of ideas and problems, Peter Sloterdijk approaches Heidegger's work with questions such as: If Western philosophy emerged from the spirit of the polis, what are we (...) to make of the philosophical suitability of a man who never made a secret of his stubborn attachment to rural life? Is there a provincial truth of which the cosmopolitan city knows nothing? Is there a truth in country roads and cabins that would be able to undermine the universities with their standardized languages and globally influential discourses? From where does this odd professor speak, when from his professorial chair in Freiburg he claims to inquire into what lies beyond the history of Western metaphysics? Sloterdijk also considers several other crucial twentieth-century thinkers who provide some needed contrast for the philosophical physiognomy of Martin Heidegger. A consideration of Niklas Luhmann as a kind of contemporary version of the Devil's Advocate, a provocative critical interpretation of Theodor Adorno's philosophy that focuses on its theological underpinnings and which also includes reflections on the philosophical significance of hyperbole, and a short sketch of the pessimistic thought of Emil Cioran all round out and deepen Sloterdijk's attempts to think with, against, and beyond Heidegger. Finally, in essays such as "Domestication of Being" and the "Rules for the Human Park," which incited an international controversy around the time of its publication and has been translated afresh for this volume, Sloterdijk develops some of his most intriguing and important ideas on anthropogenesis, humanism, technology, and genetic engineering. (shrink)

The paper aims to clarify what is both meant and entailed when the notion of respect is invoked in relation to the issues of diversity. A distinction is introduced between two types of respecting agents: the state and the citizen. The paper then distinguishes respect in relation to a commonality – in this case citizenship – from respect in relation to specific difference. The importance of respect in relation to a commonality is stressed, whilst the distinction between the state and (...) the citizen as the respecting agent is used to raise questions about respect of difference. The latter part of the paper looks at Peter Jones’ compromise position of ‘mediated recognition,’ and suggests the possibility of ‘mediated accommodation.’. (shrink)

Among the works on ethics in the Aristotelian corpus, there is no serious dispute among scholars that the "Eudemian Ethics "is authentic. The "Eudemian Ethics "is" "increasingly read and used by scholars as a useful support and confirmation and sometimes contrast to the "Nicomachean Ethics." Yet, it remains a largely neglected work in the study of Aristotle's ethics, both among scholars and moral philosophers. Peter L. P. Simpson provides an analytical outline of the entire work together with summaries of (...) each individual section, making the overall structure and detailed argument clear. His translation and explanatory notes include the common books that the "Eudemian" "Ethics" shares with the "Nicomachean." This translation contains renderings of words and phrases, and proposals for emending the text that differ from what other translators and scholars have adopted. This translation is literal, without expansion or paraphrase, and yet also readable. A readable but literal translation is necessary because in the "Eudemian Ethics," more than usual in Aristotle's writings, the logic of the argumentation can turn on the peculiar wording or order. Simpson explains the argumentation where necessary in notes and separate explanatory comments. This book is a fresh, twenty-first-century rendition of the work of one of the most eminent philosophers of all time. (shrink)

Dieser Band versammelt die wichtigsten Arbeiten, in denen Peter Stemmer die kontraktualistische Moralkonzeption aus Handeln zugunsten anderer weiterentwickelt. Im Zentrum steht die Frage, anhand welcher Kriterien eine Moral, wie sie sein sollte, von falschen oder schlechten Moralen unterschieden werden kann. Besondere Aufmerksamkeit gilt der Rechtfertigung und ihrer Beziehung zum Unterdrückungsverbot. Behandelt wird auch der Zusammenhang von Wollen, praktischen Gründen und Normativität.

In _The Moral of the Story,_ Peter and Renata Singer draw on some of the best works of fiction, playwriting, and poetry in order to shed light on the perennial questions of ethics. A vivid montage of literature that touches on a broad range of ethical subjects and themes Offers a unique contribution to the study of moral philosophy and literature Demonstrates how literary sources can add richness to discussions of real-life moral questions and dilemmas Brings together selections and (...) excerpts from the world’s most celebrated short stories, novels, plays, and poetry Features substantive section introductions by Peter and Renata Singer Peter Singer is a leading moral philosopher, widely credited with triggering the modern animal-rights movement. His collection of essays, _Unsanctifying Human Life,_ edited by Helga Kuhse, was published by Blackwell Publishing in 2001. (shrink)

Filled with real-work examples, ethical dilemmas, and rich cases, Understanding Business Ethics Third Edition by Peter Stanwick and Sarah Stanwick examines business ethics using a managerial approach. The authors explain the fundamental importance of ethical leadership, decision making, and strategic planning while examining emerging trends in business ethics such as the developing world, human rights, environmental sustainability, and technology. The text's 25 cases profile a variety of industries, countries, and ethical issue in an applied way that are relevant and (...) meaningful to students' lives. (shrink)

Im Sommersemester 1988 hatte Peter Sloterdijk die Stiftungsdozen­tur für Poetik an der Johann Wolfgang Goethe-Universität in Frankfurt inne. Wie selbstverständlich ging er dabei aus von den Charakteristika dieser Poetik-Vorlesungen - und gelangte damit zugleich ins Zentrum seiner Reflexionen. »Wer von diesem Frank­furter Podium aus spricht, setzt sich in der Regel nicht aus, sondern blickt auf seine Aussetzungsgeschichte zurück. Man hat hier das Wort, weil man es anderswo schon einmal hatte. Man hatte es anderswo und früher, weil man es nicht (...) unterlassen konnte, sich auszusetzen, und weil man eigensinnig darauf bestand, sich hörbar und lesbar zu machen. Wir stoßen hier auf das Leitmotiv dieser Vorlesungen: wenn es in ihnen einen roten Faden gibt, dann entrollt er sich aus der Idee, daß die Poetik des Sichaussetzens als eine Poetik des Anfangens entwickelt werden muß. Ich will die Frage, wie man es anfängt, anzufangen, so darlegen, daß sie zugleich eine persönliche und allgemeine Antwort erlaubt.«. (shrink)

The first volume in Peter Sloterdijk's monumental Spheres trilogy: an investigation of humanity's engagement with intimate spaces. An epic project in both size and purview, Peter Sloterdijk's three-volume, 2,500-page Spheres is the late-twentieth-century bookend to Heidegger's Being and Time. Rejecting the century's predominant philosophical focus on temporality, Sloterdijk, a self-described “student of the air,” reinterprets the history of Western metaphysics as an inherently spatial and immunological project, from the discovery of self to the exploration of world to the (...) poetics of plurality. Exploring macro- and micro-space from the Greek agora to the contemporary urban apartment, Sloterdijk is able to synthesize, with immense erudition, the spatial theories of Aristotle, René Descartes, Gaston Bachelard, Walter Benjamin, and Georges Bataille into a morphology of shared, or multipolar, dwelling—identifying the question of being as one bound up with the aerial technology of architectonics and anthropogenesis. Sloterdijk describes Bubbles, the first volume of Spheres, as a general theory of the structures that allow couplings—or as the book's original intended subtitle put it, an “archeology of the intimate.” Bubbles includes a wide array of images, not to illustrate Sloterdijk's discourse, but to offer a spatial and visual “parallel narrative” to his exploration of bubbles. Written over the course of a decade, the Spheres trilogy has waited another decade for its much-anticipated English translation from Semiotext. Volumes II, Globes, and III, Foam, will be published in the coming seasons. (shrink)

Spirtes, Glymour and Scheines [Causation, Prediction, and Search Springer] described a pointwise consistent estimator of the Markov equivalence class of any causal structure that can be represented by a directed acyclic graph for any parametric family with a uniformly consistent test of conditional independence, under the Causal Markov and Causal Faithfulness assumptions. Robins et al. [Biometrika 90 491–515], however, proved that there are no uniformly consistent estimators of Markov equivalence classes of causal structures under those assumptions. Subsequently, Kalisch and B¨uhlmann (...) [J. Mach. Learn. Res. 8 613–636] described a uniformly consistent estimator of the Markov equivalence class of a linear Gaussian causal structure under the Causal Markov and Strong Causal Faithfulness assumptions. However, the Strong Faithfulness assumption may be false with high probability in many domains. We describe a uniformly consistent estimator of both the Markov equivalence class of a linear Gaussian causal structure and the identifiable structural coefficients in the Markov equivalence class under the Causal Markov assumption and the considerably weaker k-Triangle-Faithfulness assumption. (shrink)

Essays and detailed descriptions are built along a central axis tracing Eisenman's career. Project profiles are organized according to their "generating motif": the interiority of architecture, or projects generated by the internal forces of shapes and forms; and the exteriority of architecture, projects governed by external forces such as site and scientific process.

Wo liegt der Anfang der Bewegung, die unser Leben ist? Was steuert die Menschen in ihrem Verhalten? Wie kommt es zu unseren Handlungen? Die Menschen konnen ihrem Handeln ein inneres geistiges Geschehen vorschalten: das Uberlegen, und dann aus der Uberlegung so handeln, wie sie es tun. Der Beginn beim Uberlegen fuhrt allerdings schnell auf etwas Elementareres, darauf, dass die Menschen Wesen sind, die etwas wollen. Das Uberlegen ist in allem auf ein vorgangiges, anderweitig bestimmtes Wollen bezogen und in seinen Ergebnissen (...) von diesem Wollen abhangig. Tatsachlich liegt, so Peter Stemmer in seinem neuen Buch, die Substanz des menschlichen Lebens nicht im Uberlegen, sondern im Wollen. Wenn aber das Wollen die Ergebnisse des Uberlegens und damit das Handeln bestimmt, was bestimmt dann die Ausrichtung des Wollens? Warum wollen wir, was wir wollen? (shrink)

Modern political conflict characteristically reflects and represents deep-seated but also unacknowledged and un-analyzed disagreements about what it means to be 'objective'. In defending this proposition, Peter J. Steinberger seeks to reaffirm the idea of rationalism in politics by examining important problems of public life explicitly in the light of established philosophical doctrine. The Politics of Objectivity invokes, thereby, an age-old, though now widely ignored, tradition of western thought according to which all political thinking is inevitably embedded in and underwritten (...) by larger structures of metaphysical inquiry. Building on earlier studies of the idea of the state, and focusing on highly contested practices of objectivity in judgement, this book suggests that political conflict is an essentially discursive enterprise deeply implicated in the rational pursuit of theories about how things in the world really are. (shrink)

What is good political judgment? Is it a science subject to strict standards of logic and inference, or is it more like an art, the product of intuition, feeling, or even chance? Peter J. Steinberger shows how the seemingly contradictory claims of inference and intuition are reconciled in the concept of political judgment. Resting his argument on the larger notion of judgment itself, Steinberger develops an original model of how political judgments are made and how we justify calling some (...) of them "good." His systematic analysis of such thinkers as Machiavelli, Kant, Gadamer, Wittgenstein, and Oakeshott introduces an original notion of judgment as "intelligent performance," incorporating both intuition and rational reconstruction. Steinberger's conclusion—that a coherent political society must also be a judgmental one—flies in the face of much contemporary thinking. (shrink)