Bringing between two covers the most influential and accessible articles on Plato's Republic, this collection illuminates what is widely held to be the most important work of Western philosophy and political theory. It will be valuable not only to philosophers, but to political theorists, historians, classicists, literary scholars, and interested general readers.

Language, Duty, and Value Jonathan Dancy, J. M. E. Moravcsik James Opie Urmson, Edited by Jonathan Dancy, J. M. E. Moravcsik, and C. C. W. Taylor. reasons in general. This is freedom in the sense of acting on reasons, yet not those ...

This is the first modern, annotated and scholarly edition of Jean-Baptiste Du Bos’ _Critical Reflections on Poetry and Painting_, one of the seminal works of modern aesthetics in any language.

Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of aesthetically (...) successful works of art?” and “Is cultural appropriation in the arts morally objectionable?” Part of the highly regarded New Directions in Aesthetics series. (shrink)

The problems and the keys to their solutions -- Ontology of artworks -- Copyright and its limits -- Token appropriation -- Pattern appropriation -- Appropriation of artistic elements.

James O. Young seeks to explain why we value music so highly. He draws on the latest psychological research to argue that music is expressive of emotion by resembling human expressive behaviour. The representation of emotion in music gives it the capacity to provide psychological insight--and it is this which explains a good deal of its value.

Almost all of us would agree that the experience of art is deeply rewarding. Why this is the case remains a puzzle; nor does it explain why many of us find works of art much more important than other sources of pleasure. Art and Knowledge argues that the experience of art is so rewarding because it can be an important source of knowledge about ourselves and our relation to each other and to the world. The view that art is a (...) source of knowledge can be traced as far back as Aristotle and Horace. Artists as various as Tasso, Sidney, Henry James and Mendelssohn have believed that art contributes to knowledge. As attractive as this view may be, it has never been satisfactorily defended, either by artists or philosophers. Art and Knowledge reflects on the essence of art and argues that it ought to provide insight as well as pleasure. It argues that all the arts, including music, are importantly representational. This kind of representation is fundamentally different from that found in the sciences, but it can provide insights as important and profound as available from the sciences. Once we recognise that works of art can contribute to knowledge we can avoid thorough relativism about aesthetic value and we can be in a position to evaluate the avant-garde art of the past 100 years. Art and Knowledge is an exceptionally clear and interesting, as well as controversial, exploration of what art is and why it is valuable. It will be of interest to all philosophers of art, artists and art critics. (shrink)

A review of deVries' and O'Shea's books, both titled "Wilfrid Sellars". By Jaroslav Peregrin.

DUMMETT HAS BEEN CONCERNED WITH SHOWING HOW ONE MIGHT GIVE\nAN ANTI-REALIST ACCOUNT OF RESTRICTED CLASSES OF SENTENCES.\nTHIS PAPER ARGUES THAT IT IS POSSIBLE TO GIVE AN\nANTI-REALIST ACCOUNT OF ALL CLASSES OF SENTENCES. THAT IS,\nIN THE CASE OF NO CLASSES OF SENTENCES DOES TRUTH TRANSCEND\nWHAT CAN BE WARRANTED. THE KEY TO GLOBAL ANTI-REALISM IS\nREPLACING DUMMETT'S EMPIRICISM WITH A COHERENTIST ACCOUNT\nOF WARRANT. THE AUTHOR POINTS OUT THAT COLIN McGINN'S\nARGUMENT AGAINST GLOBAL ANTI-REALISM FAILS.

The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the 18th century. James O. Young presents the first complete English translation of the work, with full annotations and a comprehensive introduction, which illuminate Batteux's continuing philosophical interest.

Paul Oskar Kristeller famously argued that the modern ‘ system of the arts ’ did not emerge until the mid-eighteenth century, in the work of Charles Batteux. On this view, the modern conception of the fine arts had no parallel in the ancient world, the middle-ages or the modern period prior to Batteux. This paper argues that Kristeller was wrong. The ancient conception of the imitative arts completely overlaps with Batteux’s fine arts : poetry, painting, music, sculpture, and dance. Writers (...) from the sixteenth century on adopted the ancient conception of the imitative arts and anticipated the views of Batteux by 200 years. Batteux simply popularized the rubric ‘fine arts ’. (shrink)

The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the eighteenth century. It influenced every major aesthetician in the second half of the century, and is the work generally credited with establishing the modern system of the arts: poetry, painting, music, sculpture and dance. Batteux's book is also an invaluable aid to the interpretation of the arts of eighteenth century. And yet there has never been a complete or (...) reliable translation of The Fine Arts into English. Now James O. Young, a leading contemporary philosopher of art, has provided an eminently readable and accurate translation. It is fully annotated and comes with a comprehensive introduction that identifies the figures who influenced Batteux and the writers who were, in turn, influenced by him. This book will be of interest to everyone interested in the arts of the eighteenth century, French studies, the history of European ideas, and philosophy of art. (shrink)

Recent critics of the coherence theory of truth (notably Ralph Walker) have alleged that the theory is incoherent, since its defence presupposes the correctness of the contrary correspondence theory of truth. Coherentists must specify the system of propositions with which true propositons cohere (the specified system). Generally, coherentists claim that the specified system is a system composed of propositions believed by a community. Critics of coherentism maintain that the coherentist’s assertions about which system is the specified system must be true, (...) not because they cohere with a system of beliefs, but because of facts about what a community believes. I argue that coherentists can admit that there are facts about what systems of beliefs communities accept, without being committed to the claim that these facts are the truth conditions of sentences about what communities accept. (shrink)

This essay argues that there is no alethic basis for adopting one ontology of jazz music rather than another. Any ontology of jazz that is consistent with the available empirical evidence may be adopted, though pragmatic reasons may exist for favouring one ontology of jazz over another. There are empirical differences between jazz and much of classical music, but one may adopt the same ontology for jazz that one adopts for works classical music.

"This volume offers a new translation of the Neoplatonist philosopher Simplicius' commentary on the chapters concerning place and time in Aristotle's Physics, Book Four. Written after the closing of the Athenian Neoplatonist school in A.D. 529, the commentary clarifies the structure and meaning of Aristotle's arguments and provides a rich account of 800 years of interpretation." "Surprisingly, in the first five chapters of Book Four Aristotle shows place as two-dimensional: one's place is the two-dimensional inner surface of one's surroundings. He (...) also suggests that the upward motion of air and fire and the downward motion of earth and water are partly explained by the natural places to which they tend. Place thus has power (dunamis) of its own. In his last five chapters, Aristotle argues that if time did not entail change its passage would be undetectable, and that time, by definition countable, requires the existence of conscious beings to do the counting. Among the many relevant views that Simplicius records are those of Galen, who attacks this claim, and of Eudemus, who rebuts the Pythagorean theory that history will repeat itself exactly. J. O. Urmson's translation serves as a companion to his earlier translation of the Corollaries on Place and Time, in which Simplicius sets forth his own views as distinct from those of Aristotle." "A major sourcebook for the interpretation of Aristotle, this volume will be welcomed by scholars and students in the fields of classics, ancient philosophy, ancient history, and medieval studies."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

abstract In a number of contexts one comes across the suggestion that cultures are collective owners of cultural property, such as particularly significant works of art. Indigenous peoples are often held to be collective owners of cultural property, but they are not the only ones. Icelandic culture is said to have a claim on the Flatejarbók and Greek culture is held to own the Parthenon Marbles. In this paper I investigate the conditions under which a culture is the rightful owner (...) of cultural property. I argue against the claims that cultures inherit cultural property. I also argue that a culture's claim to own cultural property is seldom, if ever, founded on either practices employed in the culture or collective production of cultural property. I maintain, however, that the very value of cultural property for some culture can, in some instances, provide the basis for the culture's claim on the property. (shrink)

A bewildering array of accounts of the ontology of musical works is available. Philosophers have held that works of music are sets of performances, abstract, eternal sound-event types, initiated types, compositional action types, compositional action tokens, ideas in a composer’s mind and continuants that perdure. This paper maintains that questions in the ontology of music are, in Rudolf Carnap’s sense of the term, pseudo-problems. That is, there is no alethic basis for choosing between rival musical ontologies. While we have no (...) alethic basis for choosing any ontology of music, pragmatic reasons can be given for favoring certain ontologies of musical works over others. (shrink)

This four volume set brings together both classic and contemporary writings to provide a comprehensive collection of the most important essays on the subject. All of the various artistic genres are addressed, with sections on film, dance and architecture as well as music, literature and the visual arts. With a new introduction by the editor to guide the reader through the volumes, this major new work will provide student and researcher alike with key writings on aesthetics in one convenient, unique (...) resource. (shrink)

Review of Why Music Moves Us by Jeanette Bicknell.

_Explores James’s concept of the individual in terms of physiology, psychology, philosophy, and religion._.

This chapter contains sections titled: Introduction Is ‘subject appropriation’ a misnomer? Subject appropriation and misrepresentation Cultural Appropriation and Assimilation Harm and Accurate Representation Privacy Authenticity and Subject Appropriation Envoy Conclusion References.

Some recent defenses of fallibilism have sought to reconcile the claim, 'i know that "p"', with the claim that one might nevertheless be in error. i argue that this cannot be done. the logic of fallibilism requires that 'i know that "p"' be replaced with 'i "believe" that i know that "p"'. in that case, one is not asserting the possession of justified true belief, but only of justified belief, which alone allows consistently for the possibility of error.

"Aristotle's Physics Book 3 covers two subjects: the definition of change and the finitude of the universe. Change, which enters into the very definition of nature as an internal source of change, receives two definitions in chapters 1 and 2, as involving the actualization of the potential or of the changeable. Alexander of Aphrodisias is reported as thinking that the second version is designed to show that Book 3, like Book 5, means to disqualify change in relations from being genuine (...) change. Aristotle's successor Theophrastus, we are told, and Simplicius himself, prefer to admit relational change."--BOOK JACKET. (shrink)

Explores James’s concept of the individual in terms of physiology, psychology, philosophy, and religion.

Several prominent philosophers of music, including Lydia Goehr and Peter Kivy, maintain that the experience of music changed drastically in about 1800. According to the great divide hypothesis, prior to 1800 audiences often scarcely attended to music. At other times, music was appreciated as part of social, civic, or religious ceremonies. After the great divide, audiences began to appreciate music as an exclusive object of aesthetic experience. The great divide hypothesis is false. The musicological record reveals that prior to the (...) great divide music was often the exclusive object of aesthetic experience. (shrink)

The correspondence theory of truth holds that each true sentence corresponds to a discrete fact. Donald Davidson and others have argued (using an argument that has come to be known as the slingshot) that this theory is mistaken, since all true sentences correspond to the same “Great Fact.” The argument is designed to show that by substituting logically equivalent sentences and coreferring terms for each other in the context of sentences of the form ‘P corresponds to the fact that P’ (...) every true sentence can be shown to correspond to the same facts as every other true sentence. The claim is that all substitution of logically equivalent sentences and coreferring terms takes place salva veritate. I argue that the substitution of coreferring terms in this context need not preserve truth. The slingshot fails to refute the correspondence theory. (shrink)