In this paper we examine the epistemic treatment of Indigenous peoples by the Inter-American Court and Commission on Human Rights, two institutions that have sought to affirm the rights of Indigeno...

In the management and business ethics literatures, stakeholder engagement has been demonstrated to lead to more ethical management practices. However, there may be limits on the extent to which stakeholder engagement can, as currently conceptualized, resolve some of the more difficult ethical challenges faced by managers. In this paper we argue that stakeholder engagement, when seen as a way of reducing five types of knowledge problems—risk, ambiguity, complexity, equivocality, and a priori irreducible uncertainty—can aid managers in resolving such ethical challenges. (...) Using a practical illustration of the ethical challenges surrounding the development and application of genetic modification technologies, we demonstrate how stakeholder engagement enables managers to better address these knowledge problems, thereby to manage more ethically. In this way, we suggest that stakeholder engagement has an even more crucial role to play in business ethics research and practice. (shrink)

Over the past few decades, Indigenous communities have successfully campaigned for greater inclusion in decision-making processes that directly affect their lands and livelihoods. As a result, two important participatory rights for Indigenous peoples have now been widely recognized: the right to consultation and the right to free, prior and informed consent (FPIC). Although these participatory rights are meant to empower the speech of these communities—to give them a proper say in the decisions that most affect them—we argue that the way (...) these rights have been implemented and interpreted sometimes has the opposite effect, of denying them a say or ‘silencing’ them. In support of this conclusion we draw on feminist speech act theory to identify practices of locutionary, illocutionary, and perlocutionary group silencing that arise in the context of consultation with Indigenous communities. (shrink)

Hume's Aesthetic Theory examines the neglected area of the development of aesthetics in empiricist thinking, exploring the link between the empiricist background of aesthetics in the eighteenth century and the work of David Hume.

Containing twenty-two essays, including Dabney Townsend's essay on the development of eighteenth century aesthetics to make the history of aesthetics accessible to both students and specialists alike.

Hume consistently treats all of the passions, emotions, and feelings, so called, as sentiments in the tradition of Shaftesbury. Further, for Hume, sentiment is the epistemic basis of a disciplined form of thinking, and, as such, it implies both a moral and an aesthetic epistemology (though ‘aesthetic’ is anachronistic when applied to Hume). When sentiment is understood in this way, it becomes the primary evidence for knowledge. Properly disciplined, sentiment can play the role that clear and distinct ideas played for (...) Descartes and Locke, and that internal sense played for Hutcheson. Hume thinks that sentiment allows one to escape the contradictions and skepticism that destroy other empiricist systems. The question discussed in this article, therefore, is how Hume’s use of sentiment legitimizes it as the leading form of judgment, and how that judgment is essentially aesthetic as well as moral. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Values of Beauty: Historical Essays in AestheticsDabney TownsendValues of Beauty: Historical Essays in Aesthetics, by Paul Guyer; 359 pp. Cambridge: Cambridge University Press, 2005, $75.00, $27.99 paper.This volume collects thirteen essays that range over topics from the eighteenth century to the twentieth century. The earliest was published in 1986, the last in 2004, and three appear here for the first time. They are grouped topically by period—"I. Mostly (...) before Kant; II. Mostly Kant; III. Mostly After Kant"—rather than chronologically. While this order is useful, it introduces some dislocation if one approaches the book as a whole since the last essay in the book is the first chronologically, and part of the interest of the book lies in the changes in Paul Guyer's positions over time that are reflected in his careful reconsideration of topics that he has dealt with more extensively in his volumes on Kant's [End Page 422] philosophy. As one of the most important contemporary interpreters of Kant's aesthetics, those reconsiderations are well worth attending to.The focus of all of the essays is clearly on Kant's aesthetics. That perspective is clear even when Guyer is discussing the history of aesthetics prior to Kant. As he notes, "this history of the first decades of modern aesthetics has obviously been written with an eye to Kant" ("Origins of Modern Aesthetics: 1711–1735," pp. 32–33). It continues in the discussions of recent aesthetics. For example, Guyer concludes that "the effect that is intended on the revised Beardsleyan definition [of art] is in the tradition of the Kantian concept of the free play of imagination and understanding" ("From Jupiter's Eagle to Warhol's Boxes," p. 313). Danto and Mothersill are also, it is argued, in the Kantian tradition.There are, of course, some problems with this perspective, especially with regard to the pre-Kantian history of aesthetics. For example, Guyer finds Kant's distinction between pure beauty and apprehended beauty reflected in an earlier distinction between beauty of form and beauty of interest or utility. He writes: "The foundation of this theory [Hume's theory of beauty in the Treatise and An Enquiry Concerning the Principles of Morals] is the division of beauty into two classes, the first that of pleasurable sentiment caused by an immediate response—that is, a response not mediated by the intervention of imagination or judgment—to the form or other perceptual qualities of an object, and the second that of pleasurable sentiment, which arises only when the perception of the form of an object is supplemented by a concept or concepts brought to bear on it by imagination or judgment." ("The Standard of Taste and the 'Most ardent Desire of Society,'" p. 46). What Guyer identifies as a distinction between kinds of beauty is for Hume a distinction between sources of ideas, however. The second kind of beauty requires reflection and the combination of other ideas. For Hume, there are not two kinds of beauty but two ways that the ideas of beauty, which is just a form of pleasure, are sorted. Reservations about Guyer's perspective on the earlier history of aesthetics do not detract from the interest of his analysis, however, which is always careful and detailed.The central eight essays labeled "Mostly Kant" trace themes that Guyer has treated in much greater detail in his earlier books. Two central themes are especially prominent throughout these essays. First, Guyer views Kant's theory of beauty as the harmony of the imagination and the understanding: "The concept of the free yet harmonious play between the cognitive powers of imagination and understanding is the central concept in Kant's explanation of the experience of beauty and the analysis of the judgment of taste" ("The Harmony of the Faculties Revisited," p. 77). He refers back to essentially this formulation throughout the subsequent essays. Much of the interest of these essays lies in the way Guyer explicates and defends this central thesis against alternative readings of Kant and objections that it is inconsistent with the freedom from concepts and the purity of beauty that Kant claims.Second, Guyer reads Kant's aesthetics as... (shrink)

Traditionally, psychologists have utilized rather large-grain, macro units to clarify and measure cognition. Favored units include psychometric factors (e.g., IQ,verbal ability, quantitative ability) and categories of cognition (e.g., inductive reasoning, inference, mental rotation). In this paper, we tested the hypothesis that specific language concepts can complement psychometric factors and cognitive categories as distinguishable units of human intelligence. We found that productive use of specific language in persuasive essays predicted cognitive ability scores on the Cognitive Abilities Test (CogAT). A simple sum (...) of specific words used (ranging from 0 to 7) correlated with cognitive factors almost as highly as the ability tests intercorrelated. The proposed model speculates that, as semiotic signs, discrete language concepts compose in part the cultural heritage passed on with modification from generation to the next. Moreover, in contrast to other units of analysis, cognitive tools in the form of specific language are teachable in a direct and deliberate manner as one function of education. (shrink)

Traditionally, psychologists have utilized rather large-grain, macro units to clarify and measure cognition. Favored units include psychometric factors (e.g., IQ,verbal ability, quantitative ability) and categories of cognition (e.g., inductive reasoning, inference, mental rotation). In this paper, we tested the hypothesis that specific language concepts can complement psychometric factors and cognitive categories as distinguishable units of human intelligence. We found that productive use of specific language in persuasive essays predicted cognitive ability scores on the Cognitive Abilities Test (CogAT). A simple sum (...) of specific words used (ranging from 0 to 7) correlated with cognitive factors almost as highly as the ability tests intercorrelated. The proposed model speculates that, as semiotic signs, discrete language concepts compose in part the cultural heritage passed on with modification from generation to the next. Moreover, in contrast to other units of analysis, cognitive tools in the form of specific language are teachable in a direct and deliberate manner as one function of education. (shrink)

This anthology is a collection of basic readings for beginning students, chosen to illustrate the major movements in the history, development and nature of aesthetics. Selections of major importance are drawn from the period of the Greeks to the mid-twentieth century. Every section introduction includes an historical overview of each period, biographical information, and a brief analysis of key concepts. The editor designed this anthology to be of sufficient length for use as the sole text in a one quarter course, (...) yet brief enough to invite the use of additional materials in longer courses. (shrink)

This volume is a fascinating introduction to the core themes and basic methods of aesthetics and the philosophy of art. Providing an analytic and historical treatment of the issues, and including many illustrative examples to both motivate and reinforce theoretical discussion, An Introduction to Aesthetics is the ideal course book for the philosophical novice. It includes an Appendix, a comprehensive Glossary and further reading suggestions to help the student reader develop a deeper comprehension of the field.

This commentary argues that Ted Cohen's claim that Kant confuses logical and aesthetic judgements (in ‘Three Problems in Kant's Aesthetics’, British Journal of Aesthetics, vol. 42 [2002], pp. 1–12) can be countered by a somewhat different reading of Kant's argument in 8 of the Critique of Judgement. Cohen construes Kant's argument as an inductive generalization based on common properties. I suggest, instead, that Kant distinguishes between judgements of taste, which do not require concepts, and logical generalizations that are based directly (...) on experience and that do allow concepts. ‘Beauty’ is used equivocally, but that frees Kant from the charge of logical error or self-contradiction. (shrink)

_Hume's Aesthetic Theory_ examines the neglected area of the development of aesthetics in empiricist thinking, exploring the link between the empiricist background of aesthetics in the eighteenth century and the work of David Hume. This is a major contribution to our understanding of Hume's general philosophy and provides fresh insights into the history of aesthetics.

Aesthetics is not a "factual" discipline; there are no aesthetic facts. The word itself is derived from the Greek word for "feeling" and the discipline arises because of the need to find a place for the passions within epistemology—the branch of philosophy that investigates our beliefs. Aesthetics is more than just the study of beauty; it is a study of that which appeals to our senses, most often in connection with the classification, analysis, appreciation, and understanding of art. The Historical (...) Dictionary of Aesthetics covers its history from Classical Greece to the present, including entries on non-western aesthetics. The book contains a chronology, a list of acronyms and abbreviations, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on the main concepts, terminology, important persons , and the rules and criteria we apply in making judgments on art. By providing concise information on aesthetics, this dictionary is not only accessible to students, but it provides details and facts to specialists in the field. (shrink)