Recently, Brummett and Crutchfield advanced two critiques of theists who object to moral enhancement. First, a conceptual critique: theists who oppose moral enhancement commonly do so because virtue is thought to be acquired only via a special kind of process. Enhancement does not involve such processes. Hence, enhancement cannot produce virtue. Yet theists also commonly claim that God is perfectly virtuous and not subject to processes. If virtue requires a process and God is perfectly virtuous without a process, however, then (...) theists contradict themselves. Second, a moral critique: theists who reject moral enhancement are selfish, since accepting moral enhancement would (allegedly) reduce widespread suffering. Theists often condemn selfishness, however. By condemning selfishness and (simultaneously) rejecting enhancement, therefore, theists contradict themselves yet again. We argue that both critiques fail. Both substantially misrepresent their target. First, Brummett and Crutchfield confuse metaphysical enhancement (attempts to alter human nature) with moral enhancement (attempts to become better human beings). Authors that Brummett and Crutchfield cite object to the former, not the latter. Second, both conceptual and moral critiques overlook the many resources within theistic traditions that can quickly resolve relevant (alleged) contradictions. The conceptual critique, for example, misrepresents both common views held among theists (regarding God’s virtue) and the ways in which virtue may be acquired. Similarly, the moral critique mischaracterizes the relationship commonly posited by theists between enhancement and agency. By attending to what theists actually claim—rather than relying on caricatures—it becomes clear that each of Brummett and Crutchfield’s critiques fail. (shrink)

Recently, Brummett and Crutchfield advanced two critiques of theists who object to moral enhancement. First, a conceptual critique: theists who oppose moral enhancement commonly do so because virtue is thought to be acquired only via a special kind of process. Enhancement does not involve such processes. Hence, enhancement cannot produce virtue. Yet theists also commonly claim that God is perfectly virtuous and not subject to processes. If virtue requires a process and God is perfectly virtuous without a process, however, then (...) theists contradict themselves. Second, a moral critique: theists who reject moral enhancement are selfish, because accepting moral enhancement would (allegedly) reduce widespread suffering. Theists often condemn selfishness, however. By condemning selfishness and (simultaneously) rejecting enhancement, therefore, theists contradict themselves yet again. We argue that both critiques fail. Both substantially misrepresent their target. First, Brummett and Crutchfield confuse metaphysical enhancement (attempts to alter human nature) with moral enhancement (attempts to become better human beings). Authors that Brummett and Crutchfield cite object to the former, not the latter. Second, both conceptual and moral critiques overlook the many resources within theistic traditions that can quickly resolve relevant (alleged) contradictions. The conceptual critique, for example, misrepresents both common views held among theists (regarding God's virtue) and the ways in which virtue may be acquired. Similarly, the moral critique mischaracterizes the relationship commonly posited by theists between enhancement and agency. By attending to what theists actually claim—rather than relying on caricatures—it becomes clear that each of Brummett and Crutchfield's critiques fail. (shrink)

The idea of cultural heritage has become widespread in many countries, justifying government regulation and providing the background to disputes over valuable works of art and architecture. In this book, Derek Gillman uses several well-known cases from Asia, Europe, and the United States to review the competing claims that works of art belong either to a particular people and place, or, from a cosmopolitan perspective, to all of humankind. He looks at the ways in which the idea of heritage (...) has been constructed. He focuses first on Britain and the writings of Edmund Burke and then on China and its medieval debate about the nature of 'our culture'. Drawing on a range of sources, including the work of Ronald Dworkin, Will Kymlicka, and Joseph Raz, Gillman relates debates about heritage to those in contemporary political philosophy and offers a liberal approach to moral claims and government regulation. (shrink)

Within educational philosophy and theory there has recently been a re-turn to the concept and practices of studying as an alternative or oppositional educational logic to push back against learning as the predominant mode of educational engagement. While promising, we believe that this research on studying has been limited in a few ways. First, while the ontological aspects of studying have been examined in a thorough manner, the affective dimension of studying has not yet been investigated. Second, while a diverse (...) range of theorists have been called upon to articulate studying, the philosophical resources out of which studying has been shaped have remained trapped within the western canon. We seek to address these limitations in this article by turning to some literature on affect theory, Daoist wind-stories, as well as the Yijing–Daoist Yin–Yang movement. In doing so, not only do we make contributions to research on studying, but we also contribute an educational understanding to affect theory and draw out important affinities between affective study and Daoist windstories. In other words, this paper moves to both articulate the affective dimensions of studying and illuminate a particular pedagogy of affect. More important, we move one step further to re-conceptualize learning and study, figuring them not merely as alternative or oppositional orderings, but as a Daoist Yin–Yang movement wherewith learning and studying, analogous to the Yin–Yang elements, always happen together, mutually informing, confronting, and transforming each other. (shrink)

This paper identifies the phenomenon of conceptual competence injustice, a form of epistemic injustice that occurs when a marginalized epistemic agent makes a conceptual claim and is illegitimately regarded as having failed to grasp one or more of the concepts expressed in her testimony. The notion of a conceptual claim is given a deflationary account that is coextensive with the class of a priori knowable claims. This study reveals a form of oppression that severely hinders marginalized epistemic agents who seek (...) to create or communicate conceptual knowledge. Conceptual competence injustice is compared and contrasted with three other forms of epistemic injustice: testimonial injustice, hermeneutical injustice, and contributory injustice. The final section investigates a number of damaging effects that conceptual competence injustice has on marginalized persons pursuing a career in academic philosophy. (shrink)

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

The debate over safe spaces has traditionally been cast as a conflict between competing goals. On the one hand we have epistemic goals such as the pursuit of truth and the free exchange of ideas. O...

This paper introduces the concept of linguistic hijacking, the phenomenon wherein politically significant terminology is co-opted by dominant groups in ways that further their dominance over marginalized groups. Here I focus on hijackings of the words “racist” and “racism.” The model of linguistic hijacking developed here, called the semantic corruption model, is inspired by Burge’s social externalism, in which deference plays a key role in determining the semantic properties of expressions. The model describes networks of deference relations, which support competing (...) meanings of, for example, “racist,” and postulates the existence of deference magnets that influence those networks over time. Linguistic hijacking functions to shift the semantic properties of crucial political terminology by causing changes in deference networks, spreading semantics that serve the interests of dominant groups, and weakening the influence of resistant deference networks. I consider an objection alleging the semantic corruption model gets the semantic data wrong because it entails those who hijack terms like “racist” speak truly, whereas it’s natural to see such hijacking misuses as false speech about racism. I then respond to this objection by invoking the framework of metalinguistic negotiation proposed by Plunkett and Sundell. (shrink)

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

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

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

Volume 1 of the Writings and Speeches of Edmund Burke presents Burke's early literary writings up to 1765, and before he became a key political figure. It is the first fully annotated and critical edition, with comprehensive notes and an authoritative introduction. The writings published here introduce readers to Burke's early attempts at a public voice. They demonstrate in a variety of ways how determined he was to become involved in the social and intellectual life of his (...) times. The one work of Burke's early life which has long been recognized as having prime critical significance, the Sublime and the Beautiful, is naturally found here. In addition the volume includes the first fully edited version of other works which have been neglected, notably the Vindication of Natural Society, a substantial satire on current philosophical and religious thought, the Abridgement of English History and the Hints for an Essay on the Drama. The volume also prints reliable texts of his early poems and prose `characters' as well as the first complete text of The Reformer since it was first published in 1748. This was a weekly paper devoted principally to the Dublin cultural scene and was edited by Burke shortly after he graduated from Trinity College, Dublin. (shrink)

This volume continues the story of Burke and the affairs of the East India Company which was begun in Volume V. By 1786, Burke had fixed on Warren Hastings as the main culprit for the abuses that seemed to him so glaring. He greeted Hastings's return to Britain with a parliamentary attack which culminated in a trial by impeachment in the House of Lords. This was to be one of Burke's major preoccupations for the rest of his (...) life. The material presented in this volume covers two years of proceedings in the House of Commons and the first session of the trial in the Lords. Its highlights are two great set-piece speeches delivered to the Commons, which can be reconstructed from manuscript material as well as from contemporary reports; and the four-day oration with which Burke opened the prosecution before the Lords: for this a complete verbatim shorthand record exists. The material in these and other speeches is not only central to an understanding of Burke and India, but to his moral and political thought as a whole in the years immediately before the outbreak of the French Revolution. (shrink)

This volume of The Writings and Speeches of Edmund Burke continues the story of Edmund Burke, the Rockingham party in British politics, and the American crisis. By 1774 Burke was already recognized as a master of parliamentary debate and an accomplished writer. By 1780, however, his reputation was to have risen substantially. Probably the most important single reason was his Speech on Conciliation with America, which was presented to the House of Commons in March 1775, published, and (...) circulated to a wide audience on both sides of the Atlantic. In that speech, Burke used the full force of his intellect and eloquence to set out the Rockinghams' first comprehensive plan for achieving lasting peace in the Empire. The public commendation he received helped him to gain recognition for offerings such as his second conciliation proposal in November 1775, and his Letter to the Sheriffs of Bristol in 1777. It also gave him some of the confidence he needed to announce the Whig party's historic conversion to a moderate reform programme in his celebrated speeches on economical reform in 1779 and 1780. Numerous writings and speeches in this volume are transcriptions of previously unpublished manuscripts from the collections at Sheffield and Northampton. These allow the reader new insights into the workings of Burke's mind not just in relation to the major political issues, but also to a multitude of engaging subjects such as education, capital punishment, religious dissent, and the return of the Rockingham Whigs to government power. (shrink)

This key volume specifically completes the collection of Edmund Burke's Indian Writings and Speeches which is set within the series, and is both an exposition of Burke's views on India from his coverage of the Hastings trial, and his views on maintaining the rule of a universal justice. The texts for the items, which have appeared in previous editions of Burke's Works, have been reconstructed, largely by the use of manuscripts. Indeed many of the shorter speeches appear (...) here in print for the first time. The volume includes a key speech which introduced one of the main charges in the trial of Warren Hastings on an impeachment from 1789-1794, and an important report on the conduct of the trial. It closes with the enormously lengthy and significant speech in which Burke summed up the prosecution's case over nine days. However, this volume is not only a full exposition of Burke's views on India but contains much of great interest about other aspects of his thought. In particular, Burke saw himself in these years as being engaged in a battle against the lawless disruption of society, both in Europe and in Asia, in order to maintain the rule of a universal justice, a main theme of this volume. (shrink)

The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".

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

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

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

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

Donald Preziosi, an influential modern voice in art history, argues that his discipline has proved ‘particularly effective in naturalizing and validating the very idea of art as a “universal” human phenomenon’. If this claim is true, it would mean, in my view, that art history has done a serious disservice to our modern understanding of art. For as the French art theorist, André Malraux, points out, the idea of art is definitely not a universal human phenomenon, there being ample evidence (...) that the vast majority of cultures throughout history, have not regarded their painting, sculpture, poetry, and music as ‘art’. -/- Today, of course, we willingly regard many works from non-European and early cultures as art and welcome them into art museums, but this is a recent development, barely more than a century old. This paper examines certain major issues arising from this situation, including: when and why the idea of art arose; the radical change in the word’s meaning that occurred after Manet; how this change led to the inclusion of many non-European and ancient works in our modern world of art; and the inadequate responses to these developments by modern philosophers of art and art historians. (shrink)

The first two sections of this paper jointly comprise an edited version of the commentary I presented in the panel discussion of Harald R. Wohlrapp, The concept of argument: A philosophical foundation at the OSSA 11 conference, May 2016. My principal focus was on a claim Wohlrapp makes about the extent to which his concept of justification is "reconcilable" with the views of current philosophers about justifications. Following the conference, Wohlrapp sent me a response to my commentary. In section 3, (...) I report and reply to three of the comments he made in his response. (shrink)

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

Donald Preziosi, an influential modern voice in art history, argues that his discipline has proved ‘particularly effective in naturalizing and validating the very idea of art as a “universal” human phenomenon’. If this claim is true, it would mean, in my view, that art history has done a serious disservice to our modern understanding of art. For as the French art theorist, André Malraux, points out, the idea of art is definitely not a universal human phenomenon, there being ample evidence (...) that the vast majority of cultures throughout history, have not regarded their painting, sculpture, poetry, and music as ‘art’. -/- Today, of course, we willingly regard many works from non-European and early cultures as art and welcome them into art museums, but this is a recent development, barely more than a century old. This paper examines certain major issues arising from this situation, including: when and why the idea of art arose; the radical change in the word’s meaning that occurred after Manet; how this change led to the inclusion of many non-European and ancient works in our modern world of art; and the inadequate responses to these developments by modern philosophers of art and art historians. -/- My apologies: I entered this item twice by mistake. PhilPapers will fix this soon. (shrink)

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

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

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

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

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

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

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

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

Critics often situate "Les Liaisons dangereuses" within the tradition of the novel of libertinage. Many consider it to be superior to its predecessors but argue nonetheless that it is part of an established tradition, not the beginning of something new. Malraux demurs. While noting similarities with the novel of libertinage, he contends that Laclos’ novel links up much more significantly with the novel of the future, its descendants including Julien Sorel and even Raskolnikov.

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

My main concern in this paper is with Trudy Govier’s acceptability criterion for the adequacy of the premises of an argument considered independently of whether they are “properly connected” to the conclusion. I consider arguments she makes against the view that a good argument must have true premises, and I con-tend that a theory of argument could hold both that for an argument to be a good argument its premises must be true and that for it to be a good (...) argument relative to its audience, the audience must be epistemically justified in accepting its premises as true. (shrink)

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

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