It is not unusual for even the very greatest polemics to proceed through some unfairness toward what they attack, indeed to draw strength from the very distortions which they impose upon their targets. In the same way that a good caricature of a person’s face enables us to see something that we feel was genuinely there to be seen all along, a conviction that persists in the face of, and may indeed be sustained by, our ongoing sense of the discrepancy (...) between the picture and the reality. Some such distortion may be necessary in order to point to or make visible a feature that is perfectly present, but is obscured by the mass of other details. In the case of ideas and systems of thought there is an additional reason for a positive concern with distortion, and that is that we do not encounter ideas in a social or intellectual void. Rather, they come to us through their admirers, detractors, followers and opponents. The social and intellectual reception and dissemination of Plato, or Marx, or the Bible are now and forever part of the meaning of those texts, and this remains true however demonstrable it may be that their reception involves a large distortion of what is actually there in those texts. To concern oneself with them must also be to concern oneself with what both their advocates and opponents have made of them, and in this or that context this image may be of greater social and intellectual importance than the question of strictly ‘correct’ readings. And of course for no contemporary school of philosophy has the social and cultural milieu of its reception been more important to its identity as a trend of thought than in the case of Existentialism, particularly in its French, Sartrean form. Today, of course, it has been a fact of intellectual life within the Academy for over 30 years that Existentialism has no friends, and is.. (shrink)

This article offers an alternative reading of the Abbé Sieyès and the modern ‘nation-state’ problématique. I argue that the subject/object that is constituted in the early days of modernity is the incomplete society: an impossible-possibility ideal of congruency of population, authority and space. I suggest reading this ideal of congruency as a fantasy in that it offers a certain ‘fullness to come’, the promise of jouissance that can never be attained and is thus constantly re-envisioned and reinvoked. Drawing on discourse-analytical (...) and psychoanalytical tools I explain the logic of fantasy before analysing Sieyès’ What is the Third Estate?, as I show how he critiques and fragments the old model of the state and how his reading of the nation is fantasmatic, a continuous project towards impossible congruency. (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)

Are grounding claims fully general in character? If an object a is F in virtue of being G, does it follow that anything that’s G is F for that reason? According to the thesis of Weak Formality, the answer here is ‘yes’. In this paper, however, I argue that there is philosophical utility in rejecting this thesis. More exactly, I argue that two currently unresolved problems in contemporary metaphysics can be dealt with if we hold that there can be cases (...) of ‘kind-dependent grounding’, the key thought being that once we allow for such cases, we must also accept that Weak Formality is false. (shrink)

Intentionality (‘directedness’, ‘aboutness’) is both a central topic in contemporary philosophy of mind, phenomenology and the cognitive sciences, and one of the themes with which both analytic and Continental philosophers have separately engaged starting from Brentano and Edmund Husserl’s ground-breaking Logical Investigations (1901) through Roderick M. Chisholm, Daniel C. Dennett’s The Intentional Stance, John Searle’s Intentionality, to the recent work of Tim Crane, Robert Brandom, Shaun Gallagher and Dan Zahavi, among many others. In this paper, I shall review recent discussions (...) of intentionality, including some recent explorations of the history of the concept (paying particular attention to Anselm), and suggest some ways the phenomenological approach of Husserl and Heidegger can still offer insights for contemporary philosophy of mind and consciousness. (shrink)

There is an apparent tension between Immanuel Kant's model of moral agency and his often-neglected philosophy of moral education. On the one hand, Kant's account of moral knowledge and decision-making seems to be one that can be self-taught. Kant's famous categorical imperative and related 'fact of reason' argument suggest that we learn the content and application of the moral law on our own. On the other hand, Kant has a sophisticated and detailed account of moral education that goes well beyond (...) the kind of education a person would receive in the course of ordinary childhood experience. The task of this paper will be to reconcile these seemingly conflicting claims. Ultimately, I argue, Kant's philosophy of education makes sense as a part of his moral theory if we look not only at individual moral decisions, but also at the goals or ends that these moral decisions are intended to achieve. In Kant's case, this end is what he calls the highest good, and, I argue, the most coherent account of the highest good is a kind of ethical community and end of history, similar to the Groundwork 's realm of ends. Seen as a tool to bring about and sustain such a community, Kant's philosophy of moral education exists as a coherent and important part of his moral philosophy. (shrink)

Throughout his career, Husserl identifies naturalism as the greatest threat to both the sciences and philosophy. In this paper, I explicate Husserl’s overall diagnosis and critique of naturalism and then examine the specific transcendental aspect of his critique. Husserl agreed with the Neo-Kantians in rejecting naturalism. He has three major critiques of naturalism: First, it (like psychologism and for the same reasons) is ‘countersensical’ in that it denies the very ideal laws that it needs for its own justification. Second, naturalism (...) essentially misconstrues consciousness by treating it as a part of the world. Third, naturalism is the inevitable consequence of a certain rigidification of the ‘natural attitude’ into what Husserl calls the ‘naturalistic attitude’. This naturalistic attitude ‘reifies’ and it ‘absolutizes’ the world such that it is treated as taken-for-granted and ‘obvious’. Husserl’s transcendental phenomenological analysis, however, discloses that the natural attitude is, despite its omnipresence in everyday life, not primary, but in fact is relative to the ‘absolute’ transcendental attitude. The mature Husserl’s critique of naturalism is therefore based on his acceptance of the absolute priority of the transcendental attitude . The paradox remains that we must start from and, in a sense, return to the natural attitude, while, at the same time, restricting this attitude through the on-going transcendental vigilance of the universal epoché. (shrink)

There is an apparent tension between Immanuel Kant’s model of moral agency and his often-neglected philosophy of moral education. On the one hand, Kant’s account of moral knowledge and decision-making seems to be one that can be self-taught. Kant’s famous categorical imperative and related ‘fact of reason’ argument suggest that we learn the content and application of the moral law on our own. On the other hand, Kant has a sophisticated and detailed account of moral education that goes well beyond (...) the kind of education a person would receive in the course of ordinary childhood experience. The task of this paper will be to reconcile these seemingly conflicting claims. Ultimately, I argue, Kant’s philosophy of education makes sense as a part of his moral theory if we look not only at individual moral decisions, but also at the goals or ends that these moral decisions are intended to achieve. In Kant’s case, this end is what he calls the highest good, and, I argue, the most coherent account of the highest good is a kind of ethical community and end of history, similar to the Groundwork’s realm of ends. Seen as a tool to bring about and sustain such a community, Kant’s philosophy of moral education exists as a coherent and important part of his moral philosophy. (shrink)

Disjunctivists maintain that perceptual experiences and hallucinatory experiences are distinct kinds of event with different metaphysical natures. Moreover, given their view about the nature of perceptual cases, disjunctivists must deny that the perceptual kind of experience can occur during hallucination. However, it is widely held that disjunctivists must grant the converse claim, to the effect that the hallucinatory kind of experience occurs even during perception. This paper challenges that thought. As we will see, the argument for thinking that the hallucinatory (...) kind of experience is present even in cases of perception depends on prior acceptance of a ‘non-demanding’ conception of hallucination, on which all it takes to produce an hallucinatory experience is to induce in the subject the right kind of neurological condition. On the view developed here, by contrast, there are substantive causal conditions, going beyond the mere occurrence of the right kind of neurological state, that must be met if an experience of the hallucinatory kind is to occur. By drawing on this view, I argue, disjunctivists can deny that the kind of experience involved in hallucination ever occurs during perception. This then allows disjunctivists to avoid certain important problems they would otherwise face. It also leaves them with considerably more freedom when it comes to theorising about the nature of hallucinatory experience. (shrink)

The Element provides an overview of Immanuel Kant's arguments regarding the content of the moral law, as well as an exposition of his arguments for the bindingness of the moral law for rational agents. The Element also considers common objections to Kant's ethics.

BackgroundInformed consent is a key element of ethical clinical research. Addicted population may be at risk for impaired consent capacity. However, very little research has focused on their comprehension of consent forms. The aim of this study is to assess the capacity of addicted individuals to provide consent to research.Methods53 subjects with DSM-5 diagnoses of a Substance Use Disorder and 50 non psychiatric comparison subjects participated in the survey from December 2014 to March 2015. This cross-sectional study was carried out (...) at a community-based Outpatient Treatment Center and at an urban-located Health Centre in Spain. A binary judgment of capacity/incapacity was made guided by the MacArthur Competence Assessment Tool for Clinical Research and a clinical interview. Demographics and clinical characteristics were assessed by cases notes and the Mini-Mental State Examination, the Global Assessment Functional Scale and the Clinical Global Impression Scale.ResultsNPCs performed the best on the MacCAT–CR, and patients with SUD had the worst performance, particularly on the Understanding and Appreciation subscales. 32.7 % SUD people lacked research-related decisional capacity. There were no statistically significant differences between the groups in terms of capacity to consent to research.ConclusionsThe findings of our study provide evidence that a large proportion of individuals with SUD had decisional capacity for consent to research. It is therefore inappropriate to draw conclusions about capacity to make research decisions on the basis of a SUD diagnosis. In the absence of advanced cognitive impairment, acute withdrawal or intoxication, we should assume that addicted persons possess decision-making capacity. Thus, the view that people with SUD would ipso facto lose decision-making power for research consent is flawed and stigmatizing. (shrink)

Abstract In 2006, the Turkish Harun Yahya Enterprise published and distributed thousands of copies of its anti‐evolutionary text Atlas of Creation to educational institutes in the West. Although this was little more than a publicity stunt, it resulted in Harun Yahya becoming a mainstay in discussions about creationism in Europe. Although Yahya is often presented as the “go to” representative of European Muslim perceptions of evolution, one would be hard pressed to find the literature about Islamic creationism in Europe that (...) does not engage in a discussion of Harun Yahya. However, little evidence exists to support the notion that Harun Yahya warrants such extensive attention, or that Harun Yahya has a substantive influence among European Muslims. This article will explore existing claims about the popularity of Harun Yahya, before drawing on recent research into Muslim perceptions of evolution to argue that Harun Yahya is relatively unknown among Muslims, at least in the British context, and is not influential even among those who are familiar with his work. (shrink)

This paper sketches a Kantian account of forgiveness and argues that it is distinguished by three features. First, Kantian forgiveness is best understood as the revision of the actions one takes toward an offender, rather than a change of feeling toward an offender. Second, Kant’s claim that forgiveness is a duty of virtue tells us that we have two reasons to sometimes be forgiving: forgiveness promotes both our own moral perfection and the happiness of our moral community. Third, we have (...) a duty to withhold forgiveness if with think forgiveness will cause or encourage our offender to wrong us again. This duty to sometimes withhold forgiveness stems from our duty of self-respect, which Kant repeatedly describes as a duty to ourselves to ensure that we are not harmed again. (shrink)

This paper draws on the cultural-materialist paradigm articulated by Raymond Williams to offer a radical historicisation of identity and identity-politics in capitalist societies. A keywords analysis reveals surprisingly that identity, as it is elaborated in the familiar categories of personal and social identity, is a relatively novel concept in Western thought, politics and culture. The claim is not the standard one that people’s ‘identities’ became more important and apparent in advanced capitalist societies, but that identity itself came to operate as (...) a new and key mechanism for construing, shaping and narrating experiences of selfhood and grouphood in this period. From a cultural-materialist perspective, the emergence and evolution of this idea of identity can only be properly understood in relation to the social contexts of its use, namely, the new contexts of consumption of capitalist societies, and the development of new forms of group-based struggle from the 1960s. What the analysis shows is that it was the commercialisation and politicisation of older essentialist understandings of selfhood and grouphood in these contexts that has given rise to the concepts of personal and social identity as we know them today.By exploring the material conditions that have given rise to the contemporary powerful attachment to ‘identity’, this paper offers a new point of departure from which to pursue many issues of concern to critical theorists and radical activists today, including the conflict over identity politics in radical circles, the historical and social processes behind their development and at least partial co-option, and their relation to neoliberal political-economic formations today. (shrink)

First published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

BackgroundNeuroimaging studies have shown a complex pattern of brain activation during perception of a pleasant odor and during its olfactory imagery. To date, little is known regarding changes in motor cortex excitability during these tasks. Bergamot essential oil is extensively used in perfumes and cosmetics for its pleasantness. Therefore, to further our understanding of the human sense of smell, this study aimed to investigate the effect of perception and imagery of a pleasant odor on motor cortex using Transcranial magnetic stimulation.Materials (...) and MethodsWe examined the primary motor cortex excitability during perception of a pleasant odor or perception of odorless saline. Furthermore, we tested the effect of olfactory imagery of BEO on corticospinal excitability. The increase in motor evoked potential amplitude was correlated with personality dimensions scores, pleasantness, vividness, and general imagery ability.ResultsThe results indicate that the corticospinal excitability changed after both perception and imagery of a pleasant odor. The correlation analysis shows an association with neuroticism personality trait and with general olfactory imagery ability.ConclusionBoth perception of a pleasant odor and its olfactory imagery modulate motor cortex excitability. The enhanced brain activation is affected by specific individual characteristics. Overall, our findings provide physiological evidence for a complex interaction between the olfactory and motor systems. (shrink)

Confronted with the thoroughgoing marketisation of education, scholars have revisited the nature of pedagogy. The work of Immanuel Kant is a resource for critiquing the channelling of the transformation of self and society into rapacious consumerism. Kant's exploration of the connection between inner freedom and political freedom has been recast as pedagogy of the oppressed. Countering the dismissal of the Enlightenment as an accomplice of colonialism and imperialism, Kantian pedagogy is enlisted in the struggle against the forces undermining the very (...) structure of liberal democracy and humanity on a global scale. This essay points to the limitations of this revindication on the grounds that it leaves undisturbed the formative complicities at work in the current crisis, complicities all too familiar to those who teach and learn. (shrink)

Phenomenology, understood as a philosophy of immanence, has had an ambiguous, uneasy relationship with transcendence, with the wholly other, with the numinous. If phenomenology restricts its evidence to givenness and to what has phenomenality, what becomes of that which is withheld or cannot in principle come to givenness? In this paper I examine attempts to acknowledge the transcendent in the writings of two phenomenologists, Edmund Husserl and Edith Stein (who attempted to fuse phenomenology with Neo-Thomism), and also consider the influence (...) of the existentialist Karl Jaspers, who made transcendence an explicit theme of his writing. I argue that Husserl does recognize the essential experience of transcendence within immanence; even the idea of a physical thinghas “dimensions of infinity” included within it. Similarly, he asserts profoundly that every “outside” is what it is only as understood from the inside. Jaspers toomakes the experience of transcendence central to human existence; it is the very measure of my own depth. For Edith Stein, everything temporal points towardthe timeless structural ground which makes it what it is. Transcendence is an intrinsic part of being itself. Furthermore, the very lack of self-sufficiency of my own self shows that the self requires a ground outside itself, in the transcendent. There is strong convergence between the three thinkers studied on the concept of transcendence, which is indeed a central, if largely unacknowledged, concept in phenomenology both in Husserl and his followers (Stein), but also, throughJaspers, in Heidegger. (shrink)

Testimony is an important source of knowledge in many contexts, including that of education, but the notion of the teacher as testifier is not often discussed. Since much that is believed by individuals has come to them not from direct experience but by accepting the accounts of others, the trustworthiness of their interlocutors' testimonies, whether these be spoken, textual or electronic in form, is an important factor in determining whether or not they acquire true, justified beliefs. Testimonial trustworthiness is a (...) combination of competence and sincerity, both of which tend to be high when a teacher testifies in her area of expertise. But in the world beyond the classroom there are situations in which the competence or sincerity of the testifier is low, so it is important that the learner acquires an epistemically-virtuous, well-attuned disposition towards testimony. (shrink)

Spontaneity – understood as an action of the mind or will that is not determined by a prior external stimulus – is a theme that resonates throughout Immanuel Kant's theoretical and practical philosophy. Though spontaneity and the concomitant notion of freedom lie at the foundation of many of Kant's most pivotal theses and arguments regarding cognition, judgment, and moral action, spontaneity and freedom themselves often remain cloaked in mystery, or accessible only via transcendental argument. This volume brings together a distinguished (...) group of scholars who explore the nature of freedom and spontaneity, the arguments Kant offers surrounding these concepts, and their place in Kant's larger philosophical system. The collection will be of interest to scholars interested in any aspect of Kant's philosophy, especially those who hope to gain a deeper insight into these fundamental Kantian ideas. (shrink)

In an 1896 letter to Wilhelm Fliess, the first and primary confidante for his fledgling ideas, the young Sigmund Freud wrote: “I see that you are using the circuitous route of medicine to attain your first ideal, the physiological understanding of man, while I secretly nurse the hope of arriving by the same route at my own original objective, philosophy. For that was my original ambition, before I knew what I was intended to do in the world.”1 When philosophy is (...) mentioned in his later, published, writings, it will normally be an occasion for Freud to disavow any such connection with the enterprise of psychoanalysis, a repeated gesture of denial that naturally only goes to show how profound the relationship must really be. For many years now, Jonathan Lear has been one of the great mediators between the worlds of philosophy and psychoanalysis, showing us what they have to learn from each other, and what they have difficulty 1 accepting from each other. In these lectures he explores a connection between a stance toward oneself that is furthered in the psychoanalytic session, and a stance towards one‟s life to which Kierkegaard gives the name „irony‟. I will begin my remarks with some thoughts about the general picture of irony presented in Professor Lear‟s lectures, and its relation to certain philosophical claims for the role of what is variously called „critical reflection‟, „self-consciousness‟, or the metaphor of “stepping back” from some aspect of one‟s thought or engagement in the world. I will then focus on the idea of self-knowledge at play in the lectures and the role of something called „expression‟ in this context. (shrink)