美と芸術が人に及ぼす力の観点から、「侘び」「寂び」「幽玄」という古来の美的概念の関係性を解明し、日本的美の特質を捉え直す.

Using the principles of John Rawls' theory of justice, this book offers an alternative political vision; one which describes a mode of governance that will enable communities to implement a sustainable and socially just future. Rawls described a theory of justice that not only describes the sort of society in which anyone would like to live but that any society can create a society based on just institutions. While philosophers have demonstrated that Rawls's theory can provide a framework for the (...) discussion of questions of environmental justice, the problem for many philosophical theories is that discussions of sustainable development open the need to address questions of ecological interdependence, historical inequality in past resource use and the recognition that we cannot afford to ignore the limitations of growth. These ideas do not fit in comfortably in standard discourse about theories of justice. In contrast, this book frames the discussion of global justice in terms of environmental sustainability. The author argues that these ideas can be used to develop a coherent political theory which reconciles cosmopolitan arguments and the non-cosmopolitan or nationalist arguments concerning social and environmental justice. This book will be of great interest to students and scholars of environment philosophy and ethics, moral and political philosophy, global studies and sustainable development. (shrink)

1. Sae sidae rŭl yŏrŏ gan saramdŭl -- 2. Ŏdum ŭi sidae.

1. Shizen -- 2. Chisei -- 3. Chitsujo -- 4. Jikan -- 5. Bi.

The #metoo movement has forced many fans to consider what they should do when they learn that a beloved artist has acted immorally. One natural thought is that fans ought to give up the artworks of immoral artists. In Why It's OK to Enjoy the Work of Immoral Artists, Mary Beth Willard argues for a more nuanced view. Enjoying art is part of a well-lived life, so we need good reasons to give it up. And it turns out good reasons (...) are hard to find. Willard show that it's reasonable to believe that most boycotts of artists won't succeed, so most of the time there's no ethical reason to join in. Someone who manages to separate the art from the artist isn't making an ethical mistake by buying and enjoying their art. She then considers the ethical dimensions of canceling artists and so-called "cancel culture," arguing that canceling is ethically risky because it encourages moral grandstanding. Willard concludes by arguing that the popular debate has overlooked the power of art to change our lives for the good. It's of course OK to decide to give up the artwork of immoral artists, but--as Willard shows in this provocative little volume--it's OK to continue to enjoy their art, as well. Key Features Offers accessible discussions of complicated philosophical topics like aesthetic value, collective action problems, and epistemic justice Provides a unique perspective and underexplored argument on the popular issue of cancellation Explores the role of aesthetic value in our lives, including its relation to our ethical decisions and our well being. (shrink)

This chapter demonstrates why the commonsensical idea of forgetting as simply a vice is problematic. It presents some philosophical arguments for the positive role of forgetting. Forgetting can be understood in many ways, for example forgetting as a cause of memory-seeming, forgetting as a reliable process of justification, forgetting as an intellectual virtue, and forgetting as a way of liberation. The polysemy of forgetting can be traced back to Plato’s conceptual distinction between ἐπιλήθομαι and λήθη. It echoes with the many (...) facets of forgetting by showing how the opposite of memory relates to different domains such as knowing and perception. Key to classifying the polysemy of forgetting is a taxonomy of forgetting according to the computational model of memory. It brings out how the tripartite stages of memory correspond to the different types of forgetting. (shrink)