Troubling Reason: Notes from Underground Revisited -- Love, Attention and Teaching: The Brothers Karamazov -- Passion as a Quality of Education: The Death of Ivan Ilyich -- Education, Rationality and the Meaning of Life: Tolstoy's Confession -- Pedagogy of the Gaze: An Educational Reading of Lolita -- Education Arrayed in Time: Nabokov and the Problem of Time and Space -- Conclusion: Literature, Philosophy and Education.

Questions about the status of literary truth are as old as literary criticism, but they have become both more intricate and more compelling as literature has grown progressively more self-conscious and labyrinthian in its dealings with "reality." One might perhaps read The Iliad or even David Copperfield without raising such issues. But authors like Gide , Nabokov, Borges, and Robbe-Grillet seem continually to remind their readers of the complex nature of literary truth. How, for instance, are we to deal (...) with a passage like the following from William Demby's novel The Catacombs:"When I began this novel, I secretly decided that, though I would exercise a strict selection of the facts to write down, be they 'fictional' facts or 'true' facts taken from newspapers or directly observed events in my own life, once I had written something down I would neither edit not censor it ."1What does this sentence mean? When an apparently fictional narrator distinguishes between "fictional" and "true" facts, what is the status of the word "true"? It clearly does not mean the same as "fictional," for he opposes it to that term. Yet it cannot mean "true" in the sense that historians would use, for he calls what he is writing a novel, and even if he quotes accurately from newspapers, the events of a narrator's life are not "historically" true. · 1. William Demby, The Catacombs , p.93. Peter J. Rabinowitz, assistant professor at Kirkland College, is currently working on articles on Raymond Chandler, Faulkner, and Dostoyevsky and is, as well, a music critic for the Syracuse Guide. He wrote his doctoral dissertation in comparative literature on the philosophical implications of Nabokov's use of humor and terror. "Truth in Fiction" is the first article he has had published in a scholarly journal. (shrink)

To be sure, I agree that Nabokov creates a "sense of dizzying complexity," but I don't see how Dowling accounts for it at all. First of all, the passage he cites from Pnin is not an instance of the Liar's Paradox. The Liar's Paradox occurs when a single person claims that he or she always lies—for in that case, there is no logically consistent way to call the claim either true or false. In Pnin, however, we have something quite (...) different: a person, whom we suspect of often filtering the truth to serve his own ends, claims that someone else has called him a liar. That's confusing, perhaps, but not logically inconsistent; for instance, it would be logically inconsistent to say that Pnin is wrong, or is at least exaggerating, when he says that you shouldn't believe anything that the narrator says. Indeed, Pnin is wrong, and the careful reader can sort out the narrator's claims with a fair degree of accuracy, at least on the second reading. The odd sensation that Pnin inspires comes not because there's no logically consistent way to determine the truth or falsity if the narrative but rather because we can figure out when and how the narrator has slanted his statements only once we have finished the book, for only the last chapter gives us the evidence we need to interpret the earlier chapters properly. Peter J. Rabinowitz, assistant professor of comparative literature at Hamilton College, is the author of articles on Raymond Chandler, Faulkner and Dostoyevsky, and literary borrowing and is, as well, a music critic for Fanfare. (shrink)

Comment entendre le projet d'une écologie des images? Lorsque Susan Sontag l'ébauche pour la première fois à la fin de son ouvrage de 1977 sur la photographie, il résonne comme une exhortation à la vigilance face au débordement d'images qui menace d'engloutir notre capacité de voir. Plus récemment, derrière ce souci d'une économie de l'attention, une autre inquiétude a percé, concernant cette fois les retombées environnementales de la circulation et du stockage des images numériques. Cet essai tente d'explorer une troisième (...) voie : sous l'immédiateté du visible, il s'agit de laisser affleurer les temporalités dissonantes et les vitesses contrastées qui font la tension, le ton des images dans leur venue à l'apparaître. Non seulement celles qui furent faites de la main de l'homme, mais aussi toutes les autres, depuis les infinies variations mimétiques du règne animal jusqu'aux vues produites par les machines ou le divin. Le chemin parcouru conduit de l'histoire de l'ombre (elle commence avec Pline) jusqu'à ce que Bataille aurait pu appeler une iconomie à la mesure de l'univers. En cours de route, on s'arrête sur l'iconogenèse selon Simondon, la mimétologie de Caillois, les papillons de Nabokov, le ralenti d'Epstein, une gravure de Hogarth et le développement de la photographie aérienne."--Page 4 of cover. (shrink)

Aristotle claims that narrative can depict virtue and vice in particular cases, and that literature's moral meanings are not subject to philosophical paraphrase. He distrusts generalization in ethics, asserting that valid judgments rest on the perception of particulars. But this position is itself an unprovable generalization. If philosophy cannot prove the superiority of narrative over moral theory, perhaps literature can show it. In "Lolita", Nabokov reveals the moral hazards of theory while depicting one man's profound evil. Thus "Lolita" is (...) an illuminating example of pure Aristotelian fiction that serves a moral function without recourse to theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 31.1 (2007) 189-196MuseSearchJournalsThis JournalContents[Access article in PDF]Fiction and Theory of Mind: An ExchangeLisa Zunshine University of KentuckyBrian Boyd's review of my new book, Why We Read Fiction: Theory of Mind and the Novel (Ohio State University Press, 2006) engages a large variety of issues.1 I would like to address an important question about the integration of scientific methodology with literary analysis suggested by Boyd's discussion.2 As (...) I argue below, two different perspectives of this integration may mark two different—indeed, incompatible—ways of formulating the disciplinary goals and philosophy of the new field of cognitive literary theory.Why We Read Fiction makes a case for admitting the recent findings of cognitive psychologists into literary studies by showing how their research into the ability to explain behavior in terms of the underlying states of mind can furnish us with a series of surprising insights into our interaction with literary texts. Using as my case studies novels ranging from Richardson's Clarissa, Dostoyevsky's Crime and Punishment, and Austen's Pride and Prejudice to Woolf's Mrs. Dalloway, Nabokov's Lolita, and Hammett's The Maltese Falcon, I advance and explore a series of hypotheses about cognitive cravings that are satisfied—and created!—when we read fiction.Although my study draws on the already well-established as well as forthcoming work of numerous cognitive scientists (including Simon Baron-Cohen, Clark H. Barrett, Richard Byrne and Andrew Whiten, Leda Cosmides and John Tooby, Christopher Frith, Uta Frith, Paul Bloom, Susan Carey and Elizabeth Spelke, Peter Carruthers, Andy Clark, Antonio Damasio, Daniel Dennett, Alison Gopnik, Francesca Happe, Paul [End Page 189] Harris, Lawrence Hirschfeld, Stanley Klein, Alan Leslie, Andrew Meltzoff, Robert Mitchell, Keith Oatley, Gloria Origgi, Oliver Sacks, Dan Sperber, James Stiller, and Endel Tulving), it makes a point of being accessible to non-specialist readers. Cognitive science can be incredibly complicated and so can literary criticism, but I wanted to write a book on cognitive literary theory that does not scare anybody away with unnecessary jargon, knotty sentences, and overlong quotations. (Ironically, I must have succeeded too well in making my book reader-friendly and tucking my references in the endnotes since Boyd observes that I rely on only "a few findings" of cognitive scientists in my discussion.)The book consists of three parts. The first part, "Attributing Minds," introduces the first key theoretical concept of this book: mind-reading, also known as Theory of Mind. Drawing on the work of Simon Baron-Cohen (Mindblindness: An Essay on Autism and Theory of Mind), I suggest that fiction engages, teases, and pushes to its tentative limits our mind-reading capacity. Building on the recent research of Robin Dunbar and his colleagues, I then consider one particular aspect of Woolf's prose as an example of spectacular literary experimentation with our Theory of Mind. Finally, I turn to Steven Pinker's controversial analysis of Woolf in The Blank Slate to discuss the possibilities of a more profitable dialogue between cognitive science and literary studies.Of particular importance to this part of my argument is my belief that fictional narratives endlessly experiment with rather than automatically execute our evolved cognitive adaptations. When cognitive scientists succeed in isolating a certain regularity of our information-processing—for example, a constraint on the number of mutually reflecting minds that we can process with ease—we can take that constraint and see how it plays itself out in a fictional narrative. What we discover is that where there is a cognitive constraint, there is a "guarantee" of sorts that writers will intuitively experiment in the direction of challenging that constraint, probing and poking it and getting around it. The exact forms of such probing and poking will depend on specific cultural circumstances, including the mind-reading profiles of individual writers and their readers. The cognitive "limits" thus present us with creative openings rather than with a promise of stagnation and endless replication of established forms. This realization marks the possibility of a genuine interaction between cognitive psychology and... (shrink)

Since its original publication in 1975, this groundbreaking work has awakened millions of concerned men and women to the shocking abuse of animals everywhere--inspiring a worldwide movement to eliminate much of the cruel and unnecessary laboratory animal experimentation of years past. In this newly revised and expanded edition, author Peter Singer exposes the chilling realities of today's "factory farms" and product-testing procedures--offering sound, humane solutions to what has become a profound environmental and social as well as moral issue. An (...) important and persuasive appeal to conscience, fairness, decency and justice, Animal Liberation is essential reading for the supporter and the skeptic alike.--From publisher description. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:SHEILA TURCON The Bertrand Russell Archives / Editorial Projecr McMasrer Universiry -RECENT ACQUISITIONS: CORRESPONDENCE The last update of correspondence acquisitions, which concerned published correspondence only, appeared in Russell, n.s. H (1990); 204-08. The last general update of correspondence was in Russell, n.s. II (1990): 91-7. There are 30 entries in this listing, covering approximately 170 letters and telegrams. Some of the items have been received from a tOtal of (...) three other institutions, to whom we are very grateful. The latest acquisition reported is number 1,168, which arrived on 27 July 199 2. The following abbreviations should be noted: L(s). or l(s). = letteres ); pes). or pes). =photocopy(ies); p.c(s). =POSt card(s). Recent Acquisitions: Correspondence 209 courtesy of Rosenbach Museum & Library. Rec. Acq. 1,153. -Hook, Sidney L. from BR, 19 June 1943, and 2 Is. to BR, 1944-64. BR's letter concerns Hook's contribution to The Philosophy of Bertrand Russell (B77), job prospects and family matters. Ps., courtesy of Hoover Institution. Rec. Acq. 1,161. Jourdain, P. E. B. L. to BR, 13 Nov. 1916. Purchase. Rec. Acq. 1,163. Lasky, Melvin L. from BR, 30 Aug. 1950. Re resigning as the Hon. Chairman of the Congress for Cultural Freedom. Extracted in Peter Coleman, The Liberal Compiracy (1989), p. 36. P., courtesy of Hoover Institution (Sidney Hook Papers). Rec. Acq. 1,161. Levitas, S. M. See New Leader, The. Lovett, Caroline Lewis 6 ls. from BR 1941-45 and holograph copies of 2 Is. to BR, n.d. but 1941-42. Lovett was one of BR's students at the Barnes Foundation. Access restricted. Ps., courtesy of Rosenbach Museum & Library. Rec. Acq. 1,153. Mortimer, Raymond L. from BR, 4 July 1923. Re review of Santayana's Scepticism and Animal Faith (C1.3.26) and a possible meeting. P., courtesy of Princeton U. Library (Mortimer Papers). Rec. Acq. 1,168. Nabokov, Nicolas See Congress for Cultural Freedom. New Leader, The, New York (S. M. Levitas) L. from BR, 3 Ju[y 1956. Re Rosenberg-Sobell case. P.-, courtesy Hoover - Institution (Sidney Hook Papers). Rec. Acq. 1,161. Norton, Henry Kittredge 2 Is. from BR, 13 March 1940 and 26 March 1963, and I. to BR, 22 OCt. 1935. BR's Is. concern the CCNY case and arranging a meeting. Gift; courtesy of Bruce Thompson and Je3,l1 Guthrie. Rec. Acq.I,156. Ozmon, Howard 2 [so from BR, 1964British Broadcasting Corporation (T. S. Gregory) 1. to BR, 22 Sept. 1953. Re arrangements for a broadcast discussion with Sidney Hook. P., courtesy of Hoover Institution (Sidney Hook Papers). Rec. Acq. 1,161. Bulletin of the Atomic Scientists, -The (Eugene Rabinowich, Ruth Adams) 6 I~. from BR, 1962-63, and 1. from, 1962. Ps. courtesy of The Bulletin of Atomic Scientists. Rec. Acq. 1,155. Canterbury U. College, Christchurch L. from BR, 12 Oct. 1936, recommending Karl Popper. P., courtesy of Hoover Institution (Popper Papers). Rec. Acq. 856. Congress for Cultural Freedom (Nicolas Nabokov) L. from BR, 25 Feb. 1957. Re their differences of opinion over the Congress. P., courtesy of Hoover Institution (Sidney Hook Papers). Rec. Acq. 1,161. Coppock, Barbara M. (Women's Ind. League for Peace and Freedom) 1. from BR, 5 July 1962, declining to speak at her meeting. Purchase. Rec. Acq.I,135· Fallin, Richard 6 Is. from BR, 1962-63. Re literature, Camus, Gide, Sarrre, -and the Cuban Missile Crisis. Ps., courtesy of Richard Fallin. Rec. Acq. 1,137· _ Freeman, The Post card from BR, n.d. but 1923. Re review of Tolstoy biography (C23.03). Access restricted. P., courtesy of Rosenbach Museum & Library. Rec. Acq. 1,153. Greg, W. W. (Librarian of Triniry College, Cambridge) L. from BR, n.d. but 1912. Re Principia Mathematica. P., courtesy of Thoemmes Antiquarian Books Ltd. Rec. Acq. 1,150. Gregory, T. S. See British Broadcasting Corporation. Hartcup, R. E. L. from BR, 6 Dec. 1962. Form letter response to Cuban Missile Crisis. Restricted access. P., n.s. 12 (winter 1992-93): 208-10 ISSN 0036-01631 BR, 1895-98. 'Re winning his fellowship and life in Italy. Ps., courtesy of Lilly Library (Smith Papers), Indiana U. Rec... (shrink)

In 1972, the young philosopher Peter Singer published "Famine, Affluence and Morality," which rapidly became one of the most widely discussed essays in applied ethics. Through this article, Singer presents his view that we have the same moral obligations to those far away as we do to those close to us. He argued that choosing not to send life-saving money to starving people on the other side of the earth is the moral equivalent of neglecting to save drowning children (...) because we prefer not to muddy our shoes. If we can help, we must--and any excuse is hypocrisy. Singer's extreme stand on our moral obligations to others became a powerful call to arms and continues to challenge people's attitudes towards extreme poverty. Today, it remains a central touchstone for those who argue we should all help others more than we do. As Bill and Melinda Gates observe in their foreword, in the age of today's global philanthropy, Singer's essay is as relevant now as it ever was. This attractively packaged, concise edition collects the original article, two of Singer's more recent popular writings on our obligations to others around the world, and a new introduction by Singer that discusses his current thinking. (shrink)

Since its publication in 1959, Individuals has become a modern philosophical classic. Bold in scope and ambition, it continues to influence debates in metaphysics, philosophy of logic and language, and epistemology. Peter Strawson's most famous work, it sets out to describe nothing less than the basic subject matter of our thought. It contains Strawson's now famous argument for descriptive metaphysics and his repudiation of revisionary metaphysics, in which reality is something beyond the world of appearances. Throughout, Individuals advances some (...) highly influential and controversial ideas, such as 'non-solipsistic consciousness' and the concept of a person a 'primitive concept'. (shrink)

The relationship of part to whole is one of the most fundamental there is; this is the first and only full-length study of this concept. This book shows that mereology, the formal theory of part and whole, is essential to ontology. Peter Simons surveys and criticizes previous theories, especially the standard extensional view, and proposes a more adequate account which encompasses both temporal and modal considerations in detail. 'Parts could easily be the standard book on mereology for the next (...) twenty or thirty years.' Timothy Williamson, Grazer Philosophische Studien. (shrink)

Acting Now to End World Poverty Peter Singer. were our own, and we cannot deny that the suffering and death are bad. The second premise is also very difficult to reject, because it leaves us some wiggle room when it comes to situations in.

What is ethics? Where do moral standards come from? Are they based on emotions, reason, or some innate sense of right and wrong? For many scientists, the key lies entirely in biology---especially in Darwinian theories of evolution and self-preservation. But if evolution is a struggle for survival, why are we still capable of altruism? In his classic study The Expanding Circle, Peter Singer argues that altruism began as a genetically based drive to protect one's kin and community members but (...) has developed into a consciously chosen ethic with an expanding circle of moral concern. Drawing on philosophy and evolutionary psychology, he demonstrates that human ethics cannot be explained by biology alone. Rather, it is our capacity for reasoning that makes moral progress possible. In a new afterword, Singer takes stock of his argument in light or recent research on the evolution of morality.--Publisher's description. (shrink)

Since its original publication in 1975, this groundbreaking work has awakened millions of people to the existence of "speciesism"—our systematic disregard of nonhuman animals—inspiring a worldwide movement to transform our attitudes to animals and eliminate the cruelty we inflict on them. In Animal Liberation, author Peter Singer exposes the chilling realities of today’s "factory farms" and product-testing procedures—destroying the spurious justifications behind them, and offering alternatives to what has become a profound environmental and social as well as moral issue. (...) An important and persuasive appeal to conscience, fairness, decency, and justice, it is essential reading for the supporter and the skeptic alike. (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)

Bringing together new essays by philosophers and activists, _In Defense of Animals: The Second Wave_ highlights the new challenges facing the animal rights movement. Exciting new collection edited by controversial philosopher Peter Singer, who made animal rights into an international concern when he first published _In Defence of Animals_ and _Animal Liberation_ over thirty years ago Essays explore new ways of measuring animal suffering, reassess the question of personhood, and draw highlight tales of effective advocacy Lays out “Ten Tips (...) for Activists”, taking the reader beyond ethical theory and into the day-to-day campaigns for animal rights. (shrink)

In 1931, the young Kurt Gödel published his First Incompleteness Theorem, which tells us that, for any sufficiently rich theory of arithmetic, there are some arithmetical truths the theory cannot prove. This remarkable result is among the most intriguing in logic. Gödel also outlined an equally significant Second Incompleteness Theorem. How are these Theorems established, and why do they matter? Peter Smith answers these questions by presenting an unusual variety of proofs for the First Theorem, showing how to prove (...) the Second Theorem, and exploring a family of related results. The formal explanations are interwoven with discussions of the wider significance of the two Theorems. This book will be accessible to philosophy students with a limited formal background. It is equally suitable for mathematics students taking a first course in mathematical logic. (shrink)

B'Imagine that you could choose a book that everyone in the world would read. My choice would be this book.' Roger Crisp, Ethics -/- Many people have an uneasy feeling that they may be missing out on something basic that would give their lives a significance it currently lacks. But how should we live? What is there to stop us behaving selfishly? In a highly readable account which makes reference to a wide variety of sources and everyday issues, Peter (...) Singer suggests that the conventional pursuit of self- interest is individually and collectively self-defeating. Taking into consideration the beliefs of Jesus, Kant, Rousseau, and Adam Smith amongst others, he looks at a number of different cultures, including America, Japan, and the Aborigines to assess whether or not selfishness is in our genes and how we may find greater satisfaction in an ethical lifestyle. (shrink)

By the time of his death in 2006, Sir Peter Strawson was regarded as one of the world's most distinguished philosophers. First published thirty years ago but long since unavailable, _Freedom and Resentment_ collects some of Strawson's most important work and is an ideal introduction to his thinking on such topics as the philosophy of language, metaphysics, epistemology and aesthetics. Beginning with the title essay _Freedom and Resentment_, this invaluable collection is testament to the astonishing range of Strawson's thought (...) as he discusses free will, ethics and morality, logic, the mind-body problem and aesthetics. The book is perhaps best-known for its three interrelated chapters on perception and the imagination, subjects now at the very forefront of philosophical research. This reissue includes a substantial new foreword by Paul Snowdon and a fascinating intellectual autobiography by Strawson. (shrink)

Chaotic dynamics has been hailed as the third great scientific revolution in physics this century, comparable to relativity and quantum mechanics. In this book, Peter Smith takes a cool, critical look at such claims. He cuts through the hype and rhetoric by explaining some of the basic mathematical ideas in a clear and accessible way, and by carefully discussing the methodological issues which arise. In particular, he explores the new kinds of explanation of empirical phenomena which modern dynamics can (...) deliver. Explaining Chaos will be compulsory reading for philosophers of science and for anyone who has wondered about the conceptual foundations of chaos theory. (shrink)

If we agree with the notion of a global community, then we must extend our concepts of justice, fairness, and equity beyond national borders by supporting measures to decrease global warming and to increase foreign aid, argues Peter Singer.

Peter Anstey presents a thorough and innovative study of John Locke's views on the method and content of natural philosophy. Focusing on Locke's Essay concerning Human Understanding, but also drawing extensively from his other writings and manuscript remains, Anstey argues that Locke was an advocate of the Experimental Philosophy: the new approach to natural philosophy championed by Robert Boyle and the early Royal Society who were opposed to speculative philosophy. On the question of method, Anstey shows how Locke's pessimism (...) about the prospects for a demonstrative science of nature led him, in the Essay, to promote Francis Bacon's method of natural history, and to downplay the value of hypotheses and analogical reasoning in science. But, according to Anstey, Locke never abandoned the ideal of a demonstrative natural philosophy, for he believed that if we could discover the primary qualities of the tiny corpuscles that constitute material bodies, we could then establish a kind of corpuscular metric that would allow us a genuine science of nature. It was only after the publication of the Essay, however, that Locke came to realize that Newton's Principia provided a model for the role of demonstrative reasoning in science based on principles established upon observation, and this led him to make significant revisions to his views in the 1690s. On the content of Locke's natural philosophy, it is argued that even though Locke adhered to the Experimental Philosophy, he was not averse to speculation about the corpuscular nature of matter. Anstey takes us into new terrain and new interpretations of Locke's thought in his explorations of his mercurialist transmutational chymistry, his theory of generation by seminal principles, and his conventionalism about species. (shrink)

By the time of his death in 2006, Sir Peter Strawson was regarded as one of the world's most distinguished philosophers. First published thirty years ago but long since unavailable, _Freedom and Resentment_ collects some of Strawson's most important work and is an ideal introduction to his thinking on such topics as the philosophy of language, metaphysics, epistemology and aesthetics. Beginning with the title essay _Freedom and Resentment_, this invaluable collection is testament to the astonishing range of Strawson's thought (...) as he discusses free will, ethics and morality, logic, the mind-body problem and aesthetics. The book is perhaps best-known for its three interrelated chapters on perception and the imagination, subjects now at the very forefront of philosophical research. This reissue includes a substantial new foreword by Paul Snowdon and a fascinating intellectual autobiography by Strawson. (shrink)

This volume collects a wealth of articles covering a range of topics of practical concern in the field of ethics, including active and passive euthanasia, abortion, organ transplants, capital punishment, the consequences of human actions, slavery, overpopulation, the separate spheres of men and women, animal rights, and game theory and the nuclear arms race. The contributors are Thomas Nagel, David Hume, James Rachels, Judith Jarvis Thomson, Michael Tooley, John Harris, John Stuart Mill, Louis Pascal, Jonathan Glover, Derek Parfit, R.M. Hare, (...) Janet Radcliffe Richards, Peter Singer, and Nicholas Measor. (shrink)

Formal logic provides us with a powerful set of techniques for criticizing some arguments and showing others to be valid. These techniques are relevant to all of us with an interest in being skilful and accurate reasoners. In this highly accessible book, Peter Smith presents a guide to the fundamental aims and basic elements of formal logic. He introduces the reader to the languages of propositional and predicate logic, and then develops formal systems for evaluating arguments translated into these (...) languages, concentrating on the easily comprehensible 'tree' method. His discussion is richly illustrated with worked examples and exercises. A distinctive feature is that, alongside the formal work, there is illuminating philosophical commentary. This book will make an ideal text for a first logic course, and will provide a firm basis for further work in formal and philosophical logic. (shrink)

A proper function of an entity is a beneficial effect that helps explain the persistence of the entity. Proper functions thereby arise through feedback mechanisms with beneficial effects as inputs and persistence as outputs. We continue to make assertions because they benefit speakers by benefiting speakers. Hearers benefit from true information. Speakers benefit by influencing hearer belief. If hearers do not benefit, they will not form beliefs in response to assertions. Speakers can then only maintain influence by providing true information, (...) often enough. The function of assertion is then inducing true hearer belief. When interests conflict, however, some mechanism must ensure that speakers provide true information often enough, instead of deceiving, or providing information regardless of quality. In humans, a core mechanism stabilizing true assertion involves social norms for truth telling. We tell the truth partly because we prescribe and enforce telling the truth. (shrink)

Evolutionary theories of morality, beginning with Darwin, have focused on explanations for altruism. More generally, these accounts have concentrated on conscience to the neglect of condemnation. As a result, few theoretical tools are available for understanding the rapidly accumulating data surrounding third-party judgment and punishment. Here we consider the strategic interactions among actors, victims, and third-parties to help illuminate condemnation. We argue that basic differences between the adaptive problems faced by actors and third-parties indicate that actor conscience and third-party condemnation (...) are likely performed by different cognitive mechanisms. Further, we argue that current theories of conscience do not easily explain its experimentally demonstrated insensitivity to consequences. However, these results might be explicable if conscience functions, in part, as a defense system for avoiding third-party punishment. If conscience serves defensive functions, then its computational structure should be closely tailored to the details of condemnation mechanisms. This possibility underscores the need for a better understanding of condemnation, which is important not only in itself but also for explaining the nature of conscience. We outline three evolutionary mysteries of condemnation that require further attention: third-party judgment, moralistic punishment, and moral impartiality. (shrink)

_One World Now_ seamlessly integrates major developments of the past decade into Peter Singer's classic text on the ethics of globalization, _One World_. Singer, often described as the world's most influential philosopher, here addresses such essential concerns as climate change, economic globalization, foreign aid, human rights, immigration, and the responsibility to protect people from genocide and crimes against humanity, whatever country they may be in. Every issue is considered from an ethical perspective. This thoughtful and important study poses bold (...) challenges to narrow nationalistic views and offers valuable alternatives to the state-centric approach that continues to dominate ethics and international theory. Singer argues powerfully that we cannot solve the world’s problems at a national level, and shows how we should build on developments that are already transcending national differences. This is an instructive and necessary work that confronts head-on both the perils and the potentials inherent in globalization. (shrink)

Sidgwick's theses that "if I judge any action to be right for myself, I implicitly judge it to be right for any other person whose nature and circumstances do not differ from my own in certain important respects" fails to differentiate moral judgments of importantly different kinds and, In particular, Overlooks peculiarities of a kind of judgment, Made by a prospective agent, About what "he" ought to do. The court-Martial in melville's "billy budd" is closely examined as an example. Although (...) we can speak of such an agent "finding out" what he ought to do, He is not finding out what "anyone" ought to do in such a situation, But something "about himself": something, However, Which can only be expressed in moral categories. (shrink)

While ancient civilizations worshipped strong, active emotions, modern societies have favored more peaceful attitudes, especially within the democratic process. We have largely forgotten the struggle to make use of _thymos_, the part of the soul that, following Plato, contains spirit, pride, and indignation. Rather, Christianity and psychoanalysis have promoted mutual understanding to overcome conflict. Through unique examples, Peter Sloterdijk, the preeminent posthumanist, argues exactly the opposite, showing how the history of Western civilization can be read as a suppression and (...) return of rage. By way of reinterpreting the _Iliad_, Alexandre Dumas's _Count of Monte Cristo_, and recent Islamic political riots in Paris, Sloterdijk proves the fallacy that rage is an emotion capable of control. Global terrorism and economic frustrations have rendered strong emotions visibly resurgent, and the consequences of violent outbursts will determine international relations for decades to come. To better respond to rage and its complexity, Sloterdijk daringly breaks with entrenched dogma and contructs a new theory for confronting conflict. His approach acknowledges and respects the proper place of rage and channels it into productive political struggle. (shrink)

Displaying the distinctive combination of narration and philosophy for which he is well known, this new book by Peter Sloterdijk develops a radically new account of globalization at the beginning of the twenty-first century. The author takes seriously the historical and philosophical consequences of the notion of the earth as a globe, arriving at the thesis that what is praised or decried as globalization is actually the end phase in a process that began with the first circumnavigation of the (...) earth Ð and that one can already discern elements of a new era beyond globalization. In the end phase of globalization, the world system completed its development and, as a capitalist system, came to determine all conditions of life. Sloterdijk takes the Crystal Palace in London, the site of the first world exhibition in 1851, as the most expressive metaphor for this situation. The palace demonstrates the inevitable exclusivity of globalization as the construction of a comfort structure Ð that is, the establishment and expansion of a world interior whose boundaries are invisible, yet virtually insurmountable from without, and which is inhabited by one and a half billion winners of globalization; three times this number are left standing outside the door. (shrink)

"Divination and Human Nature" casts a new perspective on the rich tradition of ancient divination--the reading of divine signs in oracles, omens, and dreams. Popular attitudes during classical antiquity saw these readings as signs from the gods while modern scholars have treated such beliefs as primitive superstitions. In this book, Peter Struck reveals instead that such phenomena provoked an entirely different accounting from the ancient philosophers. These philosophers produced subtle studies into what was an odd but observable fact--that humans (...) could sometimes have uncanny insights--and their work signifies an early chapter in the cognitive history of intuition. Examining the writings of Plato, Aristotle, the Stoics, and the Neoplatonists, Struck demonstrates that they all observed how, setting aside the charlatans and swindlers, some people had premonitions defying the typical bounds of rationality. Given the wide differences among these ancient thinkers, Struck notes that they converged on seeing this surplus insight as an artifact of human nature, projections produced under specific conditions by our physiology. For the philosophers, such unexplained insights invited a speculative search for an alternative and more naturalistic system of cognition. Recovering a lost piece of an ancient tradition, "Divination and Human Nature" illustrates how philosophers of the classical era interpreted the phenomena of divination as a practice closer to intuition and instinct than magic. (shrink)

Tyler Burge first introduced his distinction between epistemic entitlement and epistemic justification in ‘Content Preservation’ in 1993. He has since deployed the distinction in over twenty papers, changing his formulation around 2009. His distinction and its basis, however, is not well understood in the literature. This chapter distinguishes two uses of ‘entitlement’ in Burge, and then focuses on his distinction between justification and entitlement, two forms of warrant, where warrants consists in the exercise of a reliable belief-forming competence. Since he (...) draws the distinction in terms of reasons, this chapter brings his account of reasons altogether in one place. The chapter introduces a decision-procedure for classifying warrants as justifications or entitlements. The distinction between justification and entitlement is not the same as the inferential vs. non-inferential distinction. The chapter distinguishes inference from processing, thinking, reasoning, and critically reasoning. Burge’s new formulation of the distinction was driven by the recognition of non-accessible modular reasons. Three kinds of access are distinguished. (shrink)

In this article, I propose to integrate indigenous knowledges in the Philosophy for/with Children theory and practice. I make the claim that it is possible to treat indigenous knowledges, not only as topics for philosophical dialogues with children but as presuppositions of the philosophical activity itself within the Community of Inquiry. Such integration is important for at least three (3) reasons: First, recognizing indigenous ways of thinking and seeing the world informs us of other non-dominant forms of knowledges, methods to (...) produce knowledge and criteria to determine knowledge. Second, the dominance of western standards of producing and determining knowledge, especially in non-western societies, needs to be reduced, balanced and informed by local knowledges and experiences. And third, indigenous knowledges reinforce a culturally responsive P4wC that responds to the challenges arising in multicultural and ethnically diverse classrooms. There are two (2) possible intersections where such integration may take place, namely: a) Epistemology, where I claim that the integration of a “presentational epistemology” immanent in indigenous patterns of thinking provides a counterweight to Lipman’s strong adherence to analytic-representational epistemology, and b) Pedagogy, which takes shape in an “indigenized” Community of Inquiry that highlights the values of interconnectedness, situatedness and relationality. (shrink)

One can rightly say of Peter Sloterdijk that each of his essays and lectures is also an unwritten book. That is why the texts presented here, which sketch a philosophical physiognomy of Martin Heidegger, should also be characterized as a collected renunciation of exhaustiveness. In order to situate Heidegger's thought in the history of ideas and problems, Peter Sloterdijk approaches Heidegger's work with questions such as: If Western philosophy emerged from the spirit of the polis, what are we (...) to make of the philosophical suitability of a man who never made a secret of his stubborn attachment to rural life? Is there a provincial truth of which the cosmopolitan city knows nothing? Is there a truth in country roads and cabins that would be able to undermine the universities with their standardized languages and globally influential discourses? From where does this odd professor speak, when from his professorial chair in Freiburg he claims to inquire into what lies beyond the history of Western metaphysics? Sloterdijk also considers several other crucial twentieth-century thinkers who provide some needed contrast for the philosophical physiognomy of Martin Heidegger. A consideration of Niklas Luhmann as a kind of contemporary version of the Devil's Advocate, a provocative critical interpretation of Theodor Adorno's philosophy that focuses on its theological underpinnings and which also includes reflections on the philosophical significance of hyperbole, and a short sketch of the pessimistic thought of Emil Cioran all round out and deepen Sloterdijk's attempts to think with, against, and beyond Heidegger. Finally, in essays such as "Domestication of Being" and the "Rules for the Human Park," which incited an international controversy around the time of its publication and has been translated afresh for this volume, Sloterdijk develops some of his most intriguing and important ideas on anthropogenesis, humanism, technology, and genetic engineering. (shrink)

Among the works on ethics in the Aristotelian corpus, there is no serious dispute among scholars that the "Eudemian Ethics "is authentic. The "Eudemian Ethics "is" "increasingly read and used by scholars as a useful support and confirmation and sometimes contrast to the "Nicomachean Ethics." Yet, it remains a largely neglected work in the study of Aristotle's ethics, both among scholars and moral philosophers. Peter L. P. Simpson provides an analytical outline of the entire work together with summaries of (...) each individual section, making the overall structure and detailed argument clear. His translation and explanatory notes include the common books that the "Eudemian" "Ethics" shares with the "Nicomachean." This translation contains renderings of words and phrases, and proposals for emending the text that differ from what other translators and scholars have adopted. This translation is literal, without expansion or paraphrase, and yet also readable. A readable but literal translation is necessary because in the "Eudemian Ethics," more than usual in Aristotle's writings, the logic of the argumentation can turn on the peculiar wording or order. Simpson explains the argumentation where necessary in notes and separate explanatory comments. This book is a fresh, twenty-first-century rendition of the work of one of the most eminent philosophers of all time. (shrink)

Dieser Band versammelt die wichtigsten Arbeiten, in denen Peter Stemmer die kontraktualistische Moralkonzeption aus Handeln zugunsten anderer weiterentwickelt. Im Zentrum steht die Frage, anhand welcher Kriterien eine Moral, wie sie sein sollte, von falschen oder schlechten Moralen unterschieden werden kann. Besondere Aufmerksamkeit gilt der Rechtfertigung und ihrer Beziehung zum Unterdrückungsverbot. Behandelt wird auch der Zusammenhang von Wollen, praktischen Gründen und Normativität.

In _The Moral of the Story,_ Peter and Renata Singer draw on some of the best works of fiction, playwriting, and poetry in order to shed light on the perennial questions of ethics. A vivid montage of literature that touches on a broad range of ethical subjects and themes Offers a unique contribution to the study of moral philosophy and literature Demonstrates how literary sources can add richness to discussions of real-life moral questions and dilemmas Brings together selections and (...) excerpts from the world’s most celebrated short stories, novels, plays, and poetry Features substantive section introductions by Peter and Renata Singer Peter Singer is a leading moral philosopher, widely credited with triggering the modern animal-rights movement. His collection of essays, _Unsanctifying Human Life,_ edited by Helga Kuhse, was published by Blackwell Publishing in 2001. (shrink)

Filled with real-work examples, ethical dilemmas, and rich cases, Understanding Business Ethics Third Edition by Peter Stanwick and Sarah Stanwick examines business ethics using a managerial approach. The authors explain the fundamental importance of ethical leadership, decision making, and strategic planning while examining emerging trends in business ethics such as the developing world, human rights, environmental sustainability, and technology. The text's 25 cases profile a variety of industries, countries, and ethical issue in an applied way that are relevant and (...) meaningful to students' lives. (shrink)