This chapter compares the 1844 Marx (the Marx of the Economic and Philosophic Manuscripts of 1844) and the Rawls of A Theory of Justice, with the central topic being the young Marx and the middle‐aged Rawls. It starts with the standard Marxian criticism of Theory, and then discusses the two ways in which the writers resemble one another. Eventually, the discussion returns to the standard criticism, casting it as a difference in the writers’ conceptions of (...) “alienation.” The 1844 Marx condemns capitalism for its deep and multiform alienation of labor but misses the fact that a theory of distribution asks, among other things, what ought to be distributed. The alienation associated with the absence of the difference principle in a restricted utility society stems from a perceived deficit of concern. Rawls claims in Theory that the difference principle is “an interpretation of the principle of fraternity”. (shrink)

Since ancient times the practices and ethics of bankers and banking in general have undergone a great deal of criticism. While lending is motivated by profit, and while households are not explicitly coerced into borrowing money, the justice of a system which exploits workers and at the same time encourages them to borrow money in order to maintain a certain standard of living can be viewed as sometimes unfair and perhaps immoral. The value of goods, according to St. (...) Thomas Aquinas and Karl Marx, should mostly reflect the value of labor embodied in them, and for that reason, labor should be compensated fully for its work. For these reasons, Aquinas and Marxian economists offer somewhat similar and at the same time different views on both the labor theory of value as well as on the morality of certain banking practices. If credit and the banking system also bring about crisis and the greater concentration and centralization of capital, then the morality of these outcomes also needs to be examined. (shrink)

This paper looks at two 20th century theories of tragedy: those of Cornelius Castoriadis and Albert Camus. The theories that each proffer of this ancient cultural form are striking. Against more standard views, both theorists stress that tragedy is a cultural form that has only arisen historically in cultures whose forms of religious thought have been laid open to question. In this way, both argue that tragedy is an important democratic cultural form, which stages the confrontation between a no (...) longer unquestionable divine order, and human autonomy.The intent of the paper, from the start, is a political one. It wants to place Camus alongside Castoriadis as a 'post-Marxist' thinker, who belongs meaningfully to what Dick Howard has called 'the Marxian legacy'. More than this, it aims to do this by staging Camus' theorisation of tragedy, with Castoriadis', as a powerful riposte to the conservative criticism of democracy as a modern political form, that is, that it cannot muster sacral cultural forms forceful enough to meaningfully unite people beneath its banner. (shrink)

To a superficial consideration, art criticism might appear as a profession of a parasitic nature, nourishing itself on what is produced by others: by artists. In fact, however, the relation between artistic practice and its criticism is more adequately conceived of as a sort of symbiosis. For, while it is true that criticism depends on and presupposes the existence of its objects - that is, works of art - on the other hand nothing would prevent good art (...) from being equated with and contaminated by bad art if critics ceased to draw a distinction between the two. (shrink)

“utopophobia” is a diverse and long-established phenomenon. Recent discussion of the notion of “realism” in political philosophy has illuminated one form that the fear of utopia can take—namely, suspicion and disapproval of normative standards that are unlikely ever to be achieved—but has not exhausted all that is of interest here.1 The present paper is concerned with a different variety of utopophobia: namely, the historically influential but not well-understood hostility of Karl Marx and Friedrich Engels toward the provision of plans and (...) blueprints of the ideal society of the future.2There seems little doubt about the existence of this Marxian utopophobia. (Note that I use the.. (shrink)

The ethical controversies raised by an industry-sponsored placebo-controlled trial of Risperidone for mania, conducted across eight sites in India, provide opportunities for dialogue, reflection and interdisciplinary consensus building on the processes and validity of the methods of evaluating the efficacy of interventions in health care. This commentary contextualises the debate in considerations of the evolution of morality and double standards. It is suggested that a productive interpretation of this unfolding drama should appreciate the folly of dissociating ethical standards in routine (...) health care from those used in health research, the culturally and economically grounded preferences in research priority setting, and the choice of ethical principles underlying participation in, and conduct of, clinical research. A broader discussion of ethical problems in clinical trials which includes questions about the evidence that informs ethical opinion is required to prevent harm to participants and subsequent recipients of health care and to restore confidence in the methods and the results of research in health care. (shrink)

Criticism of ethical review of research continues and research ethics committees (RECs) need to demonstrate that they are “fit for purpose” by meeting acknowledged standards of process, debate and outcome. This paper reports a workshop in Warsaw in April 2008, organised by the European Forum for Good Clinical Practice, on the problems of setting standards for RECs in the European Union. Representatives from 27 countries were invited; 16 were represented. Problems identified were the limited and variable resources, difficulties of (...) setting standards for ethical debate and its outcomes and that REC members, as volunteers, may resent the imposition of standards. Other ways to set standards were discussed, including analysis of current multicentre review, collecting REC member reports for review, learning from appeals and feedback from applicants, and use of other regional and national meetings. The place of a central, national board or ethics committee was debated as was the need for collaborating with partners in other fields. (shrink)

The aesthetic skeptic maintains that it is futile to dispute about taste. One and the same work of art might appear beautiful to one person but repellent to another, and we have no reason to prefer one or another of these conflicting verdicts. Hume argues that the skeptic, however, moves too quickly. The crucial question is whether qualified critics will agree on their evaluations. And the skeptic fails to provide sufficient evidence that their verdicts will diverge. We have reason to (...) expect that a consensus will emerge over time, moreover, since aesthetic values are grounded on universal principles of human nature. Skeptics might doubt that there is a natural basis for a standard of taste, but this proposal is supported by recent work in experimental aesthetics and cognitive science. (shrink)

In this paper I seek to establish that a widely held criticism of postmodern Marxism – that it is morally relativist and does not offer a basis for a systematic analysis of capitalism – is not warranted. I provide a systematic review of the postmodern Marxist literature in three distinct areas – value theory, class analysis of the household and state, and class justice – and I draw on these contributions to show that postmodern Marxism offers new insights into (...) problems of concern to Marxian theorists. I argue, further, that it provides the normative grounds for a class politics that is open to new alliances and new strategies for engaging in class struggle. (shrink)

In “All Play and No Work,” Andrew Kania claims that standard form jazz involves no works, only performances. This article responds to Kania by defending one of the alternative ontological proposals that he rejects, namely, that jazz works are ontologically continuous with works of classical music. I call this alternative “the standard view,” and I argue that it is the default position in the ontology of standard form jazz. Kania has three objections to the standard view. (...) The bulk of the article is devoted to explaining why none of these objections succeed. (shrink)

Both Theodor Adorno and Walter Benjamin borrow from Freudian theory in their analyses of fetishism’s relation to the contemporary reception of cultural products. I will argue that both authors have confused the Marxian and Freudian theories of fetishism, resulting in mistaken conclusions about artistic reception. By disentangling the Marxian and Freudian elements in both authors’ positions, I want to show that 1) Adorno’s characterization of regressive listening implies, contrary to his intentions, that the current reception of artwork is (...) in fact antagonistic to fetishism, and that 2) his criticism of Benjamin’s optimism toward “reception in distraction” is nevertheless justified. If I am correct, it may be necessary to reassess Adorno’s demand for asceticism in advanced art. The current danger may not be “fetishism” at all, but rather the troublesome consequences of fetishism’s decline. (shrink)

Among analytic philosophers in the past few years there has been a growing commitment to taking Marx seriously. Since the publication in 1971 of John Rawls’ bookA Theory of Justicethere has been a growing commitment to taking problems of Justice and rights seriously. These two developments intersect in mutual criticism: Marx's radical critique challenges the resources of recent theories of rights and Justice, while the sophistication of recent theories raises the possibility that they escape Marx's most basic criticism.

Methodological criticism may be defined as the critique of scientific practice in the light of methodological principles, and critical methodology as the study of proper methods of criticism; the problem is that of the interaction between the scientific methods which give methodological criticism its methodological character and the critical methods which give it its character of criticism. These ideas and this problem are illustrated by an examination of Karl Popper's critique of Marxian social science. It (...) is argued that though Popper's favorable articulations of Marx are valuable, his unfavorable criticism is invalid, the grounds of my argument being certain ideas in critical methodology relating to the distinctions between theory and practice, between inaccurate and invalid criticism, and between the justification of favorable criticism and the justification of unfavorable criticism. (shrink)

Introduced with the hope of reducing refereeing errors and increasing “football justice”, the Video Assistant Referee has attracted much criticism from players and spectators alike. Drawing o...

In lieu of an abstract, here is a brief excerpt of the content:Criticism, Imagination, and the Subjectivization of AestheticsRoger W. H. SavageThe growing discontent with reductivist practices signals a new current in contemporary criticism's understanding of music, literature and art. George Levine's unease with critics who are unable or unwilling to account for their continuing preoccupation with literary texts they expose as "imperialist, sexist, homophobic and racist" illumines the contradiction fueling the reduction of aesthetics to ideology.1 Cultural studies (...) that deploy literature as evidence of the aesthetics' socio-historical substance mask literature's capacity to break open new perspectives on reality by assuming that literary works are politically complicit with the aesthetics' strategic "mystification of the status quo" (A&I, p. 3). Criticism's indifference to its philosophical presuppositions exacerbates the paradox of denouncing a body of works that constitute criticism's aesthetic and intellectual heritage. According to Mario Valdés, literary studies' coming of age mandates that criticism take account of a tradition nurtured by a succession of philosophers including Hans-Georg Gadamer and Paul Ricoeur.2 For Valdés, the post-structuralist realization that literary texts are indeterminate and inexhaustible prohibits replacing the work of art with critical commentaries on it; criticism's collective and determining role belongs to a shared community of commentary whose history and thought is a record of the changing interpretations and understandings of literary texts' meanings. [End Page 164]Valdés's claim extends to the field of contemporary music criticism, where the fashion of denouncing aesthetics as socially pernicious turns against traditional musicology's institutional authority. By demystifying absolute music (instrumental music devoid of programmatic associations), a self-proclaimed critical musicology revolts against traditional musicology's perceived political and ideological agenda. Critical musicology militates against the aesthetic conceit that absolute music transcends its social construction. Yet, by overlooking the philosophical presuppositions that set music's autonomy against practical affairs, new musicology accedes to the schema it recoils against.The tradition nurtured by Gadamer's philosophical hermeneutics and Ricoeur's hermeneutic phenomenology represents a critical current whose significance has been overshadowed by postmodernist investments in decoding music's social and political content. Gadamer's critique of the subjectivization of aesthetics and Ricoeur's meditations on the imagination's capacity for invention offer an alternativeto contemporary music criticism's reaction against the principle of music's aesthetic autonomy. Gadamer and Ricoeur question art's formal separation from reality, which belongs to the history of Kant's radical subjectivization of aesthetics. Gadamer's critique of art's aesthetic differentiation prepares the ground for revealing how socially informed analyses conform to the schema Kant initiates by divorcing judgments of taste from their surrounding cultural ethos. Gadamer argues that, by discrediting theoretical knowledge that does not rely on the methodology of the natural sciences, the transcendental function Kant ascribes to aesthetic judgment lays the foundation for differentiating between art's aesthetic constitution and a concept of truth that accommodates the standard of the natural sciences. Through reducing the "sensus communis to a subjective principle," Kant legitimates his critique of aesthetic judgments by denying taste any importanceas a mode of knowledge.3Ricoeur's hermeneutical reflections on imagination complement Gadamer's critique of a differentiating consciousness that abstracts art works from their cultural worlds. For Ricoeur, imagination is productive when the fictions that works create affect our understanding of ourselves and our world by re-describing reality. Aesthetics' alignment with ideology encounters a limit in the power works evince by unfolding different ways of seeing or hearing reality. Ricoeur's reflections on imagination stand in stark contrast to the idea that individual works represent a form of cultural capital in the struggle for social position [End Page 165] and power. Contemporary critical practices' failure to account for the philosophical separation of judgments of taste from knowledge of reality precipitates the impasse criticism encounters when it identifies aesthetics with ideology at the expense of a work's capacity to affect reality in productive ways. The dispersal and potential disappearance of music's aesthetic character into the recesses of cultural and political analysis keeps step with the conceptual narrowing imposed by a restrictive sociological critique. Demystifying music's ideological representations of gender, race and identity purges romantic... (shrink)

Medicine is increasingly subject to various forms of criticism. This paper focuses on dominant forms of criticism and offers a better account of their normative character. It is argued that together, these forms of criticism are comprehensive, raising questions about both medical science and medical practice. Furthermore, it is shown that these forms of criticism mainly rely on standards of evaluation that are assumed to be internal to medicine and converge on a broader question about the (...) aim of medicine. Further work making medicine’s internal norms explicit and determining the aim of medicine would not only help to clarify to what extent the criticism is justified, but also assist an informed deliberation about the future of medicine. To illustrate some of the general difficulties associated with such a task, the paper concludes by critically engaging Edmund Pellegrino’s account of the aim of medicine as well as the Hastings Center’s consensus report. (shrink)

Here, we follow criticism of TMS by contemporaries, for example, Hume, who discerned that sympathy was the ‘Hinge’ of the book's system, but argued that Smith had not proved that all kinds of sympathies are necessarily agreeable, and that it was necessary to bring in a way of accounting for ‘disagreeable sympathy.’ This pushed Smith to make changes for the second edition of 1761, explaining more fully the moral psychology of sympathy and the role of imagination in the emplacement (...) of the impartial spectator. A negative view of TMS came from the Common Sense philosopher, Thomas Reid, who argued that Smith's system did not offer a standard of virtue for measuring the emotions of the moral actor or the sympathy of the spectator, and that it was reason that informed our moral judgements. This criticism of Smith impressed the patrons of the Glasgow Chair of Moral Philosophy, including Kames, and Reid was chosen as Smith's successor, when he left Glasgow in 1764 to become a travelling tutor to the third Duke of Buccleuch. (shrink)

English eighteenth-century aesthetic writers from Hume to Alison made it their aim to establish “a standard of taste by unfolding those principles that ought to govern the taste of every individual”, to set out as it were a blue-print of “a just relish” which would serve as a basis for criticism and appreciation. They thought to do this by exhibiting in the field of appreciation permanent uniformities of affective behaviour behind the conflicting idiosyn-cracies of temperament and fashion. It (...) was a psychological programme, “to explain the nature of man considered as a sensitive being capable of pleasure and pain,” a science of “apolaustics” as Hamilton would have preferred to call it. But the most that could be achieved through an empirical sociological investigation was to set up sanctions of restricted social approval for selected norms of taste and conformities of emotional response. As an approach to the problem of a rational criticism it could seem plausible only in an age where philosophical outlook was confined within the narrowly coherent traditions of a small cultivated class. (shrink)

In Ethics in the Conflicts of Modernity, MacIntyre argues that neo-Aristotelians have much to learn from Marx’s economic theory, not only for understanding the nature of capitalism, but also for thinking about alternative social and political institutions. This article outlines the arguments given by MacIntyre for embracing Marxian economic theory and argues that if Marxian economics is a tradition of enquiry, in the MacIntyrean sense of the term, we should take seriously the debates within this tradition in order (...) to conclude whether it has been able to withstand internal and external criticism. I argue that Marxian economic theory, as a tradition of enquiry, has been defeated by its opponents and that a synthesis between Aristotelian moral philosophy and Marxian economics is an obstacle to the development of MacIntyre’s political philosophy. (shrink)

Although the fictional domain exhibits a prima facie freedom from real-world moral constraints, certain fictive imaginings seem to deserve moral criticism. Capturing both intuitions, this paper argues for double-standard moralism, the view that fictive imaginings are subject to different moral standards than their real-world counterparts. I show how no account has, thus far, offered compelling reasons to warrant the moral appropriateness of this discrepancy. I maintain that the normative discontinuity between fiction and the actual world is moderate, as (...) opposed to one that leaves fictive engagements wholly exempt from moral evaluations. I propose a way of addressing the gamer’s dilemma that is compatible with a moderate kind of discontinuity. Finally, I contend that the audience is justified in adopting deviant moral attitudes in fictional situations because their consequences largely differ from those that analogous real-world events would have. (shrink)

The charge that a particular critical remark is “irrelevant” to its object is one of the most frequently heard in discussion and debate among critics. Frequently heard because frequently true: there has never been a shortage of criticism which aimlessly relates the work to the artist’s biography, or invokes inappropriate artistic standards, or employs pointless historical speculation, or describes the critic’s own foggy reveries to misdirect our attention and obscure the essential significance of the object before us. But even (...) if we grant that there is no limit on ways to go wrong in criticism, the question remains whether it might be possible at least to isolate areas of traditional critical discourse or general kinds of critical remark which could be ruled out as ever having a proper place in the effort to enhance our understanding of works of art. This is part of the concern to find a correct method for doing criticism, a concern which, as the central issue in talk about talk about art, has generated more controversy than any single commentator might hope to gloss. Nevertheless there is a certain seldom noticed characteristic inherent in the very concept of a method which is necessarily shared by all attempts to formulate methods of criticism. Its recognition will enable us to discern important features intrinsic to both objects of art and critical discourse which serve to distinguish these from ordinary objects and other types of discourse. (shrink)

The aim of this article is to present the origins of the marxian criticism of politics. Finding its place between the years of 1842 and 1843, this criticism emerges from within a review of the hegelian philosophy and takes is first form as a philosophical criticism of politics. The criticism of politics developed by Marx was, thus, rigorously a philosophical undertaking, yet of a philosophy that took the world as its object and flowed outwardly, manifesting (...) itself externally as a criticism of the society of that time and a negation of the existing politics.O objetivo deste artigo é apresentar as origens da crítica marxiana da política. Encontrando seu lugar entre os anos de 1842 e 1843 essa crítica nasce no interior de uma revisão da filosofia hegeliana e assume uma primeira forma como crítica filosófica da política. A crítica da política desenvolvida por Marx era, assim, rigorosamente, um empreendimento filosófico, mas de uma filosofia que assumia o mundo como seu objeto e se vertia para fora de si própria manifestando-se externamente como uma crítica da sociedade da época e como uma negação da política existente. (shrink)

What rational foundation underlies argument-critical judgements? What are the canons of argument criticism and how are they to be "justified"? This paper explores an analogy between art- and argument-criticism and argues that the analogy promises not only to illuminate the nature of argument criticism and capture the central goals of instruction in informal logic, but also to resolve fundamental problems at the foundations of normative theory of argument concerning the "justification" of standards of reasoning.

: The 1997 Japanese organ transplantation law is the fruit of a long debate on "brain death" and organ transplantation, which involved the general public and experts in the relevant fields. The aim of this paper is to trace the history of the implementation of the law and to critique the law in terms of its consistency and fairness. The paper argues that the legislation adopts a double standard regarding the role of the family. On the one hand, the (...) legislation overemphasizes the family's authority by granting the family a veto on the matter of organ transplantation, while, on the other hand, not allowing the family to make surrogate decisions. In addition, the role of the law in cases involving minor or incompetent patients is shown to be similarly misguided. The paper argues that accepting a decisive role for the family in current law is compatible with Japanese culture. (shrink)

The World Bank is no stranger to criticism of its projects, especially in respect of its privatization and private sector development projects. Critics point to the environmental, social and cultural damage that certain projects have caused, which for some appears not just to be a product of the individual projects themselves, but symptomatic of a broader policy failure within the Bank to engage with the social consequences of its actions. In fact, and somewhat surprisingly, both the Bank's critics and (...) its defenders seldom employ human rights language in their reasoning and rhetoric, and where they do, it is only fleetingly and often lacking in any real substance. This is surprising because of so much of what the Bank does can be, and is, supportive of the objects of international human rights standards, especially in respect of economic, social and cultural rights. It is a central theme of this Discussion Paper that for the Bank to embrace this fact alone would be a very significant step towards it being better able not only to respond to its critics, but also, crucially, to deliver upon its own objectives as most recently expressed in the Millennium Development Goals. This Discussion Paper was commissioned by the World Bank. The brief was to provide an account of the major criticisms directed at the World Bank's private sector-oriented projects, and to determine what, if any, consequences for the protection of human rights are revealed by those criticisms. The approach adopted in this paper is first to identify key criticisms through empirical research and then to subject them to human rights analysis. This provides the basis for a clear account of the legal and programmatic implications for the Bank, today and in the future, of those human rights obligations and duties raised, directly or indirectly, by the critics of the Bank. (shrink)

One recurring criticism of the best interests standard concerns its vagueness, and thus the inadequate guidance it offers to care providers. The lack of an agreed definition of ‘best interests’, together with the fact that several suggested considerations adopted in legislation or professional guidelines for doctors do not obviously apply across different groups of persons, result in decisions being made in murky waters. In response, bioethicists have attempted to specify the best interests standard, to reduce the indeterminacy (...) surrounding medical decisions. In this paper, we discuss the bioethicists’ response in relation to the state's possible role in clarifying the best interests standard. We identify and characterise two clarificatory strategies employed by bioethicists —elaborative and enumerative—and argue that the state should adopt the latter. Beyond the practical difficulties of the former strategy, a state adoption of it would inevitably be prejudicial in a pluralistic society. Given the gravity of best interests decisions, and the delicate task of respecting citizens with different understandings of best interests, only the enumerative strategy is viable. We argue that this does not commit the state to silence in providing guidance to and supporting healthcare providers, nor does it facilitate the abuse of the vulnerable. Finally, we address two methodological worries about adopting this approach at the state level. The adoption of the enumerative strategy is not defeatist in attitude, nor does it eventually collapse into (a form of) the elaborative strategy. (shrink)

Originally published as one of the Four Dissertations and then included in the 1758 edition of the Essays, the 1757 paper “Of the Standard of Taste” qualifies as David Hume’s official contribution to criticism.1 A few exceptions aside, no real or thorough effort has been taken by its critics to place the essay in the overall context of Hume’s science of human nature.2 Hume has certainly his share of responsibility in this: “Most of these essays were wrote with (...) a View of being published as WEEKLY-PAPERS, and were intended to comprehend the Design both of the SPECTATORS & CRAFTSMEN. But having dropped that Undertaking, partly from LAZINESS, partly from WANT OF LEISURE, and being willing to make Trial of my .. (shrink)

The abolition of the state is a central element in Marx’s vision of human emancipation. However, at a later stage of his intellectual development Marx seems to have retreated from this idea. Marx’s theory should be defined as the primacy of labor: labor, or instrumental productive activity, brings about, as its unintended, as-if-natural results, different social relations, including the state. At the core of communism, as first envisaged by Marx, is the abolition of labor and its unintended social results . (...) However, Marx did not hold to the idea of abolition of labor in his later writings. If labor cannot be abolished, the social relations that have developed as its unintended results, notably the state, cannot be abolished either. Any revival of the conception of abolition of the state should be connected to a revival of the conception of abolition of labor, as a regulative idea, based on modern, computer technology. (shrink)

The use of the social sciences in the interpretation of the New Testament emerged from the 1970s and has become a standard methodology for interpreting the New Testament. However, it has not been significantly used in the interpretation of the New Testament in Nigeria by biblical scholars. This article discusses what social-scientific criticism is and the need for its application in the interpretation of the New Testament by Nigerian New Testament scholars for a better understanding of the New (...) Testament and the people, beliefs and teachings it presents and contextualisation in the face of changing contexts of Christianity in Nigeria. Contribution: As far as we know, this article is the first one written on using social-scientific criticism to interpret the New Testament in the Nigerian context. It therefore contributes to the need for a multidisciplinary approach to interpreting the New Testament in Nigeria in particular and Africa in general. It therefore contributes also on methodological considerations with regard to interpreting the New Testament. (shrink)

"Ruskin was the most important aesthetic authority of the 19th century. In his dozens of books and lectures he wrote about the qualities of art. the key figure, the history that connected one to another. In The Stones of Venice, Modern Painters, Seven Lamps of Architecture he developed rules and standards that are amazingly contemporary in their range of sympathies. However, Ruskin wrote thousands of pages of criticism; for the modern reader his thought needs always to be rediscovered. This (...) anthology by Robert Herbert contains the essential thought of Ruskin on theory and practice (creativity, color, compositio, exhibiting workd of art), ("the nature of gothic," Venetian Renaissance, iron and glass as new materials for building), and sculpture and ornament (Greek, Byzantine, Medieval, and Renaissance). Herbert devotes his section on painting to Ruskin's remarks on Giotto, Fra Angelico, Botticelli, Michelangelo, the Venetians, Turner, the Pre-Raphaelites, and many others. Ruskin was full of contradictions and quirks, but he is the one 19th-century critic who gave the 20th century many of its most progressive thoughts on architecture, painting, and relationship of art to a social and moral context."--BOOK COVER. (shrink)

A central issue in practical philosophy concerns the relation between moral blameworthiness and normative reasons. As there has been little of direct exchange between the debate on reasons and the debate on blameworthiness, this topic has not received the attention it deserves. In this paper, I consider two notions about blameworthiness and reasons that are fundamental in respective field. The two notions might seem incontrovertible when considered individually, but I argue that they together entail claims that are highly contentious. In (...) particular, I maintain that they entail unreasonable and contradictory claims since the practices of moral blame and rational criticism diverge with regard to three dimensions: justification, response, and function. Thus, we need to give up one of the principal notions. The solutions to this puzzle suggest that the connection between reasons and rationality is weaker than standardly presumed in metaethics. (shrink)

Is there something wrong with the way we form beliefs about our surroundings? Most people assume not. But there is a character, the skeptic, who disagrees. What, exactly, is this skeptic claiming, and why should this concern us? We are, after all, just humans doing what humans do: forming beliefs on the basis of our faculties. In what sense could this be wrong, and how could it matter if it is? By considering the way in which the notions of vice (...) and criticism can express these questions, we can clarify them and discern some potential answers. These answers, I will suggest, can explain not only why we shouldn’t worry too much, but also the lasting appeal of skeptical problems. The idea is that we can accept, or grant for the sake of argument, that we fall short of some important standard while insisting that it is entirely unreasonable to criticize people, or ourselves, on that basis. (shrink)

I argue that Kant’s aesthetic theory yields a fruitful theory of art criticism and that this theory presents an alternative both to the existing theories of his time and to contemporary theories. In this regard, my dissertation offers an examination of a neglected area in Kant scholarship since it is standardly assumed that a theory of criticism flies in the face of some of Kant’s most central aesthetic tenets, such as his rejection of aesthetic testimony and general objective (...) principles of taste. If art criticism is an enterprise of providing evaluations of artworks supported by reasons, then it is hard to see what the Kantian art critic can do for us. If I cannot defer to the critic’s judgment that she loved Blade Runner and there are no feasible general principles linking the depiction of futuristic cityscapes, or the accompaniment of a haunting minimalist soundtrack to the goodness of a film, then it does not seem to matter whether the critic communicates to me her evaluation of Blade Runner or supports her evaluation with descriptions of Blade Runner scenes. Nevertheless, the assumption that these Kantian tenets preclude the possibility of art criticism is mistaken and it is my aim to show how this can be. The project has two phases. In the first phase I develop a new interpretation of Kant’s theory of artistic beauty. In the second phase I make use of this interpretation to put forward a Kantian account of art criticism. Central to my interpretation is the notion that judgments of perfection, e.g., Blade Runner is an excellent neo-noir science fiction film, inform our aesthetic evaluations and receive support from descriptions of non-aesthetic properties of the film. It is precisely this underappreciated role of judgments of perception that I exploit in making room for Kantian art criticism. (shrink)

According to one model of social theory, the social theorist seeks to give as rich an account as possible of a society's own self?understanding or self?interpretation. The second model, by contrast, involves challenging the society's self?understanding on the basis of a radical vision of ultimate standards of. judgment. Charles Taylor claims that neither of these models should be privileged over the other, that both are equiprimordial ways of theorizing social life. However, Taylor does privilege the first model in his own (...) practice of social theory?which can be summed up in the phrase, ?the rhetoric of understanding.? (shrink)

The fundamental unit of assessment in the sociobiology debate is neither a field nor a theory, but a framework of group commitments. Recourse to the framework concept is motivated, in general, by post-Kuhnian philosophy of scientific change and, in particular, by the dispute between E. O. Wilson and R. C. Lewontin. The framework concept is explicated in terms of commitments about problems, domain, disciplinary relations, exemplars, and performance evaluations. One upshot is that debate over such charges as genetic determinism, reductionism, (...) adaptationism, and the biologization of human nature has been vexed. It has lost sight of human sociobiology's central problem, namely to help show that the modern synthesis is complete. (shrink)

Hegel’s famous criticism of Laozi in his Lectures on the History of Philosophy, has been a center of controversy in comparative philosophy. It is often regarded as an example of the unfair treatment of Chinese philosophy by its Western counterpart, that the West is measuring the East according to its own standard, imposing on the latter its understanding of what philosophy should be, passing judgment on China that it has no mature philosophy, or, if it has, that it (...) is still in an unsophisticated, primitive stage. However, there has been little serious and detailed discussion about Hegel’s argument in this important and representative document in the dialogue between Western and Chinese philosophy. Most of the .. (shrink)

I identify and resolve an internal tension in Critical Contextual Empiricism (CCE) – the normative account of science developed by Helen Longino. CCE includes two seemingly conflicting principles: on one hand, the cognitive goals of epistemic communities should be open to critical discussion (the openness of goals to criticism principle, OGC); on the other hand, criticism must be aligned with the cognitive goals of that community to count as “relevant” and thus require a response (the goal-relativity of response-requiring (...) criticism principle, GRC). The co-existence of OGC and GRC enables one to draw both approving and condemning judgments about a situation in which an epistemic community ignores criticism against its goals. This tension results from conflating two contexts of argumentation that require different regulative standards. In the first-level scientific discussion, GRC is a reasonable principle but OGC is not; in the meta-level discussion about science, the reverse holds. In meta-level discussion, the relevance of criticism can be established by appealing to goals of science that are more general than the goals of a specific epistemic community. To illustrate my revision of CCE, I discuss why feminist economists’ criticism of the narrowness of the goals pursued in mainstream economics is relevant criticism. (shrink)

In the Western classical tradition music criticism represents one of the most complex and influential forms of performance assessment and evaluation. However, in the age of peer opinion sharing and quick communication channels it is not clear what place music critics’ judgments still hold in the classical music market. This article presents expert music critics’ view on their role, function, and influence. It is based on semi-structured interviews with 14 native English- and German-speaking critics who had an average of (...) 32 years professional activity in classical music review. We present the first visual model to summarize music critics’ descriptions of their role and responsibilities, writing processes, and their influences. The model distinguishes six roles : consumer adviser, teacher, judge, writer, stakeholder, and artist advocate. It identifies core principles governing critical writing for music as well as challenges that arise from balancing the above six responsibilities whilst remaining true to an implicit code of conduct. Finally, it highlights the factors that inform critics’ writing in terms of the topics they discuss and the discursive tools they employ. We show that music critics self-identify as highly skilled mediators between artists, producers and consumers, and justify their roles as judge and teacher based on a wealth of experience as against the influx of pervasive amateur reviews. Our research approach also offers occupation-based insights into professional music review standards, including the challenges of maintaining objectivity and resisting commercial pressures. This article offers a new viewpoint on music critics’ judgments and recommendations that helps to explain their expectations and reflections. (shrink)

In this paper, I argue that the standard interpretation of Russell as a causal eliminativist is partial and misleading. Instead, I defend the thesis that his criticism of causality was actually part of the more ambitious project of transposing the common- sense concept of “cause” in the categories that articulate the representations of modern science. I also show that Russell endorsed such a project all along his philosophical career, despite the numerous changes of mind that characterized the development (...) of this thought. (shrink)