Ever since Plato expelled the poets from his ideal state, the ethics of art has had to confront philosophy's denial of art's morality. In Art before the Law, Ruth Ronen proposes a new outlook on the ethics of art by arguing that art insists on this tradition of denial, affirming its singular ethics through negativity. Ronen treats the mechanism of negation as the basis for the relationship between art and ethics. She shows how, through moves of denial, resistance, and (...) denouncement, art exploits its negative relation to morality. While deception, fiction, and transgression allegedly locate art outside morality and ethics, Ronen argues they enable art to reveal the significance of the moral law, its origins, and the idea of the good. By employing the thought of Freud and Lacan, Ronen reconsiders the aesthetic tradition from Plato through Kant and later philosophers of art in order to establish an ethics of art. An interdisciplinary study, Art before the Law is sure to be of interest both to academic philosophers and to those interested in psychoanalytic theory and practice. (shrink)

In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its (...) position with respect to other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world. (shrink)

The book explores the forbidden feelings of beauty, admiration, or satisfaction before instances of terror and human pain from eighteenth-century natural disasters to twenty-first-century terrorist destruction. It explores the fascination felt by the subject witnessing major disasters directly or in a mediated fashion. Emmanouil Aretoulakis' makes the challenging proposition that there is, paradoxically, an ethics in the aesthetic appraisal of terror.

This paper addresses two recent debates in aesthetics: the ‘moralist debate’, concerning the relationship between the ethical and aesthetic evaluations of artworks, and the ‘cognitivist debate’, concerning the relationship between the cognitive and aesthetic evaluations of artworks. Although the two debates appear to concern quite different issues, I argue that the various positions in each are marked by the same types of confusions and ambiguities. In particular, they demonstrate a persistent and unjustified conflation of aesthetic and artistic value, which in (...) turn is based on a more general failure to explicitly tackle the demarcation of aesthetic value. As such, the claims of each side are rendered ambiguous in respect of the relation that is supposed to hold between all these types of value and artistic value. These issues are discussed in light of a recent argument proposed by Matthew Kieran, to undermine, to some extent, the conceptual distinction between aesthetic, cognitive-ethical, and artistic values in our appraisal of art works. In rejecting his argument, I defend the conceptual distinction and a pluralistic conception of artistic value that allows for cognitive and ethical values to count as artistic, but not aesthetic, values. (shrink)

Do we watch sport for pure dumb entertainment? While some people might do so, Stephen Mumford argues that it can be watched in other ways. Sport can be both a subject of high aesthetic values and a valid source for our moral education. The philosophy of sport has tended to focus on participation, but this book instead examines the philosophical issues around watching sport. Far from being a passive experience, we can all shape the way that we see sport. (...) Delving into parallels with art and theatre, this book outlines the aesthetic qualities of sport from the incidental beauty of a well-executed football pass to the enshrined artistic interpretation in performed sports such as ice-skating and gymnastics. It is argued that the purist literally sees sport in a different way from the partisan, thus the aesthetic perception of the purist can be validated. The book moves on to examine the moral lessons that are to be learned from watching sport, depicting it as a contest of virtues. The morality of sport is demonstrated to be continuous with, rather than separate from, the morality in wider life, and so each can inform the other. Watching sport is then recognised as a focus of profound emotional experiences. Collective emotion is particularly considered alongside the nature of allegiance. Finally, Mumford considers why we care about sport at all. Addressing universal themes, this book will appeal to a broad audience across philosophical disciplines and sports studies. (shrink)

It is sometimes asked whether virtue ethics can be assimilated by Kantianism or utilitarianism, or if it is a distinct position. A look atAristotle’s ethics shows that it certanly can be distinct. In particular, Aristotle presents us with an ethics of aesthetics in contrast to themore standard ethics of cognition: A virtuous agent identifies the right actions by their aesthetic qualities. Moreover, the agent’s concernwith her own aesthetic character gives us a key to the important role the emotions play for (...) Aristotle, which further distinguishes him from the other two theories we have mentioned. (shrink)

Immanuel Kant was a German philosopher. He is a central figure of modern philosophy, and set the terms by which all subsequent thinkers have had to grapple. He argued that human perception structures natural laws, and that reason is the source of morality. His thought continues to hold a major influence in contemporary thought, especially in fields such as metaphysics, epistemology, ethics, political philosophy, and aesthetics.

The _Mahabharata _is at once an archive and a living text, a sourcebook complete by itself and an open text perennially under construction. Driving home this striking contemporary relevance of the famous Indian epic, _Mahabharata Now _focuses on the issues of narration, aesthetics and ethics, as also their interlinkages. The cross-disciplinary essays in the volume imaginatively re-interpret the ‘timeless’ classic in the light of the pre-modern Indian narrative styles, poetics, aesthetic codes, and moral puzzles; the Western theories on modern ethics, (...) aesthetics, metaphysics, psychoanalysis, and philosophy of science; and the contemporary social, ethical and political concerns. The essays are all united in their effort to situate the _Mahabharata_ in the context of _here _and _now _without violating the sanctity of the ‘written text’ as we have it today. The book will be of interest to scholars and students of Indian and comparative philosophy, Indian and comparative literature, cultural studies, and history. (shrink)

This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and Flo Leibowitz. (...) Annotated bibliography by Joshua Shaw. (shrink)

“You must go on. I can’t go on. I’ll go on.” These are some of the most quoted lines written by Samuel Beckett, which speak to the impulse of persevering in times of crisis and impossibility. Yet few readers of Beckett agree about what this paradoxical formula could mean, let alone what mode of engagement it would seem to indicate, be it committed, autonomous, or something else entirely. This volume of essays explores what that mode of engagement could be, all (...) the while elucidating the ethical and political stakes of the “ongoing” in both Beckett’s life and work. Across multiple disciplines in the humanities, the authors delve into questions of political subjectivity and representation, the ethics of powerlessness and refusal, the aesthetics of syncopation and destitution, multimedia experiments between genre, as well as Beckett’s wider impact on transnational itineraries of modernism and philosophy up to the contemporary. (shrink)

One universal anonymous sage : the Rta/Tao/Logos -- Four sages from the East. The Hindu tradition : the four wants of man -- Buddha : Nirvana -- Confucius : social harmony -- Lao Tzu : nature's way -- Three sages from the West. Moses : divine law -- Jesus : agape love -- Muhammad : "Islam" -- Three classic Greek founders of philosophy. Socrates : the primacy of wisdom ("Virtue is knowledge") -- Plato: No double standard : ethics and (...) politics ; Platonic Ideas : the objective reality of goodness ; Justice as health of soul and therefore always profitable -- Aristotle: Happiness as the end, the greatest good ; Virtue as the road to happiness ; The good as teleological ; The golden mean as the key to virtue ; Ethics as dependent on metaphysics ; The (later) idea of "natural law" -- Three lesser but more popular ancient philosophers. Protagoras -- Epicurus: Hedonism -- Epicurus: Stoicism -- Three medieval Christian saints. St. Augustine: Love as gravity ; Only two kinds of people ; The restless heart -- St. Anselm : the good greater than which nothing can be thought -- Thomas Aquinas: The role of faith and reason ; Four kinds of law ; The four cardinal virtues and the three theological virtues ; Eight candidates for happiness -- Three modern political philosophers. Machiavelli : the good as the practical -- Hobbes : the good as power -- Rousseau : the good as feeling -- Three classic modern ethical alternatives. Hume : the good as subjective -- Kant: The good as goodwill ; Goodwill as duty ; Duty as the "categorical imperative" -- Mill : utilitarianism : the good as maximally happy consequences -- Three Existentialists. Kierkegaard : aesthetics, ethics, and religion -- Nietzsche: The genealogy of morals as resentment ; The Superman : "beyond good and evil" ; "The will to power" -- Sartre: God vs. freedom ; Love vs. freedom -- Two Personalists. Marcel: Being as value ; Mysteries vs. problems ; "Creative fidelity" -- Von Hildebrand: Three kinds of value ; The ethics of the heart -- Three analytic philosophers. Ayer : the good as meaningless -- Moore : the good as indefinable -- Wittgenstein : the good as "mystical" -- Is ethics dead? MacIntyre "After Virtue" vs. Aquinas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 90-106 [Access article in PDF] Schopenhauer, Nietzsche, and the Aesthetically Sublime Bart Vandenabeele Much has been written on the relationship between Arthur Schopenhauer and Friedrich Nietzsche. Much remains to be said, however, concerning their respective theories of the sublime. First, I shall argue against the traditional, dialectical view of Schopenhauer's theory of the sublime that stresses the crucial role the sublime plays (...) in bridging the wide gap between aesthetics and ethics. Although this traditional interpretation is definitely influenced by Nietzsche, I do not maintain it is exclusively Nietzschean as such. Second, I would like to offer some points of contention concerning their accounts of the feeling of the sublime. I will try and show that, although Nietzsche's account of the Apollonian and the Dionysian is highly influenced by Schopenhauer's analysis of the sublime feeling, his analysis of Dionysian intoxication cannot be taken to simply develop out of Schopenhauer's philosophy. Moreover, by way of (a not so innocent) example, it is shown that Nietzsche's philosophy of music — although highly influenced by Schopenhauer's — cannot as easily be reconciled with Schopenhauer'stheory as is commonly believed, due to their differing accounts of the nature of the feeling of the sublime. Schopenhauer on the Feeling of the Sublime: Pleasure and Pain When one tries to describe the exact relationship between the aesthetic feelings of the beautiful and the sublime in the philosophy of "Nietzsche's educator," many interpretation problems arise. 2 The main problem can be compared to a similar issue in Kant: if one agrees with Kant that the theory of the sublime is "a mere appendix to our aesthetic judging," then it is possible to restrict the Kantian critique of the aesthetic appreciation to the Analytic of the judgment of taste 2 — that is, if one neglects the subtle displacements and gaps in Kant's text. In this way, as one can read in its introduction, the [End Page 90] Critique of Judgement serves as the sought-after "bridge" between the theoretical and the practical, spanning the gulf previously created between the knowledge of objects according to the conditions of possible experience and the realization of freedom under the unconditional of moral law. Moreover, if one notices that Schopenhauer too, in his aesthetics, stresses the fact that "in the main" the feeling of the sublime "is identical with the feeling of the beautiful" and "is distinguished from that of the beautiful only by the addition, namely the exaltation beyond the known hostile relation of the contemplated object to the will in general,then the option for a similar unifying and pacifying reading seems evident. 3 I shall argue that things are far more complicated and that such a "dialectical" interpretation is far from evident.In the appendix to his The World as Will and Representation, Schopenhauer had stressed — long before Jean-François Lyotard — the enormous importance of Kant's analysis of the sublime, when he wrote that "the theory of the sublime" is "by far the most excellent thing in the Critique of Aesthetic Judgment" (WWR, I, 532). That theory, Schopenhauer says, is even "incomparably more successful than that of the beautiful" and "gives not only, as that does, the general method of investigation, but also a part of the right way to it, so much so that, although it does not provide the real solution to the problem, it nevertheless touches on it very closely" (WWR, I, 532).According to Schopenhauer, the main difference between the sublime and the beautiful is that, while in the case of the latter, pure knowledge has gained the upper hand without a struggle...and not even a recollection of the will remains [with the sublime] that state of pure knowing is obtained first of all by a conscious and violent tearing away from the relations of the same object to the will which are recognized as unfavorable, by a free exaltation, accompanied by consciousness, beyond the will and the knowledge related to it (WWR, I, 202). The objects can be hostile to the human... (shrink)

This essay assesses the possibilities for poetic-liturgical compositions, such as requiems, to promote Christian public engagement when legal frameworks are perceived to be inadequate for securing justice. This essay addresses the perception that legal statutes and procedures failed to honor the personhood of two particular African American males and discusses how aesthetic responses have been used to counter the devaluing of their lives. One such response, Marilyn Nelson's poem Fortune's Bones: The Manumission Requiem, questions the law's failure to protect an (...) eighteenth-century enslaved man. Another requiem memorializes Michael Brown after the teen's killing by a police officer in 2014. This essay discusses these particular aesthetic responses and then evaluates the possibilities for the requiem as a Christian practice of civic engagement by appropriating Charles Mathewes's articulation of hopeful citizenship. In cases when the law is perceived to be complicit in devaluing African American personhood, liturgy can be a meaningful Christian response. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Against Ethical CriticismRichard A. PosnerOscar Wilde famously remarked that “there is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.” He was echoed by Auden, who said in his poem in memory of William Butler Yeats that poetry makes nothing happen (though the poem as a whole qualifies this overstatement), by Croce, and by formalist critics such as (...) Cleanth Brooks, a doyen of the New Critics, who insisted that edification was the function of religion but not of poetry. 1 George Orwell, though himself a didactic novelist, was of this view as well, 2 and it is one that most critics adopt when the issue is censorship. I accept Wilde’s thesis—the creed of aestheticism, of art for art’s sake—if understood to mean that the moral content and consequences of a work of literature are irrelevant to its value as literature; or as the critic Helen Vendler has put it, that “treating fictions as moral pep-pills or moral emetics is repugnant to anyone who realizes the complex psychological and moral motives of a work of art.” 3 This is not to deny that reading can have consequences, including moral and political ones. Information affects people’s outlook and behavior, and reading is a source of information. Imaginative literature conveys ideas, opinions, and information, often with great power. Think of the role that novels by Turgenev (Fathers and Sons), Dostoevsky (The Possessed), Conrad (The Secret Agent, Under Western Eyes), Koestler (Darkness at Noon), Orwell (Animal Farm, Nineteen Eighty-Four), and, of course, Solzhenitsyn played in exposing the horrors of anarchism and communism. Of A Passage to India it has been said that “as an account of the social conditions of British India it was powerful enough to have influenced events.” 4 Upton Sinclair’s novel The Jungle is thought to have incited federal regulation of food processing; and few doubt the effect of Uncle Tom’s Cabin (1852) on the abolitionist cause. [End Page 1]At the core of the aesthetic tradition, which I shall be defending in this essay particularly against its opponents in the “law and literature” movement, are three theses. First, immersion in literature does not make us better citizens or better people. One might be able to pick out some works of literature that would have such an effect because of the information they convey or the emotional state they induce, but they would constitute a skewed sample of literary works. Second, we should not be put off by morally offensive views encountered in literature even when the author appears to share them. A work of literature is not to be considered maimed or even marred by expressing unacceptable moral views; by the same token, a mediocre work of literature is not redeemed by expressing moral views of which we approve. The proper criteria for evaluating literature are aesthetic rather than ethical. Third, authors’ moral qualities or opinions should not affect our valuations of their works.The insistence, in short, is on the separation of the moral from the aesthetic—but with two qualifications. Some literature has little interest or value apart from the didactic and for it the proper criticism is didactic. And the separation of moral from aesthetic values is not a rejection of the former. The aesthetic outlook is a moral outlook, one that stresses the values of openness, detachment, hedonism, curiosity, tolerance, the cultivation of the self, and the preservation of a private sphere—in short, the values of liberal individualism.The counter tradition in literary criticism to the aesthetic originates with Plato and insists upon the importance, in some versions to the near or even total exclusion of anything else, of the ethical or political content and effects of works of literature, and less commonly of the author’s own morality. Martha Nussbaum, for example, deems Greek tragedies and Anglo-American realistic novels a part of moral philosophy. 5 Reading novels, she argues, “develops moral capacities without which citizens will not succeed in making reality out of the normative conclusions of any moral or political theory, however excellent.” 6 Wayne Booth, disagreeing with his illustrious... (shrink)

Ruben Berrios Queen’s University Belfast Anti-realism and Aesthetic Cognition Abstract At the core of the debate between scientific realism and anti-realism is the question of the relation between scientific theory and the world. The realist possesses a mimetic conception of the relation between theory and reality. For the realist, scientific theories represent reality. The anti-realist, in contrast, seeks to understand the relations between theory and world in non-mimetic terms. We will examine Cartwright’s simulacrum account of explanation in order to illuminate (...) the anti-realist position. Science consists of phenomenological and theoretical laws. The former are concerned with appearances, or those phenomena that can be directly observed; the latter involve the unobservable reality that is alleged to underlie appearances, and are capable only of indirect confirmation. Phenomenological laws are said to be descriptive, whilst theoretical laws are understood as explanatory. Cartwright is concerned with the theoretical. She claims that the standard realist account of the explanatory efficacy of theoretical laws is faulty. The explanatory power of theoretical laws consists in their ability to provide an explanation of physical phenomena. According to Cartwright, the realist claims that laws explain phenomena by providing an abstract description of them, in terms of their micro-structural features, that is alleged to be true. On this view, explanatory power is entirely dependent on descriptive adequacy. As phenomenological laws describe appearances, so theoretical laws describe the fundamental reality that governs appearances. Cartwright rejects the preceding view and in its place proposes a simulacrum account of explanation. According to Cartwright, the explanatory power of theoretical laws is related not to descriptive adequacy, but rather to the construction of adequate models. To explain a phenomenon is to construct a model which best or most adequately accommodates the phenomenon to a theory. The model will consist of various posited objects that serve to explain the phenomena in terms that are consistent with a set of theoretical laws. Cartwright claims that theoretical laws are true of, or describe, the objects of the model. The objects of the model, however, are not descriptive of reality. They are simulacra. They have, that is, the form or appearance of things, without possessing their substance or proper qualities. In light of the foregoing account we can summarise the distinction between scientific realism and anti-realism as follows. The realist claims that theoretical laws literally represent real objects. The anti-realist claims that laws represent objects of a model that are simulacra of reality. Anti-realism has an aesthetic dimension. The movement from realism to anti-realism is also the movement from the mimetic conception of the scientist as holding a mirror to nature to the constructionist view of the scientist as engaging with nature through invention. There is a lot of the artist in the anti-realist’s view of the scientist. This is true for Cartwright as well as, for example, Van Fraassen in his doctrine of constructive empiricism. It would appear, then, that the philosophy of science has absorbed some concepts that are ordinarily housed in aesthetics. And it has done so profitably. The aim of this paper is to reverse the direction of disciplinary influence. Can art, in relation to its status as a cognitive enterprise, be illuminated by scientific anti-realism? I will argue that it can. In an unexpected reference to the Nicomachean Ethics, Cartwright draws a suggestive parallel between theoretical laws and general moral principles, on the one hand, and physical phenomena and everyday moral conduct, on the other hand. If we add to this the claim that a central component of art’s value is cognitive, then we have the basic materials with which to flesh out a broadly anti-realist view of art. In the production of art, artists can construct models that mediate between everyday ethical phenomena and general ethical tendencies. These models reveal the ways in which there are implicit consistencies or inconsistencies, conflicts or congruences and so forth, between the phenomena and the tendencies. On this basis art can contribute to the reflective understanding of ethical life. This constitutes to a large degree art’s status as a cognitive enterprise. To apprehend art cognitively as artist or critic is to engage in aesthetic cognition. (shrink)

Eristic has been studied more and more intensively in recent years in philosophy, law, communication theory, logic, proof theory, and A.I. Nevertheless, the modern origins of eristic, which almost all current researchers see in the philosopher Arthur Schopenhauer, are considered to be a theory of the illegitimate use of logical and rhetorical devices. Thus, eristic seems to violate the norms of discourse ethics. In this paper, I argue that this interpretation of eristic is based on prejudices that contradict the (...) original intention of modern eristic. Eristic is not an art of being right or winning an argument, but an art of protecting oneself from the one who deliberately violates norms of discourse ethics to gain argumentative acceptance. For this reason, eristic must be seen as a discipline of Enlightenment philosophy and a correlate of discourse ethics. Especially in the age of alternative facts and post-factual politics, this makes eristic a valuable discipline. (shrink)

The development of interest among academic philosophers in the aesthetics of everyday life is somewhat analogous to the broader development in moral philosophy of ‘applied’ or practical ethics. This fact is sometimes mentioned but rarely examined and it may be useful, therefore, to explore something of the course and causes of these two developments, in part better to understand them, but also to note blindspots and limitations in certain ways of thinking. In each case these limitations are related to (...) ignorance of past theory and practice. Exploring the parallels will also serve as a basis for suggesting how the two lines may now be brought together in a form of practical philosophy. (shrink)

This book rethinks the discussion of sport as a cinematic subject. Arguing for the vitality of the sports film as distinctively 'modern' genre, the book looks at its innovative potential to capture twentieth- and twenty-first-century sport in all its complexity. Written in an accessible style and illustrated throughout, the book integrates work and ideas from film studies with thinking from sports psychology, philosophy, data theory and ecocriticism. In its detailed analyses of a wide-ranging group of films, the book shows (...) how film, from fictional works to biopics to experimental documentaries, can illuminate individual sporting experience, as well as sport's wider place in modern life. (shrink)

Can aesthetic concepts reflect and provide answers for ethical aspects and issues? Is "more ethics, less aesthetics" applicable, according to the motto of the Venice Biennial for architecture in the year 2000? Or isn't "more aesthetics" in fact just what is required to encourage reflection about ethical responsibilities and dimensions in architecture, art, and design? This publication is a collection of reflections about the ethical and political dimensions of creations, presented from the point of view of art, architecture, design, and (...) curatorial practice. The contributions range from historical reviews to future-oriented outlooks, illustrating interdisciplinary connections. (shrink)

As early as 1916, Wittgenstein states that ethics and aesthetics are one, that only through aesthetics and art can what is truly important in human life be shown. This is the first book to clarify Wittgenstein’s ideas about ethics and aesthetics, and to illustrate how those ideas apply to art history and criticism. Tilghman shows how a study of Wittgenstein illuminates not only the relationship between ethics and aesthetics, but also the relationship between art and our lives. The result is (...) that we can better understand the human importance of abstract as well as traditional art. Chapter 1 surveys the development of the philosophy of art that has dominated aesthetics since mid-century. Chapter 2 provides a brief history of some of the ways that the relationship between ethics and aesthetics has been considered in the philosophy of art. Chapters 3 and 4 discuss Wittgenstein’s views on ethics and aesthetics at the time he wrote Tractatus, and chapter 5 examines the question of what it is to discern the humanity in a person, as reflected in Wittgenstein’s later viewpoints found in Philosophical Investigations. Chapters 6 and 7 investigate what it is to discern the art in a work of art, and what it is to discern the humanity in a work of art. These investigations, in turn, lead to some conclusions about the importance of art in people’s lives and the failure of much recent aesthetic theory to accommodate art’s human importance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics and Time:Lévinas Between Kant and HusserlJoanna Hodge (bio)This article stems from the conviction that the source of the bloody barbarism of National Socialism lies not in some contingent anomaly within human reasoning, nor in some accidental ideological misunderstanding. This article expresses the conviction that this source stems from the essential possibility of elemental evil into which we can be led by logic and against which Western philosophy (...) had not sufficiently insured itself. This possibility is inscribed within the ontology of a being concerned with being—a being, to use the Heideggerian expression, "which in its own being is concerned with that being." Such a possibility still threatens the subject correlative with being as gathering together and as dominating, that famous subject of transcendental idealism that before all else wishes to be free and thinks itself free. We must ask ourselves if liberalism is all we need to achieve the authentic dignity for the human subject. Does the subject ever arrive at the human condition prior to assuming responsibility for the other in the act of election that raises him up to this height? This election comes from a god—or God—who beholds him in the face of the other, the neighbour, the original "site" of the Revelation.—Emmanuel Lévinas, 28 March 1990, introduction to "Reflections on the Philosophy of Hitlerism" (1934)1IntroductionThe intent of this essay is to establish the relevance of various divergent workings of time for an understanding of the difficulties distinctive of moral dilemmas and ethical doubt. It will introduce the thinking of Lévinas (1905-96) to bring into focus the differences entailed in addressing ethical contexts from various perspectives of time, whether in terms of past experience, present contingencies, or considerations of the future. It turns out to be necessary to distinguish between various conceptions of the future as well, in order to grasp the different construals of constraints on moral deliberation. A contrast may be drawn between the individualism and the collectivism, [End Page 107] respectively, of Nietzsche's and Heidegger's visions of the future;1 and between the religious determinacies of Lévinas's invocation of futurity and Derrida's more ascetic, formally indicative recasting of Lévinas's à-dieu.2 It is also the case that distinct conceptions of the past impose significant constraints on what human beings can hope to achieve in their moral efficacy. There is an important difference between the Greco-pagan past, invoked by Nietzsche and Heidegger, and the divine time of creation invoked in the opening pages of Genesis, which is the source of Lévinas's notion of an immemorial time, and which is subjected to deconstructive reading by Jacques Derrida in "The Animal Which Therefore I Am, to Be Continued" [see Derrida, "L'animal autobiographique"].I shall introduce a reading of the second part of Kant's treatise The Conflict of the Faculties (1798) [139-71], on the contest between philosophy and law, to suggest that for ethics, by contrast to concerns with aesthetics, metaphysics, and epistemology, a consideration of conceptions of futurity is especially pressing. This provides a context for responding to Lévinas's early article "Reflections on the Philosophy of Hitlerism" (1934), to which Lévinas wrote an introduction, including my opening citation, some sixty years later.3 Lévinas is not simply engaging with the problem of evil, in relation to the now well-known moral deficiencies of Heidegger's fundamental ontology.4 He is also warning, more generally, against delusions arising from theoretical abstraction, in both absolute idealism and, indeed, in a Nietzschean ethics. His own writings, from Time and the Other (1947) on, suggest that the deficiency arises from oversimplifications [End Page 108] in the thinking of time. Taking this as a clue, the main tasks of this essay are to show that the broadly historical notion of time, which appears oriented toward the past, requires a complementary reflection on futurity, if the ethical significance of different ways of relating to the past is to emerge; and, in relation to that futurity, to show that the broadly teleological, future-directed notions of self-formation, deliberation, and genesis require supplementation... (shrink)

pt. I. Ethics, by J. H. Tufts. Aesthetics, by D. H. Parker. Axiology, by W. M. Urban. Philosophy of law, by Roscoe Pound. Philosophy of history, by J. E. Boodin. Philosophy of science, by V. F. Lenzen. Philosophy of life, by A. N. Whitehead. Metaphysics, by E. W. Hall. Theology and metaphysics, by D. C. Mackintosh.--pt. II. Philosophy of the twentieth century, by Bertrand Russell. Kantianism, by A. C. Ewing. Philosophy of Hegelianism, by Richard (...) Hoenigswald. The humanism of St. Thomas Aquinas, by Jacques Maritain. Transcendental absolutism, by George Santayana. (shrink)

David Ellison's book is an investigation into the historical origins and textual practice of European literary Modernism. Ellison's study traces the origins of Modernism to the emergence of early German Romanticism from the philosophy of Immanuel Kant, and emphasizes how the passage from Romanticism to Modernism can be followed in the gradual transition from the sublime to the uncanny. Arguing that what we call High Modernism cannot be reduced to a religion of beauty, an experimentation with narrative form, or (...) even a reflection on time and consciousness, Ellison demonstrates that Modernist textuality is characterized by the intersection, overlapping, and crossing of aesthetic and ethical issues. Beauty and morality relate to each other as antagonists struggling for dominance within the related fields of philosophy and theory on the one hand and imaginative literature on the other. (shrink)

Peace education is now well recognized within international legal instruments and within critical educational literature as an important aspect of education. Despite this, little attention has been given in the critical literature to the philosophical foundations for peace education and the rationale for peace education thus remains substantially an assumed one. This investigation explores some possible ethico-philosophical foundations for peace education, through an examination of five specific ethical traditions: 1) virtue ethics, whereby peace may be interpreted as a virtue, and/or (...) virtue is interpreted as peacefulness, and peace education as education in that virtue; 2) consequentialist ethics, whereby peace education may be interpreted as education regarding the consequences of our action and inaction, both as individuals and collectivities; 3) conservative political ethics, whereby peace education may be interpreted as emphasizing the importance of the evolution of social institutions and the importance of ordered and lawful social change; 4) aesthetic ethics, whereby peace may be interpreted as something beautiful and valuable in itself, and peace education as emphasizing the importance of that beauty and value; and 5) the ethics of care, whereby care may be interpreted as a core element in peace, and peace education as encouraging trust and engagement with the other. The study addresses major contributions to each of these ethical traditions, the strengths and weaknesses of the tradition, and the ways in which the tradition provides support for peace education. It is argued in this book that each tradition provides only a partial basis for peace education, and that ultimately a holistic and integrative understanding is required, one that encourages a culture of peace. (shrink)

This is a book about food, philosophy, and intellectual property rights. Taken separately, these are three well-known subjects; but it is uncommon to consider them together. Delivering a rich field of disputes, the book is comprised of 50 case studies, organized around eight themes: images; genericity and descriptiveness; language traps; procedures; menus, recipes, and creativity; boundaries; biotech; and empowerment. The introductory chapter frames the selection of cases and encourages readers to look beyond them, envisaging new lenses to look at (...) food vis-à-vis intellectual property. The terrain encompassed is wide-ranging and reaches out to fine-grained aspects of food products, recipes, and cooking. Conceived for a wide scope of readers, the volume ultimately interrogates the links between food and cultural identity, bringing to the fore the ethical, political, aesthetic worth of culinary arts and gastronomic experiences. This accessible book will be of value to scholars, students, practitioners and others with interests in the areas of intellectual property, food law and food studies. (shrink)

This dissertation evaluates the efforts of modern philosophers of aesthetics and politics to distinguish judgment from both cognition and volition. To see the rule under which any given particular is to be subsumed as a law fabricated and imposed by either God or reason is to characterize free judgment in terms of sovereignty. This generates the skeptical dilemma of an infinite regress of the legitimacy of the rule's application that can only be avoided by seeing the act of judgment as (...) an act of will. Such a voluntarist account of politics and judgment must in the end deny plurality for identity, and efface the categorical Aristotelian distinction between the public and the private. The rejection of the teleology of publicity is thus tied to the collapse of phronesis back into a Platonic techne that strives to produce society and man in the image of the eidos. ;Three "solutions" to this aporia are considered. The first is Hannah Arendt's appropriation for politics of Kant's aesthetic judgment, which allows for categorical distinctions between the public and the private and between judgment and the observance of rules. This project fails on account of the extreme formalism of that aesthetics. The second reads the third Critique as an allegory of politics. This too fails, as Kant's aesthetic community relies upon the productive legislation of the genius, a figure whose lineage reaches back to the half divine, half bestial figure of Machiavelli's founding prince. The third is a direct return to Aristotle. While his ethical philosophy offers us our best account of phronesis and epieikeia, it does not sufficiently engage the motivations for its own rejection. Hobbes, Locke, and Kant were not so taken with the model of mechanistic science that they simply forgot that in their common lives they regularly made judgments without the implicit or explicit guidance of a rule. The modern is better seen as a Weltanschauung, less a description that might be right or wrong than a desire. The alternative to the aporia of judgment is not found in the aesthetic but in a Wittgensteinian form of philosophical therapy. (shrink)

Renowned philosopher J. N. Mohanty examines the range of Indian philosophy from the Sutra period through the 17th century Navya Nyaya. Instead of concentrating on the different systems, he focuses on the major concepts and problems dealt with in Indian philosophy. The book includes discussions of Indian ethics and social philosophy, as well as of Indian law and aesthetics.

This volume collects seventeen new essays by well-established and junior scholars on the philosophical relevance of metaxological philosophy and its main proponent, William Desmond. The volume mines metaxological thought for its salience in contemporary discussions in Continental philosophy, specifically in the fields of metaphysics, philosophy of religion, ethics, and aesthetics. Among others, topics under discussion include the goodness of being, the existence and nature of God, and the aesthetic dimensions of human becoming. Interest in metaxological philosophy (...) has been on the rise in recent years, and this volume provides both a practical introduction and thorough engagements with it by experts in the field. The volume concludes with a series of responses by William Desmond on the issues raised by the contributors. (shrink)

Shows the relevance of Schiller’s thought for contemporary philosophy, particularly aesthetics, ethics, and politics. This book seeks to draw attention to Friedrich Schiller (1759–1805) as a philosophical thinker in his own right. For too long, his philosophical contribution has been neglected in favor of his much-deserved reputation as a political playwright. The essays in this collection make two arguments. First, Schiller presents a robust philosophical program that can be favorably compared to those of his age, including Rousseau, Kant, Schelling, (...) and Hegel, and he proves to be their equal in his thinking on morality, aesthetics, and politics. Second, Schiller can also guide us in our more contemporary philosophical concerns and approaches, such as phenomenology, hermeneutics, aesthetics, and politics. Here, Schiller instructs us in our engagement with figures such as Walter Benjamin, Michel Foucault, Jacques Rancière, Roberto Esposito, and others. María del Rosario Acosta López is Associate Professor of Philosophy at DePaul University. She has published several books, including La tragedia como conjuro: el problema de lo sublime en Friedrich Schiller. Jeffrey L. Powell is Professor of Philosophy at Marshall University and the editor of Heidegger and Language. (shrink)

Wittgenstein compares philosophical explanations with explanations in aesthetics and ethics. According to him, the similarity between aesthetics and philosophy ‘reaches very far’, and as I aim to show, the comparison can be used to elucidate certain characteristic features of Wittgenstein’s philosophical approach. In particular, it can explain how his approach differs from metaphysical philosophy as well as clarifying the sense in which there are no theses or theories in philosophy, as Wittgenstein conceives it. In the last section (...) of the essay, I examine certain consequences of Wittgenstein’s view, including the lack of conclusive arguments in philosophy. Rather than implying that philosophy falls short of its rational aspirations, I argue, Wittgenstein’s explanation of why there are no conclusive arguments in philosophy can help us to see in the right light the lack of agreement in philosophy, as well as explaining why this is not a defect. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Natural Philosophy: On Retrieving a Lost Disciplinary Imaginary by Alister E. McGRATHJack ZupkoMcGRATH, Alister E. Natural Philosophy: On Retrieving a Lost Disciplinary Imaginary. Oxford: Oxford University Press, 2023. viii + 248 pp. Cloth, $39.95This book attempts to retrieve and reimagine the tradition of natural philosophy as an antidote for what the author sees as the fragmented, instrumentalized, and ethically disengaged understanding of the natural world (...) most of us have today. The idea is not to reinstate the older vision of Aristotle and Thomas Aquinas, with its final causes and animated spheres, or even the early modern culmination of natural philosophy in Newton’s universe of mathematically fixed natural laws; rather, the author hopes to engender a newer and deeper understanding of nature that is at once scientific, ethical, and poetic, which he explains in terms of the conceptual framework of Popper’s “Three Worlds”: objective, subjective, and theoretical. What is recovered thereby is said to be a “lost conceptual space” wherein human beings learn both about and from nature, modes of knowing rendered obsolete by disciplinary specialization in the sciences as well as our commitment to objective methods that leave no room for ethical or spiritual approaches to understanding the natural world and our place in it.The author covers quite a bit of ground on the historical side, from the ancient Greeks through the Middle Ages, moving on to the idea of natural philosophy as it was gradually transformed during the early modern period by Copernicus, Kepler, Galileo, Bacon, Boyle, and Newton—a picture finally eclipsed by the objective, empirical concept of natural science familiar to us today. Curiously, the book says very little about the Platonic tradition of natural philosophy that grew up around the Timaeus. Because it was available in Latin (or the first half of it, anyway, in a Latin translation by the Roman Neoplatonist Calcidius, who also wrote an influential commentary on the work), the Timaeus was, for almost a millennium, the authoritative text in natural philosophy in the West, at least until Aristotle’s nonlogical and scientific writings were recovered in the twelfth century. The Timaeus was the subject of many commentaries and philosophical discussions, from Calcidius in the fourth century to Bernardus Silvestris, William of Conches, and Alan of Lille in the twelfth. It fell out of favor among philosophers with the rise of Aristotle’s Physics and Aristotelian natural philosophy, though it continued to shape the popular imagination of nature in other genres, such as art and literature—recall, for example, the well-known image of “God the Geometer” (c. 1230), measuring the cosmos with a compass. If the author’s project is about “retrieving” natural philosophy “as a lost disciplinary imaginary” (the book’s subtitle), then surely the Platonic vision of the universe deserves equal billing with the Aristotelian. [End Page 158]That said, there is much to like in the project sketched here. The author’s diagnosis of the epistemic malaise of modern-day science sounds right to anyone familiar with the history of philosophy and natural science. So, even though we can now correctly describe the velocity constant of earth’s gravity as 9.8 m/s2, among other scientific achievements, we take ourselves to be wearing a different hat when we wax poetic at the beauty of the sky and the stars. Early-and pre-modern authors were more adept at bringing together science and poetry, but that might be because their epistemic position was radically different from our own. Calcidius, for example, finds it easy to draw moral and aesthetic conclusions from the motions of the cosmos because he really believed heavenly bodies are, like us, animated by souls. Even a materialist like Lucretius accepts that the gods exist; his (still) very radical thesis is that they don’t care about us. (And why should they? The Pythagorean theorem is much more beautiful and edifying to consider than the troubles of ignorant and weak-willed mortals.) Enlightened moderns that we are, we no longer believe the heavens are populated by super-intelligent beings; yet we continue to marvel at Van Gogh’s Starry Night and feel it is wrong to cause gratuitous... (shrink)

Ethical questions normally arise in sport because its participants are human moral agents and because its practice community entails the observance of rules and responsibilities that humans generally owe one another in a social practice of voluntary competition. Since nature sports are not defined by this kind of inter-agential activity, it would appear that there are no comparable ethical constraints on their pursuit. This paper considers conflicts of preference versus right between humans, how these are resolved, and whether these rights (...) are relevant in assessment of nature sport activity vis-à-vis nonhuman creatures. Relying on a goods perspective instead of a rights framework, via Korsgaard, I argue against an assumption that human preference is sufficient to override consideration of nonhuman animals’ functional goods. (shrink)

Ethical questions normally arise in sport because its participants are human moral agents and because its practice community entails the observance of rules and responsibilities that humans generally owe one another in a social practice of voluntary competition. Since nature sports are not defined by this kind of inter-agential activity, it would appear that there are no comparable ethical constraints on their pursuit. This paper considers conflicts of preference versus right between humans, how these are resolved, and whether these rights (...) are relevant in assessment of nature sport activity vis-à-vis nonhuman creatures. Relying on a goods perspective instead of a rights framework, via Korsgaard, I argue against an assumption that human preference is sufficient to override consideration of nonhuman animals’ functional goods. (shrink)

This book is a conceptualization of the literary aesthetic in relation to ethics, in particular, an ethics for a concern for the Self. Bringing Gilles Deleuze and Felix Guattari's constructivist thinking into a practical domain, Sabrina Achilles rethinks the ways in which literature is understood and taught. Through an interdisciplinary approach, literature is viewed from the position of a problem without any pre-given frame.

This essay combines information on the recent ISUD Sixth World Congress Humanity at the Turning Point: Rethinking Nature, Culture, and Freedom and some reflections inspired by presentations and discussions at the congress. It is focused on the presentation of one of the keynote speakers, Karl-Otto Apel, entitled “Discourse Ethics, Democracy, and International Law: Toward a Globalization of Practical Reason”. Apel argued that the transcendental-pragmatic foundation of morality serves as the ultimate basis for the universal conception of law, e.g., of human (...) rights. It establishes the transcendental basis of the idea of democracy, and at the same time establishes a regulative principle for a possible critique of the democratic states. Apel discussed the question of a political order of law able to represent the idea of human rights. In his approach to it, he referred to Kant’s idea of “a federation of free states” (as opposite to a “world state”) in the solution of the problem of a cosmopolitan system He noticed the tension between two orientations of international law: one towards “human rights” and hence a cosmopolitan law of single citizens and the other towards the sovereignty of single states. He asserted that the universal conception of law cannot be reduced to the legislative autonomy of any state. Consequently, the universal conception of human rights cannot be adequately realized either by particular democratic states or by a world state as a despotic superpower. Apel concluded that an adequate institution for the current debate regarding the issues of global peace and security can only be a federation of nations like the UN, the meta-institution of global discourse and the political representation of international law. At the heart of the essay is Kant’s cosmopolitan ideal and its relevance for today’s discussions about peace and security. Attention is paid to the attempts to rethink Kant by Karl-Otto Apel, Jürgen Habermas, Jaques Derrida, Martha Nussbaum, and David Held, among others. Some of the authors indicate the tension between the sovereignty ofstates and the universality of human rights. Other authors criticize cosmopolitanism as overly unifying in contrast to the socio-cultural diversity of societies. The essay draws a contrast between two tendencies concerning international relations. One is the current neoconservative course toward American domination throughout the world. An alternative to this is the philosophers’ call for “the cosmopolitan model of democracy” and strengthening the network of transnational grass-roots movements and international institutions, including the UN. (shrink)

오늘날 인공지능과 로봇의 세상이 다가오면서 규범학적 관심에서 새로이 부각되고 있는 두 분야가 바로 로봇윤리와 로봇법학이다. 본고는 다음 질문들을 다룬다. 이 두 분야는 어떤 관계에 있는가? 가령, 로봇윤리는 로봇법학을 수행하는 데에 필수불가결하게 요청되는 전제인가? 즉 로봇윤리를 논하고 거기에서 일정한 결론을 내려야만 로봇법학을 수행할 수 있는가? 아니면 로봇법학을 논하는 데에 로봇윤리는 불필요하고, 심지어 로봇법학으로 로봇윤리를 대체할 수 있는가? 그리고 그 역(逆)은 어떠한가? 이 질문들에 대해 필자가 제시하는 답은 “따로 또 같이”다. 로봇윤리와 로봇법학의 관계는 “따로 또 같이”라는, 이중적이고도 복합적인 양상으로 나타난다. 우선 법과 (...) 도덕이 ‘같이’ 갈 수 있다는 전망, 즉 둘 간의 협업(協業)의 전망은 로봇윤리와 로봇법학 간 협업의 전망으로 재현된다. 지능형 로봇의 활용과 관련하여 윤리적 난제에 당면했을 때 법적 장치를 활용하여 그 문제를 우회적으로 해결할 수 있으며, 이와 반대로 법적 난제에 당면했을 때에 윤리적 고찰을 통해 그 긴장과 교착의 상태를 완화할 수 있다. 결과적으로, 지능형 로봇을 둘러싸고 로봇윤리와 로봇법학은 흥미로운 복합적 상관(相關) 하에 놓여 있음이 확인된다. 반면 법과 도덕이 반드시 ‘같이’ 가야만 하는 것은 아니듯이, 로봇윤리와 로봇법학도 그러하다. 지능형 로봇의 사용과 관련해서, 위와 같은 식의 협업, 즉 법이 도덕을 차용하거나 도덕이 법을 차용하는 일이 모든 경우에, 혹은 필수적으로, 요청되지는 않는다는 말이다. 즉 둘은 서로의 관점을 반영하거나 서로의 결론을 활용할 수 있기는 하지만, 또한 그러지 않는 것도 가능하다. 이에, 필자는 지능형 로봇 중 자율주행자동차에 관한 윤리와 법, 특히 그 사고시의 윤리적 책임과 법적 책임을 비교 고찰함으로써 이상과 같은 논지를 예증하고자 한다. (shrink)

This book explores Levinas’ phenomenology of ethical motivation. Levinas is grounded in “radical alterity”, the knowledge that ethics exists only when we are fully separate from someone else, allowing us to experience connection with one another. In this book, the author locates this ethics in embodiment, emotions, and imaginations and explores the intersection of aesthetics and education.

Inspired by the ecosophical writings of Felix Guattari, this book explores the many ways that aesthetics - in the forms of visual art, film, sculpture, painting, literature, and the screenplay - can act as catalysts, allowing us to see the world differently, beyond traditional modes of representation. This is in direct parallel to Guattari's own attempt to break down the 19th century Kantian dialectic between man, art, and world, in favour of a non-hierarchical, transversal approach, to produce a more ethical (...) and ecologically sensitive world view."-- Back cover. (shrink)

The five-volume set Kant and Philosophy in a Cosmopolitan Sense contains the proceedings of the Eleventh International Kant Congress, which took place in Pisa in 2010. The proceedings consist of 25 plenary talks and 341 papers selected by a team of international referees from over 700 submissions. The contributions span 14 sections: Kant’s Concept of Philosophy; Theory of Cognition and Logic; Ontology and Metaphysics; Ethics; Law and Justice; Religion and Theology; Aesthetics; Anthropology and Psychology; Politics and History; Science, (...) Mathematics, and the Philosophy of Nature; Kant and the Leibnizian Tradition; Kant and the Philosophical Tradition; Kant and Schopenhauer; and Kant’s Heritage. Thanks to cooperation from the Schopenhauer Gesellschaft, the 2010 conference was the first in the history of the International Kant Congress to include a session on Kant and Schopenhauer. -/- . (shrink)

Presenting key texts in and about pragmatism, this collection of essays explores pragmatism's origins, applications, and weaknesses, as well as its remarkable versatility as an approach not only to issues of truth and knowledge, but to ethics and social philosophy, literature, law, aesthetics, religion, and education. Exploring a wide range of work on topics spanning from the birth of pragmatism in nineteenth century America, to its contemporary revival as an international and multi-disciplinary phenomenon, the collection: * is international in (...) scope, covering a wide range of sources, including key American pragmatists such as Nelson Goodman and Morton White * includes key articles on the contemporary neopragmatism revival * considers pragmatism's influences across disciplines * presents newly translated papers. With an impressive breadth and range of content, the set also includes a both a general introduction and introductions to each volume by the editor, a chronological table of contents, and a full index to provide a valuable and unique research resource for student and scholar alike. (shrink)

What happens when an object you take to be beautiful or aesthetically pleasing, no longer appears beautiful or pleasing when you learn something new about it? I am assuming a situation in which there is no direct change in the perceptual features of the object, and that what you learn is not the location of some new surface property but rather a bit of non-perceptual information. I classify episodes of dampened appreciation under the heading 'aesthetic disillusionment', and in this paper (...) I explore the relationship between such episodes and the broader issue of ethical constraints on aesthetic activity and appreciation. Does it make sense to say that one should not, or ought not, take pleasure in certain objects or events? I think it does – but in a very particular, almost ecological way. The subsequent discussion focuses on ethical constraints as they operate on the aesthetic appreciation of objects and events within the natural environment. (shrink)