So-called activation policies aiming at bringing jobless people into work have been a central component of welfare reforms across OECD countries during the last decades. Such policies combine restrictive and enabling programs, but their characteristic feature is that enabling programs are also mandatory, and non-compliers are sanctioned. There are four main arguments that can be used to defend mandatory activation of benefit recipients. We label them efficiency, sustainability, paternalism, and justice. Each argument is analysed in turn. First we clarify which (...) standards it invokes, thereafter we evaluate each argument according to its own standards and introduce competing normative concerns that have to be taken into account. (shrink)

Berys Gaut; XI*—Metaphor and the Understanding of Art, Proceedings of the Aristotelian Society, Volume 97, Issue 1, 1 June 1997, Pages 223–242, https://doi.org/.

The thought that creativity is a kind of virtue is an attractive one. Virtues are valuable traits that are praised and admired, and creativity is a widely celebrated trait in our society. In philosophical ethics, epistemology, and increasingly aesthetics, virtue-theoretical approaches are influential, so an account of creativity as a virtue can draw on well-established theories. Several philosophers, including Linda Zagzebski, Christine Swanton and Matthew Kieran, have argued for the claim that creativity is a virtue, locating this claim within a (...) broader picture of intellectual, ethical and aesthetic virtues respectively. Moreover, a prominent research programme in psychology, led by Teresa Amabile, holds that people have an intrinsic motivation when they are creative, and this seems seamlessly to fit with the view that creativity is a virtue, for it is often held that a requirement for a trait to be a virtue is that the virtuous agent acts from an intrinsic motivation. (shrink)

Moral pluralism of the kind associated with W. D. Ross is the doctrine that there is a plurality of moral principles, which in their application to particular cases can conflict, and that there is no further principle to determine which of these principles takes priority in cases of conflict. Two objections are commonly advanced against this kind of pluralism: that it proposes a rag-bag of moral principles lacking a unifying basis; and that it offers no way to adjudicate moral disputes (...) when our intuitions about what to do conflict. The present paper replies to both of these objections, in particular by responding to versions of them advanced by Brad Hooker. The tying together and justification of different moral principles may be achieved by a general rational justification procedure, rather than by a further moral principle; and such a rational justification procedure can help to adjudicate moral disputes. (shrink)

In Only a Promise of Happiness Alexander Nehamas holds that beauty is the object of love. I raise three objections to this claim when formulated in terms of personal love: love is too narrow in scope to be the attitude whose formal object is beauty; one can experience a person's beauty but have no love for her; and love is of particulars, not of attributes, however specific, such as beauty. A second kind of love, hedonic love, is too broad in (...) scope to be the attitude whose formal object is beauty. I also argue, contra Nehamas, that inner beauty exists. (shrink)

An outstanding collection of specially commissioned chapters by leading philosophers who explore the relationship between philosophy and creativity. Essential readings for those interested in the philosophy of creativity, it is also an extremely useful resource for those in related subjects such as music, art and visual studies, literature and education.

The long debate -- Aesthetics and ethics : basic concepts -- A conceptual map -- Autonomism -- Artistic and critical practices -- Questions of character -- The cognitive argument : the epistemic claim -- The cognitive argument : the aesthetic claim -- Emotion and imagination -- The merited response argument.

A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium. Groundbreaking in its coverage of (...) a wide range of contemporary cinematic media, it analyses not only traditional photographic films, but also digital cinema, and a variety of interactive cinematic works, including videogames. (shrink)

This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is teleological; the relation of creativity (...) to knowledge; whether creativity can be explained; computational and Darwinian theories of creativity; whether creativity is a virtue; the relation of creativity to tradition; the aesthetic value of creativity; and whether creative activity is different in science and art. (shrink)

These thirteen new, specially written essays by a distinguished international line-up of contributors, including some leading contemporary moral philosophers, give a rich and varied view of current work on ethics and practical reason. The three main perspectives on the topic, Kantian, Humean, and Aristotelian, are all well represented. Issues covered include: the connection between reason and motivation; the source of moral reasons and their relation to reasons of self-interest; the relation of practical reason to value, to freedom, to responsibility, and (...) to feelings. The editors' introduction provides a valuable introductory survey of the topic, putting the individual essays in context. Ethics and Practical Reason will be essential reading for scholars, postgraduates, and upper-level undergraduates working in this area. (shrink)

Group creativity is vital in overcoming the numerous challenges that the world faces. Yet group creativity is deeply puzzling. It seems plausible that only agents can be creative, so group creativity requires group agency. But how could groups possess the mental states required to be agents, let alone the rich range of them required to be creative? It appears more reasonable to hold that group creativity is not a real phenomenon, but is merely the summed creativity of the individuals forming (...) the group. There is also much empirical evidence that groups are no more creative than their members. In this paper I examine the conceptual and empirical challenges to group creativity, defend its existence, and offer an explanation of how it is possible. (shrink)

This chapter contains sections titled: Some Issues in the Philosophy of Film Film Narration: Symmetry or Asymmetry? The A Priori Argument Three Models of Implicit Cinematic Narrators Absurd Imaginings and Silly Questions Literary Narrators Medium‐Specific Explanations.

The current case study focused on a crucial match in the qualification for the Norwegian Premier League. In the match, the participants of the study experienced a radical change in performance toward the end of the second half, from being behind by several goals to scoring 3 goals in 6 min and winning the qualifying game. The purpose of this study was therefore to examine the perceptions and reflections of players and coaches on what occurred within their own team and (...) within the opposing team. The momentum shift in the opposition team can be described as a collective collapse. In the study, the theoretical collective collapse process model was used as a guide for the design of the interview questions where five semi-structured interviews were conducted with participants involved in the match. The participants watched excerpt clips from the match to recall the main events, which they subsequently reflected on. The results highlighted the importance of the “before-game” aspects, the “during-the-game” behavior and the cognitive and emotional reactions to the match unfolding. In addition, social contagion processes were evident in both teams relating to emotion and behavior. Overall, the data from this study investigated the general structure of the process model of collective sport team collapse and found support for the notion of a temporal cascade of causes for a team collapse. Future research is encouraged to examine this model, to provide guidance to teams, coaches, and sport psychologists in order to make recommendations for dealing with collective collapse in sport teams. (shrink)

This paper replies to objections from Thomas Adajian, Stephen Davies, and Robert Stecker to my claim, defended in ‘"Art" as a Cluster Concept’, that ‘art’ is a cluster concept and so cannot be defined. The paper also clarifies and extends the arguments of the earlier paper and locates its position in relation to the work of Morris Weitz.

I am grateful to Richard Allen, Angela Curran and Trevor Ponech for their interesting objections to and questions about the claims defended in my book. I first discuss Ponech, who raises the most general issue, concerning my account of what cinema is; next, respond to Curran, who examines my basic claim about the importance of medium-specific considerations; and then reply to Allen, who addresses the more specific question of the role of identification in eliciting emotions in cinema.

Lamarque and Olsen argue for a “no truth” theory of fiction and literature, holding that there is no essential connection between the concepts of truth and those of fiction or of literature. Instead, they argue for a broadly Gricean account of both. The core of their characterization of the fictionality of a text is that it be the product of an intention that its reader adopt the fictive stance towards it, and the producer of the text intends there to be (...) a mutual belief that the reader adopt this stance partly because of her recognition of the producer’s intention. To adopt the fictive stance is, at its most basic level, to entertain the sense of the text and to make-believe its truth and reference. Because appeal is made not to belief, but make-belief, there is no essential connection between fictionality and truth. Fictional content is aspectival, fictional objects being constituted by the properties expressed by the descriptions associated with the names of the objects. The account of literature is structurally similar to that for fiction. A text is literary when it is produced with the intention that its audience adopt the literary stance towards it, and a similar mutual belief condition holds. To adopt the literary stance to a text is to read it for literary aesthetic value, that is, with an expectation of finding humanly interesting content presented in a complex and coherent form. There is no requirement that the content be true, and hence there is no essential connection between literature or literary value and truth. Within this broad framework, Lamarque and Olsen develop a number of further points of interest, including a broadly Gricean account of metaphor that avoids the pitfalls into which Searle’s proposal stumbles, a distinction between different senses of “fiction” that usefully shows that logical fictions are distinct from make-believe fictions, and a sustained attack on structuralist and poststructuralist literary theories that one hopes will fall into the hands of aficionados of those theories. (shrink)

Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas of (...) tradition, metaphor, genius, imagination and genre. This is an important collection that will be eagerly sought by philosophers of art as well as theorists in art history, cinema studies and literary criticism. (shrink)

The third edition of the acclaimed _Routledge Companion to Aesthetics_ contains over sixty chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three is devoted to (...) issues and challenges in aesthetics, including art and ethics, art and religion, creativity, environmental aesthetics and feminist aesthetics. The final part addresses the individual arts, including music, photography, film, videogames, literature, theater, dance, architecture and design. With ten new entries, and revisions and updated suggestions for further reading throughout, _The Routledge Companion to Aesthetics_ is essential for anyone interested in aesthetics, art, literature, and visual studies. (shrink)