This is the first modern, annotated and scholarly edition of Jean-Baptiste Du Bos’ _Critical Reflections on Poetry and Painting_, one of the seminal works of modern aesthetics in any language.

The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the 18th century. James O. Young presents the first complete English translation of the work, with full annotations and a comprehensive introduction, which illuminate Batteux's continuing philosophical interest.

A review of deVries' and O'Shea's books, both titled "Wilfrid Sellars". By Jaroslav Peregrin.

Are aesthetic judgements simply expressions of personal preference? If two people disagree about the beauty of a painting are both judgements valid or can someone be mistaken about the aesthetic value of an artwork? This volume brings together some of the leading philosophers of art and language to debate the status of aesthetic judgements.

A good, single volume history of the philosophy of music would be nice to have, but I do not think that the book under review here is it. (Full disclosure: I am.

The problems and the keys to their solutions -- Ontology of artworks -- Copyright and its limits -- Token appropriation -- Pattern appropriation -- Appropriation of artistic elements.

Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of aesthetically (...) successful works of art?” and “Is cultural appropriation in the arts morally objectionable?” Part of the highly regarded New Directions in Aesthetics series. (shrink)

James O. Young seeks to explain why we value music so highly. He draws on the latest psychological research to argue that music is expressive of emotion by resembling human expressive behaviour. The representation of emotion in music gives it the capacity to provide psychological insight--and it is this which explains a good deal of its value.

This study aimed to provide an in-depth description and interpretation of African Roman Catholic Church priests’ experiences integrating African and Western worldviews into their lives and works as Roman Catholic Church priests through the lens of Jungian constructs. Fifteen African priests were purposely selected and interviewed in depth. Additional sources of data were reflexive notes and observation notes. Data were subjected to various iterative cycles of analysis. Most participants (80%) indicated that, in one way or another, they were experiencing conflict (...) in terms of the cultural values of manhood and Roman Catholic Church prescription. Findings suggest that a more concerted and serious effort should be undertaken by the Roman Catholic Church to support and guide its priests on a path of healing, which includes the priests risking cultural openness and being true to themselves and God. (shrink)

Many philosophers have claimed that reading literary fiction makes people more virtuous. This essay begins by defending the view that this claim is empirical. It goes on to review the empirical literature and finds that this literature supports the claim philosophers have made. Three mechanisms are identified whereby reading literary fiction makes people more virtuous: empathy is increased when readers enter imaginatively into the lives of fictional characters; reading literary fiction promotes self-reflection; and readers mimic the prosocial behaviour of fictional (...) characters. The paper concludes with a caution: there is a danger that readers could mimic antisocial behaviour displayed in literary fiction. If they do, reading some literary fiction could make readers less virtuous. (shrink)

This paper examines the normative ideas flowing from the contemporary theories that make up the New Finance. These theories include the Irrelevance Theorem, Efficient Market Hypothesis, Capital Asset Pricing Model, Options Pricing Model, and Agency Theory. The behavioral consequences that would ensue if everyone took the normative precepts of the New Finance seriously are subjected to a Kantian analysis to determine their ethical implications. It is concluded that the corporate world in the New Finance is a place where the firm (...) can select any operating and financial strategies that it wishes, and the investors will respond immediately through a combination of homemade portfolio diversification, clever option positions, and carefully constructed agency relationships, all of which results in a pervasive nihilism. Recommendations are offered on how these features of the New Finance might be avoided or moderated. (shrink)

This chapter contains section titled: Other Forms of Harm Cultural Appropriation and Harmful Misrepresentation Harm and Accurate Representation Cultural Appropriation and Economic Opportunity Cultural Appropriation and Assimilation Art, Insignia, and Cultural Identity Cultural Appropriation and Privacy.

This essay argues that there is no alethic basis for adopting one ontology of jazz music rather than another. Any ontology of jazz that is consistent with the available empirical evidence may be adopted, though pragmatic reasons may exist for favouring one ontology of jazz over another. There are empirical differences between jazz and much of classical music, but one may adopt the same ontology for jazz that one adopts for works classical music.

Paul Oskar Kristeller famously argued that the modern ‘ system of the arts ’ did not emerge until the mid-eighteenth century, in the work of Charles Batteux. On this view, the modern conception of the fine arts had no parallel in the ancient world, the middle-ages or the modern period prior to Batteux. This paper argues that Kristeller was wrong. The ancient conception of the imitative arts completely overlaps with Batteux’s fine arts : poetry, painting, music, sculpture, and dance. Writers (...) from the sixteenth century on adopted the ancient conception of the imitative arts and anticipated the views of Batteux by 200 years. Batteux simply popularized the rubric ‘fine arts ’. (shrink)

Philosophers have failed to give a satisfactory analysis of the concept of the aesthetic. The attempt to analyze the concept faces two difficulties. The first is that aesthetic objects cannot be identified without knowing which experiences are aesthetic experiences and aesthetic experiences cannot be identified without knowing which objects are aesthetic objects. The second problem is that an incredibly broad range of experiences and objects are described as aesthetic. There is no principled way to choose between the various accounts of (...) the aesthetic and philosophers end up offering persuasive definitions of the aesthetic. These definitions classify as aesthetic objects and experiences ones which philosophers believe are deserving of attention. These objects and experiences are, however, valuable in a wide variety of ways and calling them all aesthetic obscures differences between them. Finer-grained concepts than the concept of the aesthetic are needed to explain how various kinds of objects and experiences are valuable. (shrink)

Almost all of us would agree that the experience of art is deeply rewarding. Why this is the case remains a puzzle; nor does it explain why many of us find works of art much more important than other sources of pleasure. Art and Knowledge argues that the experience of art is so rewarding because it can be an important source of knowledge about ourselves and our relation to each other and to the world. The view that art is a (...) source of knowledge can be traced as far back as Aristotle and Horace. Artists as various as Tasso, Sidney, Henry James and Mendelssohn have believed that art contributes to knowledge. As attractive as this view may be, it has never been satisfactorily defended, either by artists or philosophers. Art and Knowledge reflects on the essence of art and argues that it ought to provide insight as well as pleasure. It argues that all the arts, including music, are importantly representational. This kind of representation is fundamentally different from that found in the sciences, but it can provide insights as important and profound as available from the sciences. Once we recognise that works of art can contribute to knowledge we can avoid thorough relativism about aesthetic value and we can be in a position to evaluate the avant-garde art of the past 100 years. Art and Knowledge is an exceptionally clear and interesting, as well as controversial, exploration of what art is and why it is valuable. It will be of interest to all philosophers of art, artists and art critics. (shrink)

Explores James’s concept of the individual in terms of physiology, psychology, philosophy, and religion.

_The Ethics of Cultural Appropriation_ undertakes a comprehensive and systematic investigation of the moral and aesthetic questions that arise from the practice of cultural appropriation. Explores cultural appropriation in a wide variety of contexts, among them the arts and archaeology, museums, and religion Questions whether cultural appropriation is always morally objectionable Includes research that is equally informed by empirical knowledge and general normative theory Provides a coherent and authoritative perspective gained by the collaboration of philosophers and specialists in the field (...) who all participated in this unique research project. (shrink)

This four volume set brings together both classic and contemporary writings to provide a comprehensive collection of the most important essays on the subject. All of the various artistic genres are addressed, with sections on film, dance and architecture as well as music, literature and the visual arts. With a new introduction by the editor to guide the reader through the volumes, this major new work will provide student and researcher alike with key writings on aesthetics in one convenient, unique (...) resource. (shrink)

This chapter contains section titled: The Aesthetic Handicap Thesis The Cultural Experience Argument Aesthetic Properties and Cultural Context Authenticity and Appropriation Authentic Appropriation Cultural Experience and Subject Appropriation Appropriation and the Authentic Expression of a Culture.

In the wake of Locke’s Essay, empiricists faced the challenge of giving an empiricist account of the origins of moral knowledge. Locke did not rise to this challenge and relied on revelation as the source of moral knowledge. Other empiricists, including Hume and Hutcheson, opted for either emotivism or subjectivism. Clarke and others opted for rationalism and non-naturalism. In contrast, Catharine Cockburn’s meta-ethics combined Locke’s empiricism with naturalism. She held that moral good is natural good and that natural good is (...) known just as any other matters of natural fact are known: empirically. Cockburn’s position was unusual for its time, and the full originality and appeal of her meta-ethical position have not been fully appreciated. (shrink)

Peirce’s doctrine of God has scarcely been studied at all. This is surprising because his own naturally religious temperament, his desire for philosophical completeness and the influence of Kant, all led him to give an important place to theistic speculation in his philosophy. It is true that few parts of his philosophy reveal more than the fragmentary and unfinished nature of his thinking. This however does not take away from its importance both for the interpretation of his philosophy and for (...) the evaluation of its contribution. In this paper I want to examine his doctrine of God mainly in order to discover and outline what views he held in the matter. Such examination is an essential preliminary to any consideration of the value of his theistic thinking. Moreover, an objective exposition is already the best beginning of evaluation. However it is impossible to undertake this kind of examination without a careful search into various corners of his writings and a meticulous and slightly laboured presentation of one’s findings. But I think that the patience involved in such research has a rich reward. (shrink)

We use formal semantic analysis based on new constructions to study abstract realizability, introduced by Läuchli in 1970, and expose its algebraic content. We claim realizability so conceived generates semantics-based intuitive confidence that the Heyting Calculus is an appropriate system of deduction for constructive reasoning.Well-known semantic formalisms have been defined by Kripke and Beth, but these have no formal concepts corresponding to constructions, and shed little intuitive light on the meanings of formulae. In particular, the completeness proofs for these semantics (...) do not generate confidence in the sufficiency of the Heyting Calculus, since we have no reason to believe that every intuitively constructive truth is valid in the formal semantics.Läuchli has proved completeness for a realizability semantics with formal concepts analogous to constructions. We argue in some detail that, in spite of a certain inherent inexactness of the analogy, every intuitively constructive truth is valid in Läuchli semantics, and therefore the Heyting Calculus is powerful enough to prove all constructive truths. Our argument is based on the postulate that a uniformly constructible object must be communicable in spite of imprecision in our language, and that the permutations in Läuchli's semantics represent conceivable imprecision in a language, while allowing a certain amount of freedom in choosing the particular structure of the language.We give a detailed generalization of Läuchli's proof of completeness for the propositional part of the Heyting Calculus, in order to make explicit constructive and algebraic content.In our treatment, we establish several new results about Läuchli models. We show how to extend the sconing and gluing constructions familiar from Kripke and Frame semantics and Topos theory, to Läuchli models, and use them to give an algebraic approach to countermodel construction. In particular, the Läuchli arguments are given without the restriction to the integers, Z, as a group of permutations, which makes much of the coding scheme used in Läuchli's original paper transparent.We also make use of a new propositions-as-types syntax for the Heyting calculus, with limited nondeterminism, in which validity of formulae can be decided without loop-detection. (shrink)

DUMMETT HAS BEEN CONCERNED WITH SHOWING HOW ONE MIGHT GIVE\nAN ANTI-REALIST ACCOUNT OF RESTRICTED CLASSES OF SENTENCES.\nTHIS PAPER ARGUES THAT IT IS POSSIBLE TO GIVE AN\nANTI-REALIST ACCOUNT OF ALL CLASSES OF SENTENCES. THAT IS,\nIN THE CASE OF NO CLASSES OF SENTENCES DOES TRUTH TRANSCEND\nWHAT CAN BE WARRANTED. THE KEY TO GLOBAL ANTI-REALISM IS\nREPLACING DUMMETT'S EMPIRICISM WITH A COHERENTIST ACCOUNT\nOF WARRANT. THE AUTHOR POINTS OUT THAT COLIN McGINN'S\nARGUMENT AGAINST GLOBAL ANTI-REALISM FAILS.