This article makes the following three programmatic points. First, an understanding of divine transcendence, prominent in Christian theology's apophatic strain, developed in tandem, both historically and logically, with ideas about creation that eventuated in a creation ex nihilo viewpoint. Such an account of divine transcendence, second, fosters an account of creation that typically mixes both natural and personalistic images and categories. The loss of such an account of transcendence since the early modern period, I suggest thirdly and in conclusion, is (...) therefore responsible in great part for the dualistic, mutually exclusive alternation between a deistic, interventionist God and pantheism so common in modern Christian thought. (shrink)

Recent writing in feminist ethics, both secular and religious, is moving beyond a moral dualism between an ethic of care and an ethic of justice, with wide-ranging implications for the most fundamental assumptions of moral life. In reviewing the pertinent literature, this essay aims to clarify an emerging vision of self and community indicated by this new direction in feminist ethics.

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS God and Creation in Christian Theology: Tyranny or Empowerment? By KATHRYN TANNER. Oxford and New York: Basil Blackwell, 1988. Pp. viii + 196. $39.95 (hardbound). In describing the role of the human will in salvation, Thomas Aquinas remarks that justification indeed requires an act of human free choice, namely one which takes place when God "infuses the gift of justifying grace in such a way (...) that he simultaneously moves the free will (liberum arbitrium) to accept the gift of grace" (Summa theologiae I-II, 113, 3, c). When they encounter this sort of remark in Aquinas-and parallel remarks can he found across the whole ecumenical tradition of Christian theology-contemporary theologians may well be puzzled by two thirig~..One is Aquinas's evident conviction that an utterly robust view of God's power and sovereignty (such that whatever God wills to happen, happens) is fully compatible with the ascription of genuine and ineradicable freedom to human beings. But perhaps even more striking is the fact that Aquinas apparently takes this compatibility, so problematic for much of modern theology, to be obvious: it occasions no visible perplexity, appeal to mystery, or lengthy explanation, but is simply invoked in passing to help deal with the theological issue under discussion. In this powerfully argued and provocative book, Kathryn Tanner undertakes to clear up both of these perplexities. She develops an original and richly textured account of how Christian thinkers could and can maintain uncompromising accounts of both divine sovereignty and creaturely independence and freedom without falling into incoherence, and she also explains how what was once obvious now so easily seems bafHing. Tanner begins by arguing that the coherence of Christian claims about God and creatures can best be displayed by an explicitly secondorder analysis which aims to lay bare the rules governing well-formed Christian discourse, rather than by constructing a first-order ontological and metaphysical account of the relationship between God and the world. The book explicitly concentrates, " not on what theologians are talking about, but on.the way they are saying it " (p. 11). Tanner undertakes this " semantic ascent," which. she articulates with considerable nuance, partly in order to proceed in a way congruent with powerful recent developments in philosophy (European as well as Anglo8 ~1 BOOK REVIEWS American) and theology, but more basically because she thinks the issue itself demands this kind of treatment. However available in their own right, accounts of the relations between God and creatures cast in first-order metaphysical language are, theologians of quite different conviction have often maintained, veiled in a certain inevitable obscurity which limits their explanatory value; one cannot " reconcile God's agency with the creature's active powers through any material explanation of the actual mechanism found in some ' causal joint ' between the two" (p. 26; Thomas's way of putting this point, as Tanner is aware, is to say that we have no modus significandi for descriptions in divinis [see p. 12]). By contrast, the rules for coherent Christian discourse about God and creatures, if we can find any, can be stated with comparative clarity and precision: they will be straightforward directives to speak in certain ways and not in others. Moreover, the problems in speaking coherently about divine power and the contingent independence of creatures are not confined to a particular scheme of firstorder theological concepts and judgments but recur across a wide range of differing schemes; correlatively, if we can isolate second-order rules for Christian discourse about God and creatures those rules " may structure very different theological schemes, schemes distinguished by their first-order claims by vocabulary, philosophical frames of reference etc." (p. 29). Tanner's project, then, is a certain kind of transcendental argument: she wants to show "how it is possible for Christians to affirm certain statements while holding on to others that seem to conflict with them" (p. 20). If rules which govern apparently conflicting statements about God and creatures in Christian discourse can in fact be isolated, and it can be shown how they are followed by Christian theologians, then, Tanner argues, the project will have succeeded; the coherence of Christian discourse about God and creatures will have been displayed... (shrink)

SummaryChristians often presume that immediate and universally extensive divine governance of human behavior is incompatible with human agency and responsibility. Against this presumption, Kathryn Tanner argues for a distinctive metalinguistic paradigm whereby Christians can coherently speak of God’s transcendence in such a way that divine action could never in principle ‘compete’ with human action. Thus, it is said, God can comprehensively will each human action without thereby compromising significant human freedom and corresponding moral responsibility. In this article, it (...) is argued that Tanner’s non-competitivist paradigm fails to circumvent a theological version of the ‘direct argument’ for the incompatibility between human moral responsibility and causal determinism. (shrink)

Name der Zeitschrift: Neue Zeitschrift für Systematische Theologie und Religionsphilosophie Jahrgang: 58 Heft: 2 Seiten: 190-205.

The opening chapter of Genesis makes a lofty claim about the human condition: that humans are created in the image of God. But why can humans image God? This article examines four different interpretations of humans as interpretive animals. Following Martin Heidegger's account of Dasein, I argue that humans are interpretive animals, and as such, are suitable creatures to bear God's image. Humans as interpretive animals function as the image of God, not because of divine fiat; instead, humans in their (...) capacities are open to being the image. My argument is not that the image of God is identifiable as particular human features. Instead, it is the fact that humans have specific capacities that make them interpretive animals (e.g., radical openness, thrownness, malleability) and that these traits are constitutive for what it means to be human. Alongside Heidegger, I draw on the works of Charles Taylor, Claudia Welz, and Kathryn Tanner. (shrink)

This paper considers the economic effect of the Christian practice of forgiveness. In particular, the argument is that the gift of divine forgiveness in Christ, as articulated by Anselm, interrupts `economy' (with its logic of scarcity, debt, and finally death) and puts in place an aneconomic order (with its theo-logic of abundance, ceaseless generosity, and resurrection) that is full of the promise of deliverance from the affliction of capitalism. Also addressed here is the way that the human reception of divine (...) forgiveness takes shape in the Works of Mercy, how these works are not rightly understood as `mere charity' at home within `economy' but in fact constitute the appearance of an order that heralds the end of economy, and, finally, how this practice of forgiveness redeems/ reconfigures what is commonly called `economic justice'. (shrink)

The failure of psychiatry to validate its diagnostic constructs is often attributed to the prioritizing of reliability over validity in the structure and content of the Diagnostic and Statistical Manual of Mental Disorders. Here I argue that in fact what has retarded biomedical approaches to psychopathology is unwarranted optimism about diagnostic discrimination: the assumption that our diagnostic tests group patients together in ways that allow for relevant facts about mental disorder to be discovered. I consider the Research Domain Criteria framework (...) as a new paradigm for classifying objects of psychiatric research that solves some of the challenges brought on by this assumption. (shrink)

Does human nature possess normative significance? If so, what is it and what implications does it have for biotechnology? This essay critically examines three answers to these questions. One answer focuses on human nature as the ground of natural goods or goods dependent on human nature, another answer finds normative significance in the indeterminacy or malleability of human nature, and a third answer treats human nature as a natural sign of divine grace. Kathryn Tanner, who offers the second (...) answer, and Karl Barth, who offers the third, deny that nature has normative status in itself, apart from grace, but differ over the relation of grace to human nature as created. While indebted to Tanner, this essay favors Barth’s view as best suited to a Christian ethics of biotechnology. (shrink)

I argue that grammatical thomism helps to clarify certain problems in philosophical theology by focusing attention on the parameters of coherent God-talk. By drawing on figures like David Burrell, Brian Davies, Kathryn Tanner, and Denys Turner, I show that the first rule of theological grammar is to avoid talking about God as if God were some sort of thing existing alongside the world. In fact, Aquinas concedes that we cannot really know what God is at all. Nevertheless, Wittgenstein’s (...) later emphasis on meaning as use helps us to see why we can still talk intelligibly about God by focusing on the use of the word more than its referent. I connect this with the work of Stephen Mulhall and Cora Diamond on the nature of riddles, and suggest that this genre is one way of illuminating the peculiar grammar of certain Christian doctrines: in particular, the doctrine of the incarnation and of creation out of nothing. Finally, I look outside Christian contexts to the Hindu tradition of Advaita Vedānta, and argue that the language and imageries of non-dualism can provoke us into reconsidering the essence of Christian grammar and alert us to some of the therapeutic possibilities of grammatical thomism. (shrink)

Volume 1: Divine Agency and Divine Action, Volume I lays the groundwork for a constructive contribution to the contemporary debate regarding divine action. Noted scholar William J. Abraham argues that the concept of divine action is not a closed concept--like knowledge--but an open concept with a variety of context-dependent meanings. This volume charts the history of debate about divine action among key Anglophone philosophers of religion, and observes that they were largely committed to this erroneous understanding of divine action as (...) a closed concept. After developing an argument that divine action should be understood as an open, fluid concept, Abraham engages the work of William Alston, Process metaphysics, quantum physics, analytic Thomist philosophy of religion, and the theology of Kathryn Tanner. Abraham argues that divine action as an open concept must be shaped by distinctly theological considerations, and thus all future work on divine action among philosophers of religion must change to accord with this vision. Only deep engagement with the Christian theological tradition will remedy the problems ailing contemporary discourse on divine action. (shrink)

Love and money, according to the intuitive logic of Christian political theology, stand in opposition to each other. Where economic relations obtain, relations of love are understood to be absent or distorted. The opposition between the two has led social theorists and political theologians—including John Milbank, Kathryn Tanner, and Daniel M. Bell—to understand Christian love as a reservoir of opposition to the politics of contemporary financialized capital. This opposition, however, ignores the complex interrelationship that has characterized Christian thought (...) about love and money. Love and money—and their apparent competitive relationship—have been understood throughout the history of Christian thought on the basis of a relationship both maintain to the notion of indebtedness. This paper argues that any apparent tension between Christian theological caritas and oikonomia must to be contextualized in terms of a shared relationship between both of these concepts and the organization and administration of relations of debt and obligation. (shrink)

While he was archbishop of Canterbury from 2002 to 2012, the scholar and theologian Rowan Williams faced divisive controversy over ethical issues such as human sexuality, women's ordination, and the treatment of religious minorities. This essay presents a selective retrieval of Williams's approach to communal disagreement as an important contribution of the Anglican tradition to the future of Christian ethics. Williams's concept of ethical discernment as an exercise in "recognition" offers a way for communities to approach differences as fostering constructive (...) engagement and expanding ethical insight. Kathryn Tanner's analysis of culture and tradition in Theories of Culture is used to explicate the strengths and limitations of Williams's thought. (shrink)

This article argues that the power of religion to shape experience presupposes the mobilization of religious identity through social opposition. This thesis is developed through a critique of George Lindbeck's The Nature of Doctrine. The article first examines Lindbeck's thesis that religion shapes experience in light of Talal Asad's critique of Geertz's concept of religion. It argues that in order to understand how ‘religion’ shapes experience we must look outside the immanent sphere of cultural‐religious meaning that Lindbeck, following Geertz, identifies (...) with ‘religion’. Religious authority ultimately derives from the recognition of a social group. Next, looking at the nature of doctrine in light of Kathryn Tanner's thesis that Christian identity is essentially relational, it argues that church doctrines function to mobilize group identity through social opposition. In this respect they resemble the mobilizing slogans of political discourse more than, as Lindbeck's theory proposes, the grammatical rules governing Wittgensteinian language games. (shrink)

The concept of interactional expertise – characterized by sociologists Harry Collins and Robert Evans as the ability to speak the language of a discipline without the corresponding ability to practice – can serve as a powerful way of breaking down expert/non-expert dichotomies and providing a role for new voices in specialist communities. However, in spite of the vast uptake of this concept and its potential to fruitfully address many important issues related to scientific expertise, there has been surprisingly little critical (...) analysis of it. We seek to remedy this situation by considering potential benefits of interactional expertise and the ways in which the current conception can – and cannot – realize those benefits. In particular, we argue that interactional expertise hasn’t reached its full potential for addressing who ought to be involved in scientific research and decision-making, largely owing to an unnecessarily restrictive way of operationalizing the concept. In its place, we offer a broader, more pluralistic account of interactional expertise – one that is in line with the original spirit of the concept, but also captures the diversity that we see as being an important aspect of interactional experts and the value they can bring to the table. (shrink)

The current study extends previous literature regarding the effectiveness of learning about academic integrity through peer instruction by assessing the impact of a peer instructional approach for actual and perceived learning gains over time. One trained residence don provided one interactive 30-min presentation covering four major aspects of academic integrity and misconduct to groups of undergraduate students. In total, 192 participants attended the workshop and were surveyed for their knowledge of academic integrity immediately before the presentation, immediately after the presentation, (...) and after a four week delay. Perceptions regarding the presentation also were assessed. Consistent with previous literature, results indicate perceived learning gains and preference for having an interactive presentation delivered by a residence don. In addition, actual gains in knowledge were found immediately after the presentation and gains remained evident over a four-week delay. Outcomes suggest that peer instruction is a viable and effective approach for educating students about academic integrity. (shrink)

This article discusses the emergence of a patenting culture in university science. Patenting culture is examined empirically in the context of the increasing commerciali zation of science, and theoretically within debates over scientific "credibility." The article explores the translation of academic credit into patents, and vice versa, and argues that this process raises new questions for our understanding of scientific recognition and of scientists' networks. In particular, the analysis suggests that scientists must move between two distinct social worlds to manage (...) the rewards that academic and patent cultures carry. (shrink)

Most people take it for granted that it's morally permissible to have children. They may raise questions about the number of children it's responsible to have or whether it's permissible to reproduce when there's a strong risk of serious disability. But in general, having children is considered a good thing to do, something that's morally permissible in most cases (perhaps even obligatory).

Financially significant relationships between corporations and non-profit organizations have increased in recent years. NPOs offer access to interests and ideologies that are lacking within most for-profit organizations. These partnerships form a unique bridge between for-profit and non-profit goals and offer significant potential to produce innovative ways of “doing business by doing good.” Exploration of the structural implications of these relationships, however, has been limited. The potential for ideological imbalance in these relationships, particularly for the NPO, has been poorly described. We (...) explore the structure of Corporate–NPO relationships from the NPO's perspective under high pressure conditions such as large relational investments or negative pressure from stakeholders. Using data collected from 20 NPOs in Australia, we identified the use by NPOs of both formal and informal governance mechanisms within their partnerships. These mechanisms acted to align and defend important goals of the NPO. They allowed the NPO and their corporate partners to be simultaneously “together and apart.” Our study offers important insight toward the study of cross-sector relationships and the role of governance mechanisms. (shrink)

This article seeks to address the doctrine of the atonement using both the methodology of philosophical theology as well as the voices of feminist theology. Working primarily with the Christus Victor model and expanding upon Anslem’s framework, contemporary voices in feminist theological scholarship such as Darby Kathleen Ray, Kathryn Tanner, Mary Grey and Carter Heyward will be built upon in order to better further the conversation of the work of the cross.

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

Working retrospectively in an uncertain field of knowledge, physicians are engaged in an interpretive practice that is guided by couterweighted, competing, sometimes paradoxical maxims. When you hear hoofbeats, don't think zebras, is the chief of these, the epitome of medicine's practical wisdom, its hermeneutic rule. The accumulated and contradictory wisdom distilled in clinical maxims arises necessarily from the case-based nature of medical practice and the narrative rationality that good practice requires. That these maxims all have their opposites enforces in students (...) and physicians a practical skepticism that encourages them to question their expectations, interrupt patterns, and adjust to new developments as a case unfolds. Yet medicine resolutely ignores both the maxims and the tension between the practical reasoning they represent and the claim that medicine is a science. Indeed, resolute epistemological naivete is part of medicine's accommodation to uncertainty; counterweighted, competing, apparently paradoxical (but always situational) rules enable physicians simultaneously to express and to ignore the practical reason that characterizes their practice. (shrink)

Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as (...) an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures. (shrink)

Introduction for issue on "Ricoeur and Translation".

Humans, like all organisms, have evolved to survive in specific environments, while some elect or are forced to live and work in extreme environments. Understanding cognition as it relates to environmental conditions, we use 4E cognition as a framework to explore creativity in extreme environments. Our paper examines space arts as a case study through the history, present practices, and future possible arts in the context of humans beyond the Kármán boundary of the Earth’s atmosphere. We develop a proposed taxonomy (...) of space arts, based on prior taxonomies, and provide specific exemplars of space art developed by artists in space or for use by astronauts in space. Using examples of space art since the birth of the space age, we discuss 1) how human survival in extreme environments requires investment in the space arts, driven by consideration of all biopsychosocial factors and 2) how new scientific and engineering discoveries could be consequences or examples of creative thinking driven by artists in the various types of space art. We conclude by discussing possible benefits of space art, future research applications, and advocate that all space actors, government or private, involve artists in all projects beyond the Kármán Boundary of the Earth’s atmosphere. (shrink)

Written from a student’s perspective, this essay focuses on Pleshette’s engagement with Derrida in The Right to Narcissism: The Case for an Im-possible Self-Love and attests to the manner in which she lived this influence through her teaching and writing.

After acknowledging Wim Drees’s excellent contribution to the science-religion debate, this essay considers three ‘beyonds’ unhelpful to a response to the climate emergency. These are ‘beyond as sudden destruction’, stemming from an over-reliance on the apocalyptic texts of the New Testament; ‘beyond as up’, focussing on the release of the immortal soul from the material world; and ‘beyond time’, addressing the cosmological predictions of the ultimate end of the universe through God’s transformation of creation. The essay proposes in contrast that (...) the same event in the present can be viewed through four parallel lenses, of which eschatology is one. It draws on proposals from Drees’s Beyond the Big Bang and the detemporalised eschatology of Kathryn Tanner to propose an eschatology of the present moment, informed by divine judgment and longing, and the human vocation to respond to that judgment and longing with parallel longing, and with both action and consolation. (shrink)