Recent philosophical discussion about the relation between fiction and reality pays little attention to our moral involvement with literature. Frank Palmer's purpose is to investigate how our appreciation of literary works calls upon and develops our capacity for moral understanding. He explores a wide range of philosophical questions about the relation of art to morality, and challenges theories that he regards as incompatible with a humane view of literary art. Palmer considers, in particular, the extent to which the values (...) and moral concepts involved in our understanding of human beings can be said to enter into our understanding of, and response to, fictional characters. The scope of his discussion encompasses literary aesthetics, ethics, and epistemology, and he makes extensive reference to literary examples. (shrink)

It is always fun to observe the wheel being reinvented. More often than not in philosophy this happens when young philosophers ignore the history of their field and attempt to come to terms with something not included in the latest journal articles. In this case, the end result is of some interest. The author, in stressing the relationship between fiction and reality, realizes that reality cannot be true without a moral aspect. In wrestling with this moral aspect the author (...) quite rightly turns to ethics, culture and education in an attempt to allow for an account of our moral stance and to introduce it into practice. A very tricky, but a very worthwhile, project. (shrink)

To what extent should an analysis of an agent’s being morally responsible for an action that he performed—especially a compatibilist analysis of this—be sensitive to the agent’s history? In this article, I give the issue a clearer focus than it tends to have in the literature, I lay some groundwork for an attempt to answer the question, and I motivate a partial but detailed answer.

"Spanning many historical and literary contexts, Moral Imagination brings together a dozen recent essays by one of America's premier cultural critics. David Bromwich explores the importance of imagination and sympathy to suggest how these faculties may illuminate the motives of human action and the reality of justice. These wide-ranging essays address thinkers and topics from Gandhi and Martin Luther King on nonviolent resistance, to the dangers of identity politics, to the psychology of the heroes of classic American literature. Bromwich (...) demonstrates that moral imagination allows us to judge the right and wrong of actions apart from any benefit to ourselves, and he argues that this ability is an innate individual strength, rather than a socially conditioned habit. Political topics addressed here include Edmund Burke and Richard Price's efforts to define patriotism in the first year of the French Revolution, Abraham Lincoln's principled work of persuasion against slavery in the 1850s, the erosion of privacy in America under the influence of social media, and the use of euphemism to shade and anesthetize reactions to the global war on terror. Throughout, Bromwich considers the relationship between language and power, and the insights language may offer into the corruptions of power.Moral Imagination captures the singular voice of one of the most forceful thinkers working in America today"--. (shrink)

In this provocative new examination of the philosophical, moral and religious significance of literature, Michael Weston explores the role of literature in both analytic and continental traditions. He initiates a dialogue between them and investigates the growing importance of these issues for major contemporary thinkers. Each chapter explores a philosopher or literary figure who has written on the relation between literature and the good life, such as Derrida, Kierkegaard, Murdoch and Blanchot. Challenging and insightful, Philosophy, Literature (...) and the Human Good is ideal for all students of philosophy and literature. (shrink)

This book analyzes a rich and diverse body of philosophical and theological literature concerning the import of narrative for the understanding of morality. Nelson begins by examining the theses that to understand oneself, a tradition, and history as a whole, they must be understood in the context of a narrative. Recent philosophical writings on the relation of narrative to the moral concepts of social groups and individuals—including Alasdair MacIntyre's proposal for the rehabilitation of an ethic of virtue shaped (...) by narrative—are explored. Issues discussed include the freedom of moral agents in relation to their narratives, the relation between narrative and universal moral rules, and the problem of relativism. Next, Nelson classifies theological uses of narrative as belonging to either a liberal-universalistic or postliberal-particularistic tradition and considers the implications of construing scripture as narrative for the problematic relation between scripture and ethics. The work of Stanley Hauerwas, the foremost narrativist in Christian ethics, is analyzed at length. Nelson argues that while narrative is a necessary focus, it does not exhaust the methodological agenda. Narrative is not, as its advocates sometimes suggest, a universal solvent for every theological problem and disagreement. An adequate Christian ethics must not lose sight of the universal, narrative-independent features of morality. Since the realm of the moral is an interweaving of narrative-dependent and narrative-independent features, Christian ethics stands to profit from both narrativist and rationalist insights. The role of narrative is demonstrably a major topic of conversation across several fields in religious studies today. Particularly designed for scholars in ethics, theology, and the philosophy of religion, the book is a reliable guide to an expanding literature and a judicious introduction to these interdisciplinary discussions. (shrink)

Fish, S. Georgics of the mind: Bacon's philosophy and the experience of his Essays.--Brett, R. L. Thomas Hobbes.--Watt, I. Realism and the novel.--Tuveson, E. Locke and Sterne.--Kampf, L. Gibbon and Hume.--Frye, N. Blake's case against Locke.--Abrams, M. H. Mechanical and organic psychologies of literary invention.--Ryle, G. Jane Austen and the moralists.--Schneewind, J. B. Moral problems and moral philosophy in the Victorian period.--Donagan, A. Victorian philosophical prose: J. S. Mill and F. H. Bradley.--Pitcher, G. Wittgenstein, nonsense, and Lewis Carroll.--Bolgan, A. C. (...) The philosophy of F. H. Bradley and the mind and art of T. S. Eliot: an introduction.--Davie, D. Yeats, Berkeley, and Romanticism.--Ross, M. L. The mythology of friendship: D. H. Lawrence, Bertrand Russell, and "The Blind man".--Rosenbaum, S. P. The philosophical realism of Virginia Woolf.--Bibliography (p. 357-360). (shrink)

In the beginning was the night. All light, shapes, language, and subjective consciousness, as well as the world and art depicting them, emerged from this formless chaos. In fantasy, we seek to return to this original darkness. Particularly in literature, visual representations, and film, the night resiliently resurfaces from the margins of the knowable, acting as a stage and state of mind in which exceptional perceptions, discoveries, and decisions play out. Elisabeth Bronfen investigates the nocturnal spaces in which extraordinary (...) events unfold, and casts a critical eye into the darkness that enables the irrational exploration of desire, transformation, ecstasy, transgression, spiritual illumination, and moral choice. She begins with an analysis of classical myths depicting the creation of the world and then moves through night scenes in Shakespeare and Milton, Gothic novels and novellas, Hegel's romantic philosophy, and Freud's psychoanalysis. Bronfen also demonstrates how modern works of literature and film, particularly film noir, can convey that piece of night the modern subject carries within. From Mozart's "Queen of the Night" to Virginia Woolf 's oscillation between day and night, life and death, and chaos and aesthetic form, Bronfen renders something visible, conceivable, and comprehensible from the dark realms of the unknown. (shrink)

Recently there has been a renewed interest in the ethical value of literature. However, how exactly does literature contribute to our ethical understanding? In Literature, Ethics, and the Emotions, Kenneth Asher argues that literary scholars should locate this question in the long and various history of moral philosophy. On the basis of his own reading of this history, Asher contends for the centrality of emotions in our ethical lives and shows how literature - novels, (...) poetry, and drama - can each contribute to crucial emotional understanding. Individual chapters on T. S. Eliot, D. H. Lawrence, Virginia Woolf, and George Bernard Shaw give detailed analyses of how this contribution takes shape even in modernist authors who try to reconfigure the very nature of the self. (shrink)

ABSTRACTThe Victorian period in Britain saw the curious emergence of the word ‘brick’ as a term of high praise, picking out for commendation certain qualities of character: reliability and a lack of whimsy. The novels and everyday conversation of the period were full of such phrases as ‘you’re a brick’ or ‘he’s a regular brick’. In this paper, I trace the history of this phrase in the respectable as well as popular literature of the period, including some ironic (...) attempts to claim for it a classical pedigree. I offer some hypotheses about how we might understand the metaphor of the brick in terms of the needs and values of mainstream British culture in the period. As an illuminating contrast, I consider the fate of a similar metaphor from mid-twentieth-century culture, ‘square’, which picks out roughly similar qualities of character but to reprove them. I conclude with some theoretical reflections on how the study of outdated colloquialisms might bring the resources of historical linguistics to bear on the study of the history of moral concepts. (shrink)

In the beginning was the night. All light, shapes, language, and subjective consciousness, as well as the world and art depicting them, emerged from this formless chaos. In fantasy, we seek to return to this original darkness. Particularly in literature, visual representations, and film, the night resiliently resurfaces from the margins of the knowable, acting as a stage and state of mind in which exceptional perceptions, discoveries, and decisions play out. Elisabeth Bronfen investigates the nocturnal spaces in which extraordinary (...) events unfold, and casts a critical eye into the darkness that enables the irrational exploration of desire, transformation, ecstasy, transgression, spiritual illumination, and moral choice. She begins with an analysis of classical myths depicting the creation of the world and then moves through night scenes in Shakespeare and Milton, Gothic novels and novellas, Hegel's romantic philosophy, and Freud's psychoanalysis. Bronfen also demonstrates how modern works of literature and film, particularly film noir, can convey that piece of night the modern subject carries within. From Mozart's "Queen of the Night" to Virginia Woolf 's oscillation between day and night, life and death, and chaos and aesthetic form, Bronfen renders something visible, conceivable, and comprehensible from the dark realms of the unknown. (shrink)

In this book, Bonnie Lander Johnson explores early modern ideas of chastity, demonstrating how crucial early Stuart thinking on chastity was to political, medical, theological and moral debates, and that it was also a virtue that governed the construction of different literary genres. Drawing on a range of materials, from prose to theatre, theological controversy to legal trials, and court ceremonies - including royal birthing rituals - Lander Johnson unearths previously unrecognised opinions about chastity. She reveals that early Stuart theatrical (...) and court ceremonies were part of the same political debate as prose pamphlets and religious sermons. The volume also offers new readings of Milton's Comus, Shakespeare's The Winter's Tale, Henrietta Maria's queenship and John Ford's plays. It will appeal to scholars of early modern literature, theatre, political, medical and cultural history, and gender studies. (shrink)

Ritual studies, a pivotal domain in the scholarly tradition of ancient China, occupy a crucial role in the exploration of humanistic and theological disciplines. Utilizing bibliometric analysis, corpus linguistics, and scientometric mapping, this paper examines a comprehensive dataset of 15,221 ritual studies articles spanning from 1916 to 2022, sourced from the CNKI database. The focus of these studies has traditionally been on ideological exploration, textual scrutiny, and archaeological verification, with a notable shift in the post-reform era from Confucian critiques to (...) authentication of ancient rituals, propelled by significant archaeological discoveries. Entering the 21st century, the field has broadened to intersect with intellectual history, philosophy, literature, and theological studies, reflecting an expanded methodological repertoire that includes ideological articulation, historical comparative analysis, and interdisciplinary exploration. This research introduces an innovative methodological approach by employing word embedding and semantic networks to delineate and trace underrepresented yet crucial research trajectories within the discipline. Through this semantic analysis, key scholars such as Kuang Heng, Cao Bao, Wang Chong, He Yang, Chen Li, and Chu Yinliang, along with cornerstone texts like the "Collected Commentaries on the Book of Rites" and "Illustrations of the Rites Classic," are identified as significant yet previously underexplored nodes within the academic discourse. This study not only sheds light on the evolution and current state of ritual studies in China but also highlights the profound philosophical and religious implications of these rituals in understanding the divine, the moral, and the human condition, thus contributing to a deeper comprehension of the spiritual and ethical dimensions that these practices embody. (shrink)

We are moral apes, a difference between humans and our relatives that has received significant recent attention in the evolutionary literature. Evolutionary accounts of morality have often been recruited in support of error theory: moral language is truth-apt, but substantive moral claims are never true. In this article, we: locate evolutionary error theory within the broader framework of the relationship between folk conceptions of a domain and our best scientific conception of that same domain; within that broader framework, argue (...) that error theory and vindication are two ends of a continuum, and that in the light of our best science, many folk conceptual structures are neither hopelessly wrong nor fully vindicated; and argue that while there is no full vindication of morality, no seamless reduction of normative facts to natural facts, nevertheless one important strand in the evolutionary history of moral thinking does support reductive naturalism—moral facts are facts about cooperation, and the conditions and practices that support or undermine it. In making our case for, we first respond to the important error theoretic argument that the appeal to moral facts is explanatorily redundant, and second, we make a positive case that true moral beliefs are a ‘fuel for success’, a map by which we steer, flexibly, in a variety of social interactions. The vindication, we stress, is at most partial: moral cognition is a complex mosaic, with a complex genealogy, and selection for truth-tracking is only one thread in that genealogy. (shrink)

While there is hardly an aspect of Hume’s work that has not produced controversy of one sort or another, deciphering and evaluating his views on aesthetics involves overcoming interpretive barriers of a particular sort. In addition to what is generally taken as the anachronistic attribution of “aesthetic theories” to any thinker of the eighteenth century, Hume presents the added difficulty that unlike the other founding-fathers of modern philosophical aesthetics, he produced no systematic work on the subject, and certainly nothing comparable (...) to his efforts in epistemology, morals, politics, history, and religion. Even interpreting Hume’s most definitive expression of his views on aesthetic questions—the famous essay “Of the Standard of Taste”—is fraught with difficulties and, as the diversity of views on the piece demonstrates, only the most confident reader would take it as an unambiguous statement of Hume’s position. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 27, Number 1, April 2001, pp. 3-83 Moral Skepticism and Moral Naturalism in Hume's Treatise NICHOLAS L. STURGEON Section I I believe that David Hume's well-known remarks on is and ought in his Treatise of Human Nature (T 469-70)1 have been widely misunderstood, and that in consequence so has their relation to his apparent ethical naturalism and to his skepticism about the role of reason in (...) morality. My aim in this paper is to display their connection with these larger issues in Hume's work by placing them in a more illuminating light. Readers may wonder whether there is anything left to say about the passage containing these remarks; they may also share Barry Stroud's suspicion that the vast literature focused on this one paragraph has "given it an importance and point out of all proportion to its actual role in the text of the Treatise."2 But I have some new things to say. I agree, moreover, that many recent discussions, in projecting twentieth-century assumptions onto Hume's text, have accorded this passage the wrong sort of importance: that is part of what I want to correct. But getting clear about what Hume is saying here is, I shall argue, a way of moving familiar and obviously central questions about his views on morality into an unfamiliar but revealing focus. Hume's is-ought thesis is commonly, and I believe correctly, seen as an application of his more general skepticism about the capacity of reason to discover "moral distinctions." But that general skepticism is usually taken, in turn, to conflict with those many passages in which Hume Nicholas L. Sturgeon is Professor of Philosophy, Sage School of Philosophy, Cornell University, Ithaca, NY 14853-3201, USA. e-mail: [email protected] 4 Nicholas L. Sturgeon appears to say, in a reductive and naturalistic vein, that ascriptions of moral virtue and vice simply state certain empirical facts, facts about our own sentiments. My central thesis, however, is that Hume's view that there is a logical gap between is and ought is not merely consistent with his reductive naturalism, but actually depends on it. It is precisely because moral ascriptions state the facts that they do about our sentiments that no ought can be derived from an is and, a bit more generally, that reason is unable to discover moral distinctions. Hume's skepticism about reason in ethics depends, I shall argue, on his reductive ethical naturalism. This is not the usual understanding of Hume's views, and it will require careful explanation and defense. I shall proceed in several stages. My first step, in Section II, will be to argue that Hume's naturalism is at least consistent with his skepticism about reason, and in particular with his remarks about is and ought. I shall show this by focusing on a difficulty often taken to epitomize the conflict between these two strains in his thought: namely, that the paragraph containing these remarks (T 469-70: henceforth, the is-ought paragraph) and the one immediately preceding it (which I shall call the matter -of-fact paragraph (T 468-9)) appear, on their most natural readings, flatly to contradict one another.3 On the most common reading of the is-ought paragraph, it assumes the existence of two classes of statements, «-statements and oM^hr-statements, and declares that no member of the latter class can be derived entirely from members of the former. In the preceding paragraph, however, Hume appears in the guise of an ethical naturalist and subjectivist, and, if we take him at his word, simply equates a moral judgment with one asserting what he himself calls a "matter of fact," albeit a psychological fact about oneself: So that when you pronounce any action or character to be vicious, you mean nothing, but that from the constitution of your nature you have a feeling or sentiment of blame from the contemplation of it. (T 469) But, one supposes, if a moral assessment of an action or character is equivalent in meaning to a description of one's sentiments, then it can be derived from that description, and there... (shrink)

In this history of the development of ideas of honor in Western philosophy, Peter Olsthoorn examines what honor is, how its meaning has changed, and whether it can still be of use. Political and moral philosophers from Cicero to John Stuart Mill thought that a sense of honor and concern for our reputation could help us to determine the proper thing to do, and just as important, provide us with the much-needed motive to do it. Today, outside of the (...) military and some other pockets of resistance, the notion of honor has become seriously out of date, while the term itself has almost disappeared from our moral language. Most of us think that people ought to do what is right based on a love for justice rather than from a concern with how we are perceived by others. Wide-ranging and accessible, the book explores the role of honor in not only philosophy but also literature and war to make the case that honor can still play an important role in contemporary life. (shrink)

The concept of medicine as a profession in the English-language literature of medical ethics is of recent vintage, invented by the Scottish physician and medical ethicist, John Gregory (1724-1773). Gregory wrote the first secular, philosophical, clinical, and feminine medical ethics and bioethics in the English language and did so on the basis of Hume's principle of sympathy. This paper provides a brief account of Gregory's invention and the role that Humean sympathy plays in that invention, with reference to key (...) texts in Gregory's work. The paper also considers two interesting and perhaps provocative ways in which Hume can be read through Gregory: first, sympathy as a principle of scientific discovery in Hume's science of man and moral physiology; and sympathy as gendered feminine in Hume's moral philosophy. Hume's principle of sympathy is at the core of Gregory's medical ethics and the histories of Western medical ethics and bioethics pivot on Gregory - and, therefore, on Hume - as it does on few other figures. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Between God and the President: Literature and Censorship in North AfricaHafid Gafaiti (bio)Assassination is the extreme form of censorship.—George Bernard ShawThose who fight with the pen will perish by the sword.—Slogan of the Algerian Muslim fundamentalistsIf you speak up, you die. If you don’t speak up, you die. So, speak up and die!—Tahar Djaout, the first writer assassinated in the context of the current Algerian political crisisIn the (...) West, censorship has been understood for the most part as the state’s control over cultural production. Many critics in the postwar period, however, have argued that other forms of censorship, such as market censorship, are comparable to the actions of the state. The Christian right’s attacks on art in the United States in the 1980s and early 1990s together with Congressional moves to disempower and dismantle the NEA have generated a new set of debates about censorship in this country. It was understood that the extreme right sought to repress cultural productions carrying a message of ethnic and sexual difference, targeting the works by rappers, the photographer Mapplethorpe, Madonna’s music videos, and so on. The right provided rhetoric to support the privatization of public space, the control of language and public images, and the promotion of “safe” art.While many critics refer to this as the “new censorship,” structurally it is exactly the same as the “old” censorship, that is, state control intervening in the liberal subject’s absolute right to free expression. It appears that the dichotomy between the left’s claim for the absolute freedom of the artist and the right’s attempt to repress it is most often conceived in moral terms and is paradigmatic of the Western liberal oppositional categories used to describe censorship.This position views the relationship between art and censorship as either a bourgeois romantic opposition to political order or a corrupt collaboration by opportunistic apparatchiks. It leaves no room for what Michael Holquist, for example, calls “negotiation.” Moreover, it does not take into account the fact that—in Third World or socialist contexts, for example—the way certain intellectuals view their role vis-à-vis the state, society, and/or the people determines their degree of cooperation with censorship mechanisms.The problem with this Manichean vision is that it implies a notion of censorship that is ahistorical: it posits that there is an essential distinction between the censor and the [End Page 59] creator or free mind. On the one hand, as Miklos Haraszti accurately outlines, at least until very recently in the Eastern European context:Censorship is no longer a matter of simple state intervention. A new aesthetic culture has emerged in which censors and artists alike are entangled in a mutual embrace. Nor is it as distasteful as traditional critics of censorship imagine. The state is able to domesticate the artist because the artist has already made the state his home.[5]On the other hand, as Richard Burt rightly suggests:What counts as censorship is not always clear. Indeed, it is hard to see how one could call many contemporary cases censorship without either seriously distorting the traditional understanding of the term or redefining it to include so many practices—ranging from institutional regulation of free expression, market censorship, cutbacks in government funding for controversial art, boycotts, lawsuits, and marginalization and exclusion of artists based on their gender or race to “political correctness” in the university and the media—that the term is overwhelmed, even trivialized, its usefulness as a tool of cultural criticism called into question.[xiii]Recent events, not only in the United States but also in other parts of the world such as Algeria, the case on which I will concentrate, show that one cannot seriously conceive the question of censorship along the lines of closed, distinct, conceptual categories expressing absolute oppositions. In other words, it is necessary to take the concept of censorship out of the realm of morality and locate it in the world of history, to displace it from the framework of philosophy and move it to the context of culture.In this essay, I will analyze the exercise of censorship in Algeria in... (shrink)

The Heart of What Matters shows that literature has a powerful and unique role to play in understanding life's deepest ethical problems. Anthony Cunningham provides a rigorous critique of Kantian ethics, which has enjoyed a preeminent place in moral philosophy in the United States, arguing that it does not do justice to the reality of our lives. He demonstrates how fine literature can play an important role in honing our capacity to see clearly and choose wisely as he (...) develops a moral philosophy that engages with our intimate emotional concerns. Written in an accessible style and drawing from a provocative body of contemporary literature, this book shows how moral philosophy can reach a far wider audience than it has. -/- In part one of this book, Cunningham sketches out the theoretical basis for a redefined conception of moral philosophy. In part two, he engages in extended analyses of novels that address significant life and character issues, specifically Kazuo Ishiguro's The Remains of the Day, Toni Morrison's Beloved, and Zora Neale Hurston's Their Eyes Were Watching God and Seraph on the Suwanee. Cunningham shows exactly how works like these can inform moral philosophy. Drawing from film, history, psychology, and other social sciences in addition to literature, this book adds to the growing number of works that use literature for ethical analysis and to the growing controversy over Kantian ethics. (shrink)

This state of the art collection offers fresh perspectives on why intersections between literature, religion, and ethics can address the fault lines of modernity and are not necessarily the cause of modernity's 'faults.' From a diverse cohort of scholars from around the world, with appointments in comparative literature and other disciplines, the essays suggest that the imagined hegemony of a Judeo-Christian Western project is neither exclusively true nor productive. However, the essays also suggest that elements of the Western (...) religious traditions are important vectors for understanding modernity's complicated relationship to the past. (shrink)

Despite the expansive literature detailing various arguments for or against the use of MANH in caring for the dying and debilitated, the thesis of this paper is that a large part, if not the main thrust, of the debates over MANH have been inadequate and misguided on a number of different levels. The paper hopes to reorient and redirect the debate by attending to the medical history of MANH (part one) and recent medical developments with regard to MANH (...) (part five), examining and contextualizing the earliest debate (i.e. in the 1950s) over MANH among moral theologians (part two), a more recent debate over MANH involving numerous American Catholic bishops (part three), and critically evaluating the types of moral arguments that preoccupy many of those who currently write on the ethics of MANH (part four). (shrink)

Space and time are geometrical notions that Sophie Germain, a French mathematician, discusses on several occasions in her Pensées diverses, however not only in a geometrical way but also in terms of a philosophical and moral understanding: she speaks of a human’s lifespan, the space they occupy, their place in creation and the knowledge toward which they always aim. This mixture of mathematical and philosophical thinking brings out Germain’s dream: she wants to apply the language of numbers to moral and (...) political issues. As such this chapter aims to examine Germain’s mathematical understanding of space and time in order to discover her moral theory. Furthermore, in a purely hypothetical context (because one does not know which authors she has read), I compare Germain’s moral thinking to Pascal’s moral and mathematical thoughts in Pensées. We underline the possible inspiration by Pascal by highlighting the similarities between these authors concerning space and time, which both treat mathematically and philosophically. These authors agree that time and space can be measured, and thus provide constant and mathematically uniform elements. At the same time, time and space provide the framework for moral thinking. The latter is not “capable” of enjoying the present moment; he is on a quest for the future. For Germain, this results into knowledge, but for Pascal, this is a sign of an unhappy life in which people do not find rest and are constantly looking for a diversion. (shrink)

The Moral Economies of American Authorship argues that the moral character of authors became a kind of literary property within mid-nineteenth-century America's expanding print marketplace, shaping the construction, promotion, and reception of texts as well as of literary reputations.

In classical Latin, luxuria means 'desire for luxury'; it is linked with the ideas of excess and deviation from a standard. It is in most cases labelled as a vice which contrasts with the innate frugal nature of the Romans. Latin authors do not see it as endemic but as an import from the East in the aftermath of military conquests--and as a cause of fatal decline. Following these etymological and semantic origins, Roman Luxuria: A Literary and Cultural History (...) discusses the influence of Greek culture on the Roman concept and the peculiar characteristics of Roman luxuria. It analyses Roman views on luxuria through close readings in historical order from Cato the Elder, who regards luxuria as the opposite of the ideal Roman way of life, to the Christian poet Prudentius, who represents it in an allegorical fight with Sobriety. The book attends both to key authors and to wider literary genres, such as historiography and satire. Particular consideration is given to the rhetorical device of personification, which can be traced from the first appearances of luxuria in Latin literature to those of late antiquity. Berno devotes detailed attention to Seneca the Younger, whose work is often preoccupied with this passion. Seneca both defends himself from the charge of luxuria and violently attacks it in others, describing it as the archenemy of a philosophical life. Along the centuries, the focus on luxuria shifts from the economic sphere (and the waste of money) to the erotic, to the extent that in the Christian world it becomes one of the Seven Capital Sins representing the vice of lust. (shrink)

The "only pretension, of which I am tenacious," wrote Hazlitt, "is that of being a metaphysician"; but his metaphysics, and particularly what this book identifies as his power principle, has until now been neglected. This exciting book studies Hazlitt's development of the power principle as a counter to the pleasure principle of the Utilitarians, and examines the revelation of power in his philosophy of discourse, his account of imaginative structure, his theory of genius, and his moral theory.

This collection of essays, on French and francophone prose, poetry, drama, visual art, cinema and thought, assesses guilt and shame in relation to structures of ...

The essays in this volume present interpretations of themes in major Jewish texts and thinkers, as well as treatments of significant issues in Jewish theology and ethics. It offers philosophical readings of biblical narratives, analyses of topics in the thought of Maimonides, Rabbi Abraham Isaac Kook and Rabbi Joseph B. Soloveitchik, and critical and constructive examinations of divine providence, religious anthropology, free will, 9/11, evil, Halakhah and morality, altruism, autonomy in Jewish medical ethics, and the epistemology of religious belief. The (...) author frequently brings Jewish philosophy and law into dialogue with contemporary Anglo-American philosophy. The book serves scholars and students of Jewish philosophy and law, and is suitable for inclusion in syllabi of undergraduate and graduate courses''--Provided by the publisher. (shrink)

This book demonstrates that law can be newly interrogated when examined through the lens of literature. Like its forerunner, Empty Justice, the book creates simple pathways which energise and illustrate the links between legal theory and legal science and doctrine, through the wider visions of history, literature and culture. This broadening approach is integral to understanding law in the context of wider debates and media in the community. The book provides a collection of essays, with additional commentary (...) which reflects upon very recent scholarship and debate on a range of ethico-legal topics; it also illustrates how conventional legal matters may be rendered lively and palatable, as an adjunct to approaching doctrine and cases 'cold' in the conventional textbook manner. The chapters range from examination of current thought on cohabitation and marriage laws (via Jude the Obscure), 19th century medico-legal cases relevant to current narratives of insanity in women and the nature and status of expert evidence generally; assisted suicide and autonomy (via a poem by Jon Stallworthy) to an essay on the nature of race and ethnicity (via a poem by R S Thomas), a discussion of obscenity and moral philosophy (via an essay on Crash by J G Ballard and the philosophy of Bernard Williams) and a history of ideas discussion of positivism, natural law and political crisis, war and terrorism through legal and political theory texts and a poem by Auden. The materials refer to case law where appropriate. The chapters range from examination of current thought on cohabitation and marriage laws (via Jude the Obscure), 19th century medico-legal cases relevant to current narratives of insanity in women and the nature and status of expert evidence generally; assisted suicide and autonomy (via a poem by Jon Stallworthy) to an essay on the nature of race and ethnicity (via a poem by R S Thomas), a discussion of obscenity and moral philosophy (via an essay on Crash by J G Ballard and the philosophy of Bernard Williams) and a history of ideas discussion of positivism, natural law and political crisis, war and terrorism through legal and political theory texts and a poem by Auden. The materials refer to case law where appropriate. (shrink)

Smith's views on moral luck have attracted little attention in the relevant contemporary literature on this subject.* More surprising, perhaps, the material in the secondary literature directly concerned with Smith's moral philosophy is rather thin on this aspect of his thought. In this paper my particular concern is to provide an interpretation and critical assessment of Smith on moral luck. I begin with a description of the basic features of Smith's position; then I criticize two particularly important claims (...) that are fundamental to his position; and I conclude with an examination of the significance of Smith's discussion in relation to the contemporary debate. * There is some change in this situation since this paper was originally published. (shrink)

Since the emergence of in-vitro fertilization, a specific set of technologies has been developed to address the problem of the ‘biological clock’. The medical extension of fertility time is accompanied by promissory narratives to help women synchronize conflicting biological and social temporalities. This possibility also has a transgressive potential by blurring one of the biological landmarks – the menopause – by which reproductive lives are organized and governed. These new ways of managing, measuring and controlling reproductive time have renewed debates (...) on the age limits of motherhood and the moral legitimacy of medical intervention into age-related fertility decline. Building on Amir’s feminist concept of biotemporality, this paper questions what happens when the ontological foundations of age-limited motherhood are disrupted by technologies which allow fertility to be extended. It discusses the reconfigurations of the ontological boundaries of the facts of life in the light of literature on reproductive technologies and temporality. Through the Swiss experience, the paper shows how medical experts are drawn into negotiating the ontological boundaries of age-limited motherhood along the binaries of the normal/pathological and the biological/social. Questioning the purpose of medical interventions in what are seen as facts of life, they produce different configurations of moral reasoning where what is natural undergoes shifts which both reinforce the normative order and subvert it. (shrink)

Ṣāliḥ bin ʿAbd al-Quddūs of Persian origin was born in Basra, the crossroad of religions and teachings with its socio-cultural, scientific and intellectual structure. He grew up in a family that values religion, politics and literature. Rich scientific background and cross-cultural integration of Basra significantly influenced his scientific and intellectual development. However, in historiographical sources, he is an intellectual who has come to the fore with his literary identity. His ‘sectarian’, ‘political’, ‘wise’ (ḥikami), ‘didactic’ and 'gnomic' poems form the (...) main theme of his literary writings. Various titles have been attributed to him by the authors of history and biography. "Master of poets, street preacher, storyteller, theologian and philosopher" are a number of them. Before the translation of philosophical works, he became one of the important representatives of the 'literary theology', the dialectical technique of the period. Thus, besides his poetic and literary identity, he is mentioned as one of the six theologians of Basra. Over time, he was able to attract the attention of the political power with his theoretical and literary works for both theo-political and social adjustment. However, he was not understood adequately, and his poems did not attract the necessary attention since philosophical/wise expressions were widely found in them. In his poems, it is possible to see every tone of hope and hopelessness. He reflects hope, rights, justice, equality, freedom, moral virtues, but more often; despair, death, transience of the world, ascetism and distancing from people. For this reason, he is also referred to as the "poet of despair." From this point of view, his call to the life of ascetism was interpreted as dualism. The opinions of Ṣāliḥ calling for social adjustment, justice and equality were perceived as a threat by the political authority and he was killed with the accusation of heresy. Although it is generally accepted that he was executed due to heresy, there is much speculative information about the subject. Of two examples are that he subjected to ethnic discrimination due to his Persian origin, and that he was a philosopher of dualism and a follower of Manichaeism. However, the reason for the murder of Ṣāliḥ was neither his theological choice nor ethnic origin. His poetry, which motivated social morality, intellectual development, freedom and social enlightenment, turned him into a threat to the political power. It would appear that his opposition to Arab nationalism and privilege in the ranks of Šuʿūbiyya, a populism movement and his demand that justice and equality should spread throughout all layers of society, caused political prosecution. In this process, the rule chose the easiest way to silence any opposing voice by implementing the accusation of heresy. The concept of heresy, especially with the Abbasids, quickly turned away from its religious concerm and changed into a political notion. As a result, academic discussions conducted at the scientific and intellectual level in Basra were moved to a practical arena by politics, and the dose of criticism and violence increased. First of all, with its scientific and bureaucratic elements, the state embarked on an intellectual and actual struggle with heretical teachings, which aims to distort the essential principles of Islam by dissimulation (taqīyya). Although this political attitude towards heresy, which aims to break down Islamic values, can somehow be considered reasonable, the area of accusation of heresy expanded in time; causing every opposing movement to be evaluated within this scope. However, when the main theme of his poems is examined, the first point, attracting attention is his call to believe in God, the truth of the hereafter, reckoning consciousness, responsibility, justice, equality, freedom, etc. In fact, referring to the Qur’ān and ḥadīth in his poems already proves that he was a Muslim. Nevertheless, his poems were sometimes interpreted and presented as an evidence of his heresy and whenever he was found stating the right, his statements were found invalid because of accusation of dissimulation. Considering all these facts, this article will make a logical consistency analysis of the information and narrations about Ṣāliḥ. It will also examine the validity of the accusations of heresy against him, based on his literary discourses, religious identity and political attitude. As a result, it will determine whether the negative (theological) attribution to him is really an accusation or truth by an analytical inference. (shrink)

The Jamesian mode of writing, it has been claimed, actively works against an understanding of the way truth, history and power circulate in his texts. In this collection of essays, leading scholars of James analyse the strategies James used to address these crucial issues. Enacting History in Henry James claims that, because the type of knowledge available in James's fiction is never of a cognitive kind, the reader can never know 'truth' in any verifiable sense. James's writing instead (...) promises an experiential type of knowledge, one that is attained by participating in the power games and moral dramas that unfold within the text. This collection argues that reading James ultimately requires not just an emotional responsiveness, but also an ethical assumption of responsibility for the act of reading. By placing James's work in a fresh theoretical context, this book throws new light on this most enigmatic of writers. (shrink)

What constitutes a just war? How does race matter in America? Are the interests of corporations the same as those of the public when it comes to the environment or public health? Middle and high school history, literature, and science classes abound with important moral, social, and political questions. But under pressure to cover required materials and out of fear of raising controversy, teachers often avoid classroom discussions of questions of profound importance to students and to society. This (...) book investigates how schools can responsibly take an active role in moral education while honoring their academic mission. Using extensive observations in public, Catholic, and Jewish high schools, Katherine Simon analyzes the ways in which teachers avoid or address moral questions raised by students and implicit in course materials. She examines how morally charged issues may be taught responsibly in a diverse democracy. And in an afterword that teachers and teacher educators will find particularly useful, Simon provides practical tools and strategies for structuring discussion and designing units to help teachers explore moral issues more deeply with their middle and high school students. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites (...) us to reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

Book synopsis: Simon May presents a fresh and wide-ranging critique of Nietzsche's famous attack on traditional morality, and of his controversial ethics of 'life-enhancement'. He reveals Nietzsche as both revolutionary and conservative–as one who repudiates traditional 'moral' conceptions of God, guilt, asceticism, pity, and truthfulness, and yet retains a demanding ethics of discipline, conscience, 'self-creation', generosity, and honesty. In particular, May shows how Nietzsche rejects truthfulness as an unconditional value and yet celebrates it as one of his own highest values, (...) whose worth is determined by who is pursuing it, for what end, and when in their lives. May is strongly critical of various aspects of Nietzsche's thought–his self-defeating conception of justice, his assumption that 'life-enhancement' necessarily demands world-affirmation, his ambition to de-deify the world, and the impossible and undesirable autonomy of the Übermensch. But Nietzsche is shown to offer modernity key elements of a coherent ethic, and to provide moral philosophy with important tools for reassessing some of its most cherished values and concepts. May's book will be illuminating not just for scholars and students of Nietzsche, in philosophy, literature, and history of ideas, but for anyone interested in current debates about ethics and modernity. (shrink)

Revise & resubmit. While various Kantian influences on Rawls have been discussed in the literature, these discussions have been limited to Part I of A Theory of Justice and consequently to topics concerning a priori ethical considerations and their consequences for political philosophy. In contrast to others who have interpreted Rawls’s Kantianism in this way, I show that what is also at the core of Rawls’s Kantian project in Theory is Kant’s theory of moral development. This theory of moral (...) development, which Kant develops in his Lectures on Pedagogy, Lectures on Anthropology, and Essays regarding the Philanthropinum, bears close conceptual ties to Rawls’s account of rational and moral maturation of the citizens of a well-ordered society in Theory Part III. These two philosophers share a similar approach to solving the problem of political stability – an approach grounded in the moral education of an individual. By looking at Rawls’s interpretation of Kant’s ethics in the Lectures on the History of Moral Philosophy, moreover, we can better understand Rawls’s proof for the possibility of the inherent stability of a well-ordered society. (shrink)

‘Flash houses’, a distinctive type of public house associated with criminal activity, are a shadowy and little-studied aspect of early 19th-century London. This article situates flash houses within a wide perspective, arguing that the discourses on flash houses were part of concerns about the threat of the urban environment to the moral character of its inhabitants. The article draws on an original synthesis of a range of sources that refer to flash houses, including contemporary literature, newspapers, court documents, and (...) government papers. It demonstrates that flash houses were part of both popular intrigue about the perceived ‘criminal underworld’ and official concerns about the collusion between police officers and suspected offenders, since police officers allegedly frequented flash houses to gather criminal information. A detailed examination of this term reveals anxieties about the state of the metropolis, poverty, and criminality that were central to the early 19th-century consciousness. However, the discussion of flash houses in this context also demonstrates a powerful connection in contemporary minds between the physical spaces of the city and the risks that they posed to inhabitants' morals. While associations between the physical environment and morality have been drawn throughout history, flash houses represent a paradigmatic moment in this dialogue. This is because different moral concerns coalesced around the discourse on flash houses: anxieties about the criminal underworld, the potential for moral degradation of young people who frequented these spaces, and the corruption of police officers through contact with known or suspected offenders. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Oxford Handbook of Jewish Ethics and Morality Edited by Elliot N. Dorff and Jonathan K. CraneLouis E. NewmanThe Oxford Handbook of Jewish Ethics and Morality EDITED BY ELLIOT N. DORFF AND JONATHAN K. CRANE New York: Oxford University Press, 2012. 499 pp. $150The Oxford Handbook of Jewish Ethics and Morality addresses what has long been a major lacuna in the field of Jewish studies. No one who (...) studies the history of Judaism would deny that ethics has always occupied a central place in Jewish thought and practice. Yet the scope and range of Jewish ethical reflection, the variety of ethical theories that have animated this tradition, and the diversity of ethical viewpoints represented by major thinkers across the centuries remain far less widely understood than they should be. With the publication of this outstanding and highly readable collection of essays, however, Elliot Dorff and Jonathan Crane have given us the most definitive and encyclopedic presentation of Jewish ethics ever assembled.This latest addition to the Oxford Handbook series encompasses twenty-nine essays that span the history of Jewish ethics from biblical times to the present, but that also introduce readers to its applied and theoretical dimensions as well as the practitioners and scholars who collectively define the field of Jewish ethics. Part 1, “Jewish Ethical Theories,” which is more accurately a comprehensive history of Jewish ethics, includes insightful pieces on biblical, rabbinic, and medieval ethics, but also pieces on key figures in the modern period from Baruch Spinoza to Martin Buber, Abraham Isaac Kook, and Joseph B. Soloveitchik, among others. This section also includes important explications of the ethics of the various modern movements of Judaism (Orthodox, Conservative, Reform, and Reconstructionist) as well as essays on specific events and theoretical perspectives that have shaped Jewish ethical discourse in the postwar period—the Holocaust, feminism, and postmodernism. What emerges from these short but remarkably focused and accessible essays is a rich tapestry in which the wide array of genres and methods that characterize the ethics of Judaism are on full display.The second half of the volume is devoted to applied ethics, and here again the diversity of Jewish ethics is showcased. The topics covered include bioethics, the ethics of speech, sexuality, business, the treatment of animals and the environment, politics (both in America and in Israel), criminal justice, and war. The topic of bioethics is wisely subdivided so that we find separate treatments of beginning and end of life, of access to health care, and of genetic technologies. [End Page 219] While some of these essays rehearse positions that will be familiar to those within the tradition, each is an original contribution designed to present the spectrum of positions on that issue that have been articulated by contemporary Jewish ethicists. Accordingly, this volume will now become the first place to look for broad, representative presentations on the most commonly discussed ethical issues of our time.The value of the whole collection is further enhanced by the editors’ introductions, which place the individual essays in context and explain their editorial decisions in selecting and arranging the contributions as they have. Each essay is accompanied by a substantial list of suggestions for further reading that will be valuable to readers in their own right. The entire volume is rounded out with a subject index and a list of references to classical Jewish literature. One could simply not ask for a more carefully constructed or broadly useful handbook on this subject.In any edited collection of this nature, the quality of the individual contributions will vary to some extent. In this instance, the overall quality is extremely high, which is a tribute both to the individual contributors and to the editorial guidance provided by Dorff and Crane. Still, one cannot help but notice that some essays in the second section of the book are more descriptive (e.g., Daniel Sinclair’s essay on end-of-life issues) while others are more ideologically driven (e.g., Arthur Waskow’s essay on environmental ethics). Similarly, while the essays average approximately fifteen to twenty pages each, a few are shorter and more cursory (e.g., Aaron Mackler’s essay on... (shrink)

No other thinker so engaged the Russian cultural imagination of the early twentieth century as did Friedrich Nietzche. The Revolution of Moral Consciousness shows how Nietzschean thought influenced the brilliant resurgence of literary life that started in the 1890s and continued for four decades. Through an analysis of the Russian encounter with Nietzsche, Edith Clowes defines the shift in ethical and aesthetic vision that motivated Russia's unprecedented artistic renascence and at the same time led its followers to the brink of (...) cultural despair. Clowes shows how in the last years of the nineteenth century a diverse array of writers and critics discovered Nietzsche's thought, embracing or repudiating it with equal vigor. The literary storm brewing around Nietzsche and the concurrent relaxation of censorship combined to attract a public eager to follow the new intellectual fashion. Young writers, such as Andreev and Kuprin, welcomed the idea of the "superman" as a promising path to personal fulfillment. The tragic fates of their protagonists and the alluring gospel of the vulgar Zarathustra-like characters of such bestselling authors as Boborykin, Artsybashev, and Verbitskaia found enthusiastic, if indiscriminating, audiences ready to be "taught" how to "find themselves." By considering this Nietzschean cult, Clowes draws fresh insight into the nature of the budding popular-culture industry in Russia and the fast-growing reading public. From this ferment emerged the greatest Russian literary voices of the early twentieth century. The revolutionary romantics, Gorky and Lunacharsky, sought in Nietzsche's writing a new vision of total social and cultural change. Merezhkovsky led a generation of mystic symbolists in the search for a literary myth of resurrection. Ivanov, Blok, and Belyi appropriated the image of the "crucified Dionysus" as the central symbol of spiritual transfiguration. Their encounters with Nietzschean thought disclose an even more profound creative struggle with their own cultural past and its established formulations of nation and individual, culture and history. Clowes uses the term future anxiety to speak of a creative mentality that strove to assert itself by diminishing the impact of powerful literary precursors, such as Tolstoi, Dostoevsky, and Solovyov, and opening to the imagination the vision of a future full of vast creative possibility. (shrink)

Aesthetics presents a confusing domain for a philosopher. Its territory seems like an Empedoclean cosmos: a ceaselessly dynamic interchange of mixtures, at times resisting division, at times fracturing into an incomprehensible manifold. There may be no truth in aesthetics at all. Perhaps there is not even much truth about it. Some think of aesthetics primarily as a cultural or political phenomenon, others manage to reduce it to history (indeed, to a history that is over, and therefore safe). Still (...) others investigate it from the points of view of psychology, physiology, religion, technology, or morality. These are just a few of the innumerable “discourses” of aesthetics. Within a narrow focus some of these discourses appear to be meaningful, but this appearance owes much to the artificial and conditioned structure of the conversation. When viewed from the outside, the discourses of aesthetics often appear to be little more than babble. The hypothesis that they might someday converge on a perfectly general aesthetics seems implausible, even for arts and art histories of a more or less continuous, singular culture. (shrink)

Examining the literature of slavery and race before the Civil War, Maurice Lee demonstrates for the first time exactly how the slavery crisis became a crisis of philosophy that exposed the breakdown of national consensus and the limits of rational authority. Poe, Stowe, Douglass, Melville, and Emerson were among the antebellum authors who tried - and failed - to find rational solutions to the slavery conflict. Unable to mediate the slavery controversy as the nation moved toward war, their writings (...) form an uneasy transition between the confident rationalism of the American Enlightenment and the more skeptical thought of the pragmatists. Lee draws on antebellum moral philosophy, political theory, and metaphysics, bringing a fresh perspective to the literature of slavery - one that synthesizes cultural studies and intellectual history to argue that romantic, sentimental, and black Atlantic writers all struggled with modernity when facing the slavery crisis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature, Imagination, and Human RightsWillie van Peer“the poet’s function is to describe, not the thing that has happened, but a kind of thing that might happen”Aristotle: Poetics, 1451aAristotle’s dictum has been of vital importance to the development of literary theory, and its significance can still be felt today. It is the foundation of the distinction we make between journalism and literature, between history and fiction. (...) class='Hi'>Literature, Aristotle proposes, is about things that could happen, not about things that have taken place in reality. Literature is thus inscribed in the realm of the imagination. However, imagination does not operate in an epistemological vacuum. A fictional text entertaining no relation with the world would have no meaning. Perhaps giants, dragons and witches do not really exist, and perhaps it is not really possible to cover seven miles with each step of those wonderful boots that Tom Thumb discovered. But we have no difficulty in imagining those things, precisely because they entertain an intimate relationship with forms and things, events and actions that happen in daily life. The details of the relationship between reality and fiction are less important for the present argument than the fact that fiction is embedded in our pragmatic attitudes. 1 Ernst Bloch has given this human tendency a name: The Hope Principle. Our desire for a better world expresses itself in hope, a distinctive feature of the species Homo Sapiens. The importance of the imagination in the project of humanity has received eloquent and systematic treatment in the philosophical work of Hans Vaihinger and Helmuth Plessner. 2 Imagination also gives impetus to history, because it drives us toward the realization of aims and plans that initially lived only in our hearts and minds: “Someone dreaming never remains in the same place.” 3 [End Page 276]Similar things have been asserted about literature, by Horace, Sidney, Matthew Arnold, and others. Reading is supposed to make us better humans, heightening our awareness, increasing our sensibility, and thus indirectly guiding our actions toward the establishment of a better world. Sometimes noble motives are associated with this function. Reading literature, it is then assumed, makes the reader more socially tolerant, more perceptive about other humans, and more politically conscious. This is the so-called Edification Hypothesis. Anthony Savile sums up this view when he submits the thesis that literature has a unique power to make us understand the thoughts and feelings of other human beings. This ethical perspective on literature has been expressed since Greek Antiquity. 4 It will be remembered that Plato condemned literature precisely for this reason: because it diverts our attention from the real world, itself already an imperfect reflection of Pure Ideas. Aristotle rejects this view and develops a theory squarely opposed to that of his teacher. According to him, literature contributes to the elevation of mankind, to paideia. By showing us that which is possible, and by involving us in the inescapable passage of tragic events, readers and spectators are drawn into emotions of fear and compassion, emotions that lead to katharsis, a process that purifies us of megalomania (hubris), safeguarding democratic government and protecting us from unrestrained tyranny. 5The Aristotelian view that literature has an edifying effect had been generally present in Western tradition till about 1800. Until then literature was viewed almost universally as an ethical category. Consider, for instance, the self-evident way in which Richardson prefaces Pamela: “If to divert and entertain, and at the same time to instruct and improve the minds of the YOUTH of both sexes: If to inculcate religion and morality in so easy and agreeable a manner, as shall render them equally delightful and profitable: If to set forth in the most exemplary lights, the parental, the filial, and the social duties....” 6The embarrassment a modern reader may feel when confronted with such overt claims to morality is largely a product of the nineteenth century, when literature came to be seen as a predominantly aesthetic category, eluding all attempts at moral categorization. This movement has resulted in a liberation of literature from moralism. At the same time, it has created nontrivial difficulties in thinking about ethical and political issues, so... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature in MindH. G. Wells and the Evolution of the Mad ScientistAnne StilesIn 1893, H. G. Wells's article "Man of the Year Million" dramatically predicted the distant evolutionary future of mankind:The descendents of man will nourish themselves by immersion in nutritive fluid. They will have enormous brains, liquid, soulful eyes, and large hands, on which they will hop. No craggy nose will they have, no vestigial ears; their (...) mouths will be a small, perfectly round aperture, unanimal, like the evening star. Their whole muscular system will be shriveled to nothing, a dangling pendant to their minds.2The editors at Punch evidently found this prediction hilarious, publishing a poem and accompanying sketch ridiculing Wells's lopsided future humans (Figure 1, p. 318). But not everyone was laughing.As ridiculous as Wells's bodiless, large-headed "human tadpoles" may seem, they were based on the most rigorous evolutionary science of their day. Wells, a lower-middle-class academic prodigy, received a prestigious [End Page 317] Click for larger view View full resolutionFigure 1."1,000,000 A.D.," Punch, or the London Charivari, 25 November 1893, 250.[End Page 318]government scholarship to attend the Normal School of Science in South Kensington (later absorbed into the University of London). Though Wells left South Kensington in 1887 without earning his degree, he was greatly inspired by his biology teacher, famed physiologist Thomas Huxley. Wells absorbed Huxley's pessimistic take on late-Victorian evolutionary theory, particularly his emphasis on the inherent brutality of natural selection.Huxley's pessimism surfaces in Wells's dystopian scientific romances, which imaginatively probe the consequences of evolutionary theory run amok.3 Beginning with the eponymous mad-scientist villain of The Island of Dr. Moreau (1896) and continuing with alien invasion narratives like The War of the Worlds (1897–98) and The First Men in the Moon (1901), Wells depicts brains becoming steadily larger and more powerful as bodies grow smaller and more useless, emotions increasingly muted, and conscience all but silenced. Wells's nightmarish vision of the massively over-evolved brain unites these three works, as the ruthlessly intellectual biologist Moreau morphs into the amoral, top-heavy Martians and lunar inhabitants.Wells's malevolent mad scientists and extraterrestrials owe an intellectual debt not only to Huxley, but also to discussions of genius and insanity in late-Victorian issues of Mind (1876–present).4 The now-familiar trope of the mad scientist in fact traces its roots to the clinical association between genius and insanity that developed in the mid-nineteenth century. Authors like Scottish journalist and materialist philosopher John Ferguson Nisbet, English eugenicist Francis Galton, and Austrian Jewish physician Max Nordau—all of whose works were reviewed in Mind—argued that mankind had evolved larger brains at the expense of muscular strength, reproductive capacity, and moral sensibility.5 Wells drew upon these arguments in his fiction and even contributed his own article to Mind, a philosophical reflection on science entitled "Scepticism of the Instrument" (1904).In its unique role as "the first English journal devoted to Psychology and Philosophy." Mind was an ideal venue for an inherently interdisciplinary [End Page 319] subject like the clinical study of genius.6 The journal's first editor, George Croom Robertson, was particularly concerned that articles in Mind rise "above the narrowing influences of modern specialism."7 This disciplinary breadth attracted contributors from all fields, including fiction writers and literary critics like George Henry Lewes, Grant Allen, Andrew Lang, and, of course, H.G. Wells. During the same period, literary works probed ideas discussed in Mind, such as the nature of the soul, the possibility of free will, and the ramifications of biological determinism. In the four decades following its auspicious start, Mind provided a venue where scientists, philosophers and literary authors could find intellectual common ground.In this essay, the early fiction of H.G. Wells will serve as a case study of cross-fertilization between literature and scientific ideas discussed in Mind. The goals of this exploration are threefold: to gain a better understanding of the journal's history and influence; to investigate why Victorians associated genius with insanity; and to illuminate the shared... (shrink)

In his early writings, Kant says that the solution to the puzzle of how morality can serve as a motivating force in human life is nothing less than the “philosophers’ stone.” In this dissertation I show that for years Kant searched for the philosophers’ stone in the concept of “respect” (Achtung), which he understood as the complex effect practical reason has on feeling. -/- I sketch the history of that search in Chapters 1-2. In Chapter 3 I show that (...) Kant’s analysis in Groundwork I is incomplete because it does not explain how respect functions as a feeling in motivating choice. In Chapter 4 I argue that Kant’s subsequent attempt to sidestep this explanation in Groundwork III is unsuccessful, and that his position remains open to a skeptical threat. The argument in the second Critique, which I reconstruct in Chapters 5-6, overcomes this threat, and in doing so explains how the feeling of respect is both painful and pleasurable. -/- In the course of defending these claims, I provide an alternative reading of the shift in Kant’s ethical project from the Groundwork of 1785 to the second Critique of 1788 Against a common view in the literature, I argue that the shift does not concern the direction of Kant’s deduction (from freedom to morality, or morality to freedom); rather, it concerns his view of human sensibility and the resources he thinks we have to make our practical self-understanding intelligible. In the second Critique, I argue, Kant develops a novel approach to moral feeling from the perspective of the human agent; and this in turn clears room in his ethics for a new kind of a priori knowledge—namely, knowledge of what the activity of practical reason must feel like. By way of conclusion, I offer a few reasons for why the form of Kant’s argument in the second Critique is still relevant today, as it shows why we can only address moral skepticism from a first-personal perspective. (shrink)

William Godwin, also known as Edward Baldwin and Theophilus Marcliffe, (1756-1836) was an English journalist, political philosopher and novelist. He is considered one of the first exponents of utilitarianism, and one of the first modern proponents of philosophical anarchism. He is most famous for two books that he published within the space of a year: Enquiry Concerning Political Justice and its Influence on Modern Morals and Happiness (1793), an attack on political institutions, and Caleb Williams; or, Things as They (...) Are (1794), which attacks aristocratic privilege, but also is virtually the first mystery novel. He wrote prolifically in the genres of novels, history and demography throughout his life time. With his wife, Mary Jane Clairmont, he wrote children's primers on Biblical and classical history, which he published along with such works as Charles and Mary Lamb's Tales From Shakespeare. He also has had considerable influence on British literature and literary culture. His other works include Memoirs of the Author of 'A Vindication of the Rights of Woman' (1798), Life of Chaucer (1803), Cloudesley (1830) and Deloraine (1833). (shrink)