The application of extended Theory of Planned Behaviour (eTPB) has been demonstrated in various studies. The successful implementation of the extended Theory of Planned Behaviour (eTPB) will require better understanding of the rationales for the application in context. The paper presentation emerges from an interpretive and descriptive study which generated qualitative data through systematic literature review and document analysis. Thematic analysis was deployed to identify emerging and dominating themes as a focus for the interpretation. The analysis confirmed that extended theory (...) of planned behaviour explains behaviour through attitudes, subjective norms, and perceived behavioural control and is capable of predicting and understanding human behaviour across various domains. However, the use of Theory of planned behaviour has been extended to enhance the predictive power of the model in understanding and influencing behaviours. Additional variables have emerged on top of the usual variables known as attitude towards the behaviour, subjective norms towards the behaviour, and perceived behaviour control. Still, the paper argues that although the diversity in variables exist among authors showing flexibility of the theory, this may create some confusion which may influence the capability of predicting and understanding human behaviour across various domains. The Theory of planned behaviour trend reflects that the choice of Theory of planned behaviour variables is determined by appropriateness and according to the context. Therefore, the paper argues that there are many variables for theory of planned behaviour but the dominant to be considered are clear knowledge and understanding ahead of all variables. (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in (...) having their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in (...) having their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

Humour is a universal feature of human life. In this Very Short Introduction Noel Carroll considers the nature and value of humour, from its leading theories and its relation to emotion and cognition, to ethical questions of its morality and its significance in shaping society.

Noel Malcolm, one of the world's leading experts on Thomas Hobbes, presents a set of extended essays on a wide variety of aspects of the life and work of this giant of early modern thought. Malcolm offers a succinct introduction to Hobbes's life and thought, as a foundation for his discussion of such topics as his political philosophy, his theory of international relations, the development of his mechanistic world-view, and his subversive Biblical criticism. Several of the essays pay special (...) attention to the European dimensions of Hobbes's life, his sources and his influence; the longest surveys the entire European reception of his work from the 1640s to the 1750s. All the essays are based on a deep knowledge of primary sources, and many present striking new discoveries about Hobbes's life, his manuscripts, and the printing history of his works. Aspects of Hobbes will be essential reading not only for Hobbes specialists, but also for all those interested in seventeenth-century intellectual history more generally, both British and European. (shrink)

In this essay, then, I would like to address what I believe are the most compelling epistemic arguments against the notion that literature (and art more broadly) can function as an instrument of education and a source of knowledge.

The statue and the lump of clay that constitutes it fail to share all of their kind and modal properties. Therefore, by Leibniz’s Law, the statue is not the lump. Question: What grounds the kind and modal differences between the statue and the lump? In virtue of what is it that the lump of clay, but not the statue, can survive being smashed? This is the grounding problem. Now a number of solutions to the grounding problem require that we substantially (...) revise our view of reality. In this paper, I provide a solution to this problem that does not require such a revision. I then show how my solution to the grounding problem can solve a related problem and answer a related question. The upshot is that the solution I offer is not only non-revisionary, but also fruitful. (shrink)

Ang papel na ito ay isang pilosopikong pagsusuri sa konsepto ng espasyo sa Pilipinong pananaw. Ang konsepto ng espasyo sa Pilipinong pananaw ay nagsisilbing dahilan para masabi nating tayo ay nagmamahal sa karunungang nagmula at pinagyaman ng kamalayang Pilipino. Ang konsepto ng espasyo rin ang nagpapatibay sa katwiran na naglalantad sa pangangailangan nang agarang pananaliksik ng karunungang nakaligtaan sa kanluran. Kung ang mga Hapon ay matagumpay na pinagmunihan ang 'espasyo' gamit ang mga konseptong basho, aidagara, at zettai mu tungo sa (...) pagbibigay diin sa pagkamakabayan, ang ‘espasyo’ ay magsisilbing gabay sa mga Pilipino na lumingon sa kanilang pinanggalingan upang bigyan ng linaw ang layunin sa bawat tangkang pagbuo ng masasabing makataong ‘pilosopiya natin’. Tungo sa makataong espasyo sa pag-iral ng tao, nais galugarin ng diskursong ito ang mga sumusunod na paksa: 1] Lugar ay Espasyo; 2] Sa Pagitan ng ‘Ako’ at ng ‘Ikaw’; 3] Espasyo Bilang Bukal ng Kaalaman at pagkatuto; 4] Pagbuo ng Makataong Espasyo at Pagbuwag sa mga Mapang-aping Espasyo; 5] Salaysay ng mga Karanasan Tungo sa paghulma ng Makataong Espasyo; 6] Espasyo ng/para sa mga Peminista?; 7] Sa Pagitan ng Namatay at ng Namatayan; 8] Saan Matatagpuan ang Kapayapaan? (shrink)

Standard approaches to ontological simplicity focus either on the number of things or types a theory posits or on the number of fundamental things or types a theory posits. In this paper, I suggest a ground-theoretic approach that focuses on the number of something else. After getting clear on what this approach amounts to, I motivate it, defend it, and complete it.

Few today can escape exposure to mass art. Nevertheless, despite the fact that mass art provides the primary source of aesthetic experience for the majority of people, mass art is a topic that has been neglected by analytic philosophers of art. The Philosophy of Mass Art addresses that lacuna. It shows why philosophers have previously resisted and/or misunderstood mass art and it develops new frameworks for understanding mass art in relation to the emotions, morality, and ideology.

“Forget Taste” rejects the classical notion of taste as a viable concept for the exercise of critical evaluation and proposes an alternative approach to critical evaluation based crucially on the idea of the constitutive purpose of the artwork. The goal of this paper is to advance an approach—which I call the purpose-driven approach—to the critical evaluation of artworks that develops from and refines the views of art evaluation presented in my previous work. This approach, in virtue of its focus on (...) the constitutive purposes of artworks, regards the artwork as typically singular. For that reason, it follows that this approach is pluralistic in contrast to the hedonic conception of the taste model popularized in the eighteenth century and which still recurs today, if sometimes only subconsciously, and that reduces critical evaluation to feelings of pleasure. I argue that the hedonic taste model, which is noncognitive and reductive, should be abandoned in favor of one that is cognitivist and pluralistic, namely, the purpose-driven approach. (shrink)

Plans to automate killing by using robots armed with lethal weapons have been a prominent feature of most US military forces? roadmaps since 2004. The idea is to have a staged move from ?man-in-the-loop? to ?man-on-the-loop? to full autonomy. While this may result in considerable military advantages, the policy raises ethical concerns with regard to potential breaches of International Humanitarian Law, including the Principle of Distinction and the Principle of Proportionality. Current applications of remote piloted robot planes or drones offer (...) lessons about how automated weapons platforms could be misused by extending the range of legally questionable, targeted killings by security and intelligence forces. Moreover, the alleged moral disengagement by remote pilots will only be exacerbated by the use of autonomous robots. Leaders in the international community need to address the difficult legal and moral issues now, before the current mass proliferation of development reaches fruition. (shrink)

There seem to be at least two leading conceptions of art appreciation. The first, and by far the most popular, it seems to me, regards “appreciation” as a synonym for “approbation,” which itself can be a synonym for affection or even love. “To appreciate,” in this sense, is “to cherish.” This is the notion of appreciation that most plain speakers have in mind when they say things such as “I appreciate what you’ve done with your garden.” They mean “I like (...) what you’ve done with your garden.” Call this “appreciation-as-liking.” Although I’ve claimed that this is the popular construal of appreciation, it also possesses some estimable philosophical credentials. David Hume, for example, seems to hold a... (shrink)

Drawing on his knowledge of the worlds of art, criticism, and philosophy, Noèel Carroll argues that appraisal and evaluation of art are an indispensable part of the conversation of life.

This article explores several views on the relation of humour, especially tendentious humour, to morality, including comic amoralism, comic ethicism, comic immoralism, and moderate comic moralism. The essay concludes by defending moderate comic moralism.

In this article, “Narrative Closure,” a theory of the nature of narrative closure is developed. Narrative closure is identified as the phenomenological feeling of finality that is generated when all the questions saliently posed by the narrative are answered. The article also includes a discussion of the intelligibility of attributing questions to narratives as well as a discussion of the mechanisms that achieve this. The article concludes by addressing certain recent criticisms of the view of narrative expounded by this article.

Childcare robots are being manufactured and developed with the long term aim of creating surrogate carers. While total childcare is not yet being promoted, there are indications that it is ‘on the cards’. We examine recent research and developments in childcare robots and speculate on progress over the coming years by extrapolating from other ongoing robotics work. Our main aim is to raise ethical questions about the part or full-time replacement of primary carers. The questions are about human rights, privacy, (...) robot use of restraint, deception of children and accountability. But the most pressing ethical issues throughout the paper concern the consequences for the psychological and emotional wellbeing of children. We set these in the context of the child development literature on the pathology and causes of attachment disorders. We then consider the adequacy of current legislation and international ethical guidelines on the protection of children from the overuse of robot care. (shrink)

According to spacetime state realism, the fundamental ontology of a quantum mechanical world consists of a state-valued field evolving in four-dimensional spacetime. One chief advantage it claims over rival wave-function realist views is its natural compatibility with relativistic quantum field theory. I argue that the original density operator formulation of SSR cannot be extended to QFTs where the local observables form type III von Neumann algebras. Instead, I propose a new formulation of SSR in terms of a presheaf of local (...) state spaces dual to the net of local observables studied by algebraic QFT. 1Introduction2Spacetime State Realism in Quantum Field Theory 2.1Equivalence thesis3Entanglement and the Type III Property 3.1No-Go Lemma 13.2No-Go Lemma 24State Space Axioms for Quantum Field Theory 4.1Revised equivalence thesis5Discussion. (shrink)

Prescriptive rules guide human behavior across various domains of community life, including law, morality, and etiquette. What, specifically, are rules in the eyes of their subjects, i.e., those who are expected to abide by them? Over the last sixty years, theorists in the philosophy of law have offered a useful framework with which to consider this question. Some, following H. L. A. Hart, argue that a rule’s text at least sometimes suffices to determine whether the rule itself covers a case. (...) Others, in the spirit of Lon Fuller, believe that there is no way to understand a rule without invoking its purpose — the benevolent ends which it is meant to advance. In this paper we ask whether people associate rules with their textual formulation or their underlying purpose. We find that both text and purpose guide people’s reasoning about the scope of a rule. Overall, a rule’s text more strongly contributed to rule infraction decisions than did its purpose. The balance of these considerations, however, varied across experimental conditions: In conditions favoring a spontaneous judgment, rule interpretation was affected by moral purposes, whereas analytic conditions resulted in a greater adherence to textual interpretations. In sum, our findings suggest that the philosophical debate between textualism and purposivism partly reflects two broader approaches to normative reasoning that vary within and across individuals. Keywords: , the concept of law, rules, legal psychology, Hart, Fuller. (shrink)

In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.

In this paper, I both propose and discuss a novel account of truthmaking. I begin by showing what truthmaking is not: it is not grounding and it is not correspondence. I then show what truthmaking is by offering an account that appeals both to grounding and what I call ‘deep correspondence’. After I present the account and show that it is an account that unifies, I put it to work by showing how it can overcome an objection to truthmaking, how (...) we can get truthmaking from correspondence, what it says about truthmaker necessitation, and how it can explain a connection between truthmaker maximalism and pluralism about truth. (shrink)

This article defends the content approach to aesthetic experience. It begins by sketching this approach to aesthetic experience. It then rehearses certain recent criticisms of the view by Alan Goldman and attempts to rebut them. One of those criticisms raises a long-standing concern about the author's account that has recently been called the “qua” problem. The article concludes by putting this issue to rest.

Acclaimed writer and historian Noel Malcolm presents his sensational discovery of a new work by Thomas Hobbes : a propaganda pamphlet on behalf of the Habsburg side in the Thirty Years' War, translated by Hobbes from a Latin original. Malcolm's book explores a fascinating episode in seventeenth-century history, illuminating both the practice of early modern propaganda and the theory of "reason of state".

Truthmaker says that things, broadly construed, are the ontological grounds of truth and, therefore, that things make truths true. Recently, there have been a number of arguments purporting to show that if one embraces Truthmaker, then one ought to embrace Truthmaker Maximalism—the view that all non-analytic propositions have truthmakers. But then if one embraces Truthmaker, one ought to think that negative existentials have truthmakers. I argue that this is false. I begin by arguing that recent attempts by Ross Cameron and (...) Jonathan Schaffer to provide negative existentials with truthmakers fail. I then argue that the conditional—if one embraces Truthmaker, the one ought to embrace Truthmaker Maximalism—is false by considering worlds where very little, if anything at all, exists. The conclusion is that thinking that negative existentials do not have truthmakers, and therefore rejecting Truthmaker Maximalism, need not worry Truthmaker embracers. (shrink)

A major obstacle facing interpreters of quantum field theory is a proliferation of different theoretical frameworks. This article surveys three of the main available options—Lagrangian, Wightman, and algebraic QFT—and examines how they are related. Although each framework emphasizes different aspects of QFT, leading to distinct strengths and weaknesses, there is less tension between them than commonly assumed. Given the limitations of our current knowledge and the need for creative new ideas, I urge philosophers to explore puzzles, tools, and techniques from (...) all three approaches. (shrink)

Jill North argues that Hamiltonian mechanics provides the most spare -- and hence most accurate -- account of the structure of a classical world. We point out some difficulties for her argument, and raise some general points about attempts to minimize structural commitments.

Higher courts sometimes assess the constitutionality of law by working through a concrete case, other times by reasoning about the underlying question in a more abstract way. Prior research has found that the degree of concreteness or abstraction with which an issue is formulated can influence people's prescriptive views: For instance, people often endorse punishment for concrete misdeeds that they would oppose if the circumstances were described abstractly. We sought to understand whether the so-called ‘abstract/concrete paradox’ also jeopardizes the consistency (...) of judicial reasoning. In a series of experiments, both lay and professional judges sometimes reached opposite conclusions when reasoning about concrete cases versus the underlying issues formulated in abstract terms. This effect emerged whether participants reasoned with broad principles, such as human dignity, or narrow rules, and was largest among individuals high in trait empathy. Finally, to understand whether people reflectively endorse the discrepancy between abstract and concrete resolutions, we examined their reactions when evaluating both, either simultaneously or sequentially. These approaches revealed no single pattern across lay and expert populations, or exploratory and confirmatory studies. Taken together, our studies suggest that empathic concern plays a greater role in guiding the judicial resolution of concrete cases than in illuminating judges' professed standards—which may result in concrete decisions in violation of their own abstract principles. (shrink)

Divine Simplicity has it that God is absolutely simple. God exhibits no metaphysical complexity; he has neither proper parts nor distinct intrinsic properties. Recently, Jeffrey Brower has put forward an account of divine simplicity that has it that God is the truthmaker for all intrinsic essential predications about him. This allows Brower to preserve the intuitive thought that God is not a property but a concrete being. In this paper, I provide two objections to Brower’s account that are meant to (...) show that whatever merits this account of divine simplicity has, plausibility is not one of them. (shrink)

Toward the end of his book Jokes, perhaps the best known philosophical treatment of the subject, Ted Cohen includes a notorious joke about a group of young Black men who are deterred from committing a gang rape by being thrown a basketball. This is a joke that perplexes Cohen and that he admits plays into stereotypes that presuppose the mindless obsession of Black youths with basketball as well as their unbridled sexuality. He agrees that the joke is morally bad and (...) that it would be a better world without it. But he denies that its evil compromises its alleged funniness. He writes: “Wish that there were no mean jokes. Try remaking the world so that such jokes will have no place, will not arise. But do not deny that they are funny. That denial is a pretense that will help nothing.” In this paper, I want to challenge the claim that the moral defectiveness of a joke, especially a racist joke, cannot ever compromise its capacity to be funny. (shrink)

As I will use the term, an object is a mereological sum of some things just in case those things compose it simply in virtue of existing. In the first half of this paper, I argue that there are no sums. The key premise for this conclusion relies on a constraint on what, in certain cases, it takes for something to ground, or metaphysically explain, something else. In the second half, I argue that in light of my argument against sums, (...) Universalism, which is perhaps the most widely accepted answer to the Special Composition Question, is false. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Noël Carroll THE PARADOX OFJUNK FICTION Perhaps on your way to some academic conference, if you had no papers to grade, you stopped in die airport gift shop for something to read on the plane. You saw racks of novels authored by die likes of Mary Higgins Clark, Michael Crichton, John Grisham, Danielle Steele, Sidney Sheldon, Stephen King, Sue Grafton, Elmore Leonard, Sara Paretsky, Tom Clancy, and so on. (...) These are the kinds of novels that, when you lend them to friends, you don't care, unless you live in Bowling Green, Ohio, whether you ever get them back. They are mass, popular fictions. In another era, they would have been called pulp fictions. Following Thomas Roberts,1 I will call diem junk fictions, under which rubric I will also include things like Harlequin romances; sci-fi, horror, and mystery magazines; comic books; and broadcast narratives on either the radio or TV, as well as commercial movies. There are a number of interesting philosophical questions diat we may ask aboutjunk fiction. We could, for example, attempt to characterize its essential features. However, for the present, I will assume that the preceding examples are enough to provide you with a rough-andready notion of what I am calling junk fiction, and I will attempt to explore anotiier feature of the phenomenon, viz., what I call the paradox ofjunk fiction. Thejunk fictions that I have in mind are all narratives. Indeed, dieir story dimension is die most important thing about diem. Stephen King, for instance, makes diis point by saying that he is primarily a story teller rather than a writer. Junk fictions aspire to be page-turners—the blurb on the cover of Stillwatch by Mary Higgins Clark says that it is "designed to be read at breatiitaking speed"—and what motivates turning die page so quickly is our interest in what happens next. We do not dawdle Philosophy and Literature, © 1994, 18: 225-241 226Philosophy and Literature over Clark's diction as we might over Updike's nor do we savor die complexity of her sentence structure, as we do widi Virginia Woolfs. Radier, we read for story. Moreover, junk fictions are die sort of narratives that commentators are wont to call formulaic. That is, junk fictions generally belong to well-entrenched genres, which diemselves are typified by tiieir possession of an extremely limited repertoire of story-types. For example, as John Cawelti has pointed out, one such recurring Western narrative is diat of the recendy pacifist gunfighter, like Shane, who is forced by circumstances to take up his pistols again, widi altogedier devastating effect.2 Junk fictions tell diese generic stories again and again with minor variations. Sometimes diese variations may be quite clever and unexpected. Agatiia Christie was the master of this; she was able to use the conventions of the mystery genre in order to "hide" her murderers. In TheMurderofRogerAckroyd, she "secrets" the murderer in the personage of the narrator; in Ten Little Indians, die murderer is a "dead man"; while in Murder on the Orient Express, all the suspects did it. In each of these cases, Christie's brilliance hinges upon her playing (and preying) upon conventional expectations. Neverdieless, even diese surprising variations require a well-established background of narrative forms. That is, in order to appreciate diese variations, die reader must in some sense know die standard story already. And with junk fiction, it is generally fair to say that in some sense, the reader—or, at least, the reader who has read around in die genre before—knows in rough oudine how die story is likely to go. Readers and/or viewers of Jurassic Park surmised, once die dinosaur enclosures were described, diat in fairly short order die dinosaurs would trample them down and go on the rampage—after all we had already seen or read The Lost World, King Kong, and their progeny. So, junk fictions are formulaic. They rehearse certain narrative formats again and again. And, furthermore, in some very general sense, the audience already knows die story in question. But this knowledge on die part of die audience provokes a question, specifically, why if the reader, viewer or listener already... (shrink)

The subject of this essay is the way in which literature, by engaging our emotions, contributes to our emotional intelligence. In reading works of literature, we are almost constantly called upon—or mandated—to mobilize our emotions in the process of understanding the text. In this way, the literary text ineludibly guides us through a rehearsal of the pertinent portions of our affective repertoire.For example, we do not fully understand Iago unless we despise him, nor do we understand Dorothea Brooke adequately without (...) being saddened by the way in which she is entrapped in her marriage to that stick, Casaubon—that is, unless we lament "what a waste." Moreover, in order to be absorbed in a plot, we need to align... (shrink)

Regarded for decades as a fallacy, intentionalist interpretation is beginning to attract a following among philosophers of art. Intentionalism is the doctrine that the actual intentions of artists are relevant to the interpretation of the artworks they create – just as actual intentions are relevant to the interpretation of the everyday words and deeds of other people. Although there are several forms of actual intentionalism, I defend the form known as modest actual intentionalism, which holds that the correct interpretation of (...) an artwork is compatible with the author's actual intention, which itself must be supported by the artwork. Looking at literary works specifically, I consider criticisms of actual intentionalism – for example, the contention that such a stance substitutes paraphrase for a reading of the text. In particular, I argue against hypothetical intentionalism, which maintains that the correct interpretation of an artwork is constrained by the best hypotheses of the artist's intentions. As I show, the methodology of this position is in fact designed to track the author's actual intentions, and furthermore, hypothetical intentionalism does not accurately depict existing interpretive practices. (shrink)

In recent years, the philosophy of art has profited enormously by applying to the study of art insights derived from the philosophies of mind and language, naturalized epistemology, psychology, evolutionary theory, and cognitive science. A case in point: the discussion of the nature of picturing and pictorial perception has obviously benefited from the influence of perceptual psychology and cognitive studies. Likewise, the theorization of art in relation to the emotions has also exploited contemporary advances in adjacent areas of inquiry.