Leben Totgesagte langer? Manche sicher, aber immer nur selektiv - Friedrich Carl von Savigny, dieser unser deutscher Starjurist vom Ursprung unserer juristischen Moderne, so global geworden wie kaum ein anderer, war gewiss so ein Fall von immer neuen Selektionen. Nur, so ist die Frage, wie selektiv, wann und wo? In diesem Band wird untersucht, welche seiner Denk-Stucke man verstand und wie oder ob doch gar nicht, in Frankreich, Italien, Spanien, Brasilien, England, U.S.A., Danemark, Schweden, Norwegen, Finnland, Russland, Japan und China. (...) 'Nicht- verstehen' konnte leicht geschehen an so ungleichen Zeiten, Orten, Politiken und Denkkontexten und geschah durchaus. Man kennt bisher nur diese und jene "Einflusse". Nun kommen ganze Denkweisen und Rezeptions-Bilder zur Sprache. Beide Aspekte werden in profunder Quellenbeherrschung erschlossen und analysiert. Und dies geschieht konsequent an bestimmten Schlusseltexten und Savigny-Bildern. So fliessen die Studien einmal nicht auseinander, sondern zeigen zum einen die Denk-Stucke selbst, dann ihre vielfaltigen Verwendungen in anderen Kontexten und schliesslich die Metamorphosen der Savigny-Bilder. Die Differenzierungen losen sich nicht irgendwohin auf, sondern sie werden zu sprechenden Gemeinsamkeiten und Unterschieden, Tendenzen und Strukturen. Eine summierende Schlussbetrachtung und eine erstmals umfassende Bibliographie der Ubersetzungen, systematisch nach Sprachen und chronologisch nach Werken geordnet, schliesst den Band ab. Nun kann man also sehen, wie man selektierte und selektiert. (shrink)

When making decisions, humans can observe many kinds of information about others' activities, but their effects on performance are not well understood. We investigated social learning strategies using a simple problem-solving task in which participants search a complex space, and each can view and imitate others' solutions. Results showed that participants combined multiple sources of information to guide learning, including payoffs of peers' solutions, popularity of solution elements among peers, similarity of peers' solutions to their own, and relative payoffs from (...) individual exploration. Furthermore, performance was positively associated with imitation rates at both the individual and group levels. When peers' payoffs were hidden, popularity and similarity biases reversed, participants searched more broadly and randomly, and both quality and equity of exploration suffered. We conclude that when peers' solutions can be effectively compared, imitation does not simply permit scrounging, but it can also facilitate propagation of good solutions for further cumulative exploration. (shrink)

Big Ideas for Little Kids includes everything a teacher, a parent, or a college student needs to teach philosophy to elementary school children from picture books. Written in a clear and accessible style, the book explains why it is important to allow young children access to philosophy during primary-school education. Wartenberg also gives advice on how to construct a "learner-centered" classroom, in which children discuss philosophical issues with one another as they respond to open-ended questions by saying whether they agree (...) or disagree with what others have said. (shrink)

The newly updated Right and Wrong 2nd Edition is an accessible introduction to the major traditions in western philosophical ethics, written in a lively and engaging style. It is designed for entry-level ethics courses and includes real-life ethical scenarios chosen to appeal directly to students. Greatly expanded and improved, this successful text introduces students to the major ethical traditions, and provides a simple methodology for resolving ethical dilemmas Treats teleological and deontological approaches to ethics as the two most important traditions, (...) but now includes chapters on virtue ethics and the ethics of care The very accessible writing style speaks directly to students’ own experience Draws examples from three types of real-life ethical scenarios submitted by students: academic dishonesty, partying, and personal relationships Provides a concise treatment of this notoriously complex subject, perfect for entry-level ethics and applied ethics courses. (shrink)

v. 1. Editorial introduction -- v. 2. The English and Latin texts (i) -- v. 3. The English and Latin texts (ii).

Some theories of goodness are descriptively rich: they have much to say about what makes things good. Neo-Aristotelian accounts, for instance, detail the various features that make a human being, a dog, a bee good relative to facts about those forms of life. Famously, such theories of relative goodness tend to be comparatively poor: they have little or nothing to say about what makes one kind of being better than another kind. Other theories of goodness—those that take there to be (...) absolute goodness—are comparatively rich: they offer grounds for judging some types of things better than others because they have more absolute goodness. Moorean accounts, for example, can tell us that humans and human experiences are superior to bees and blades of grass. But such theories tend to be descriptively poor: they struggle to tell us in virtue of what this is so. In this essay we motivate and flesh out a view that splits the difference between accounts of goodness as relative and accounts of goodness as absolute. Such a view holds promise only if the mechanics of this kind of metaphysics of goodness can be worked out. Here we present a view on which the paradigm for absolute goodness is God and the paradigm for each kind of relative goodness is a divine idea. (shrink)

Proceedings of a conference held in Apr. 2008 in Washington, D.C.

Father Williams explains how the conscience is formed through our training and experiences and informed by the Holy Spirit, making it an essential tool for daily living. He uses familiar and surprising characters to illustrate the positive choices conscience can direct--and the disaster that results when a conscience is undeveloped or ignored. Questions he tackles include "Is it more important to be smart or good?""Is there a morally right thing to do in every situation?" and "Is the Christian moral life (...) an exciting adventure, or a necessary burden?" Rich, provocative, and practical for everyday decision making, KNOWING RIGHT FROM WRONG is a must-read for all who hunger for personal holiness. (shrink)

Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created (...) the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. (shrink)

Immanuel Kant’s Critique of Judgment, Thierry de Duve argues in the first volume of Aesthetics at Large, is as relevant to the appreciation of art today as it was to the enjoyment of beautiful nature in 1790. Going against the grain of all aesthetic theories situated in the Hegelian tradition, this provocative thesis, which already guided de Duve’s groundbreaking book Kant After Duchamp (1996), is here pursued in order to demonstrate that far from confining aesthetics to a stifling (...) formalism isolated from all worldly concerns, Kant’s guidance urgently opens the understanding of art onto ethics and politics. Central to de Duve’s re-reading of the Critique of Judgment is Kant’s idea of sensus communis, ultimately interpreted as the mere yet necessary idea that human beings are capable of living in peace with one another. De Duve pushes Kant’s skepticism to its limits by submitting the idea of sensus communis to various tests leading to questions such as: Do artists speak on behalf of all of us? Is art the transcendental ground of democracy? Or, Was Adorno right when he claimed that no poetry could be written after Auschwitz? Loaded with de Duve’s trademark blend of wit and erudition and written without jargon, these essays radically renew current approaches to some of the most burning issues raised by modern and contemporary art. They are indispensable reading for anyone with a deep interest in art, art history, or philosophical aesthetics. (shrink)

Au paragraphe 59 de la Critique de la faculté de juger, juste avant de se lancer dans la Critique du jugement téléologique, Kant écrit une phase que rien dans la Critique du jugement esthétique, qu’il s’apprête à conclure, n’annonçait : “Je dis maintenant que le beau est le symbole du bien moral”. Il fait toutefois précéder cette ligne d’une explication de ce qu’il entend par “symbole”, qu’il illustre par un exemple qui semble aussi abrupt et hors contexte que la phrase (...) sur le symbolisme moral du beau lui-même : “Ainsi représente-t-on un état monarchique apr un corps animé s’il est gouverné selon des lois internes du peuple, mais par une simple machine (comme, par exemple, un moulin à bras) s’il est gouverné par une volonté singulière absolue.” Le présent article prend son départ dans la précipitation quasi-freudienne de Kant, qui concerne tant la phrase sur le symbolisme que l’exemple étrangement politique illustrant ce qu’il entend par “symbole”, afin de mettre à jour la validité de son affirmation sur le symbolisme moral du beau pour notre époque. (shrink)

The purpose of this paper is to offer some theoretical clarification of the word art in the wake of the reception of Duchamp's readymades and their acknowledgment by art history.It became clear in the sixties that it is now both technically possible and institutionally legitimate to make art from absolutely anything whatever.To this a priori possibility would like to give the term art in general. After which shall define three other terms which may help clarify our usage of the word (...) art in the post-Duchamp situation: art, period; art altogether; and art itself. Their articulation is intended to lay the ground for an aesthetic theory of art adapted to our times. (shrink)

It is somewhat misleading to think of the Franciscans as forming a “school” in ethics, since there was a fair bit of diversity among Franciscans. Nonetheless, one can identify certain characteristic tendencies of Franciscan moral thought, and certain “celebrity” Franciscans whose views in ethics and moral psychology are particularly noteworthy. I shall first offer an overview of the general character of Franciscan moral thought in the late thirteenth and early fourteenth centuries and then turn to a more detailed examination of (...) the thought of John Duns Scotus (1265/66-1308) and William Ockham (c. 1288-1347) on three central matters of debate: the nature of the virtues, the relationship between intellect and will, and the relationship between moral requirements and the divine will. (shrink)

In this book Thomas Wren uncovers and assesses the largely hidden philosophical assumptions about human motivation that have shaped contemporary psychological ...

THE NATURE OF ART is a collection of 29 seminal, historically-organized readings that are focused on a basic philosophical question: What is Art? Including writings from the Western tradition'both Continental and Analytic traditions'as well as non-Western, minority, and feminist writings, this volume provides students with a rich set of resources to explore this matter both broadly and deeply. Introductions to each reading situate the selection amidst each respective thinker's body of work and the greater philosophical context in which the remarks (...) arose. Reading questions accompany each selection, drawing students' attention to key points to be encountered. Hailed by reviewers and adopters for its clarity and rigor, Wartenberg's THE NATURE OF ART offers a lively and engaging introduction to the philosophy of art. (shrink)

For courses in Business Ethics A fresh approach to the assumptions that underlie business practices Two recent events — the 2008 economic meltdown and the ongoing concentration of the nation's wealth in the hands of a very small percentage of the population — have led many people to question a number of basic assumptions about business, corporations, and the workings of contemporary free-market capitalism in a global economy. Written as a dialogue between Socrates and a hypothetical contemporary CEO,Socrates Comes to (...) Wall Street leads students to think critically about perspectives and practices that are taken as “givens” in most American business schools and corporations. Employing this original and provocative approach, author Thomas White seeks to encourage the next generation of business leaders to be more astute about the implications of their actions, and to act more prudently and more fairly than we have seen in the recent past. (shrink)

Hannah Arendt is associated with a strong distinction between guilt and responsibility: Whereas she insists that guilt is strictly personal, she advances a vicarious notion of collective political responsibility without guilt. Yet Arendt also proposes a political concept of forgiveness—which yields the critical question: Does a political concept of forgiveness not presuppose a political concept of guilt? Arendtian forgiveness addresses what Arendt terms trespassing. Scrutinizing her notion of trespassing and how it is situated within her theory of political action, I (...) ponder whether Arendt, in effect, offers a political concept of guilt. I argue that while trespassing is clearly a political notion, it cannot be labelled guilt. Rather, trespassing refers to a purely causal responsibility without blame, and to a social-ontological condition of non-sovereignty and fallibility inherent in political interaction. The non-blameworthiness of trespassing implies that Arendt’s oft-cited concept of forgiveness resembles what is usually categorized as excuse. (shrink)

INTRODUCTION Although the writings of Thomas Reid are very fertile and interesting, his life is biographically barren in comparison to such seventeenth - and ...

Are demands for equality motivated by envy? Nietzsche, Freud, Hayek, and Nozick all thought so. Call this the Envy Objection. For egalitarians, the Envy Objection is meant to sting. Many egalitarians have tried to evade the Envy Objection.. But should egalitarians be worried about envy? In this paper, I argue that egalitarians should stop worrying and learn to love envy. I argue that the persistent unwillingness to embrace the Envy Objection is rooted in a common misunderstanding of the nature of (...) the charge, what it reveals, and what can be said in response to it. I develop what Bernard Williams might call a vindicatory genealogy of envy, thereby allowing us to see that envy, rather than undermining egalitarian intuitions, can in fact play a distinct justificatory role (when it is fitting), which undermines the Envy Objection. (shrink)

This chapter contains section titled: Personhood: A Start Are Dolphins Persons? Language and the Hand Personhood Redefined Conclusion: What Kind of Beings Are Dolphins?

David Ekdahl (2023), in a constructive and thoughtful commentary, outlines both points of agreement with and suggestions for further research arising from our paper ‘Crossing the Fictional Line: Moral Graveness, the Gamer’s Dilemma, and the Paradox of Fictionally Going Too Far’ (Montefiore & Formosa, 2023).

This interdisciplinary volume questions one of the most fundamental tenets of social theory by focusing on detachment, an important but neglected aspect of social life. Going against the grain of recent theoretical celebrations of engagement, this book challenges us to re-think the relational basis of social theory. In so, doing it brings to light the productive aspects of disconnection, distance and detachment. Rather than treating detachment simply as the moral inversion of compassion and engagement, the volume brings together empirical studies (...) and theoretical comments by leading anthropologists, sociologists and science studies scholars. Taken together, these illustrate the range of contexts within which distance and disconnection can offer meaningful frameworks for action. Positioned at the cutting edge of social theory, this landmark volume will be of great interest to students and academics across the social sciences and humanities. (shrink)

This chapter talks about Peter Catalanotto's delightfully illustrated picture book, Emily's Art. Traditionally, the philosophy of art was also called aesthetics, a term derived from the ancient Greek. There are many intriguing issues in the philosophy of art. For example, philosophers have proposed various different solutions to the question of what art is. Art is a subject that interests children because they often are engaged in producing it. So an interesting way to begin a discussion of issues in the philosophy (...) of art is to ask the children whether they prefer Kelly's paintings or Emily's and why. Once they explain, ask them whether they think that other people should agree with them, or if it's fine for other people to disagree. And, as usual, ask them to explain why they think what they think. (shrink)

Leo Lionni's charming tale of a mouse, eponymously named Frederick, raises very important questions about the nature of work, a topic addressed in the field of social and political philosophy. A question — one that the mice themselves raise — is whether Frederick is doing work when he gathers the sun, colors, and words. Since the book has used the word “gather” as its way of conceptualizing work, it might seem that Frederick is working, for he, too, is also gathering (...) things, just not the things that all the other mice do. Alternatively, we can say that even though Frederick is doing intellectual, rather than physical work, both types of work are necessary for the continued existence of anything but the most simple society. Children have differing opinions about whether Frederick was working or was just being a slacker. (shrink)

This chapter talks about a picture of Crockett Johnson's book, Harold and the Purple Crayon, where Harold, a young toddler, standing with his body facing to our left but with his head turned slightly to the right. When we see Harold making a drawing with his purple crayon in an illustration by Crocker Johnson, we are witnessing the workings of Harold's imagination. Because of the peculiar metaphysics of his world, objects solve his problems when they morph from drawings into real (...) things. Harold and the Purple Crayon is a testament to the power of children's imaginations, their ability to give reality to things we adults can only dream about. The book gives us an introduction to the metaphysical distinction between real and merely imaginary things, and even criticizes one attempt to develop an account of that distinction. (shrink)