Journalism and media ethics texts commonly invoke Aristotle's Golden Mean as a principal ethical theory that models such journalistic values as balance, fairness, and proportion. Working from Aristotle's text, this article argues that the Golden Mean model, as widely understood and applied to media ethics, seriously belies Aristotle's intent. It also shortchanges the reality of our moral agency and epistemic responsibility. A more authentic rendering of Aristotle's theory of acting rightly, moreover, has profound implications for communication ethicists and media practitioners.

By virtue of its epistemic deficits, propaganda is very much an unethical phenomenon. Coping effectively with propaganda requires a communicative response that confronts its inherent unethicality with ethically grounded resistance. In this article, I propose two congruent plans of communicative action, each of which rests on an apparent ethical connection: J. Michael Sproule's (1994) reclaiming of classical eloquence, and Jonathan Rauch's (1993) provocative program of "liberal science.".

Albert and the career of virtue theory -- Modern virtue theory as foreground to Albert's moral philosophy -- Albert's ethical treatises -- The significance of Albert's moral treatises in early-thirteenth-century moral philosophy -- Approaching the moral order -- Meta-ethical reflections on "moral science" and its procedures -- The metaphysics of the good -- The architecture of moral goodness -- The genesis of virtue : intrinsic causes -- The genesis of virtue : extrinsic causes -- The concept of virtue -- The (...) organization of the virtues -- The passions -- Morality, obligation, and law -- Natural law -- Virtue's rewards -- Friendship -- Last ends and happiness -- Conclusion: Albertus redux. (shrink)

A recent issue of Report from the Institute for Philosophy and Public Affairs identifies four ethical issues for the 21st century. By not including media ethics, the Report overlooks a crucial logical priority. That oversight is reflected in greater academe where media ethics (unlike, say, biomedical ethics) is scarcely acknowledged. This article argues that communication ethics, as an integral part of the wider enterprise of media literacy, deserves greater prominence in our town-and-gown communities.

Time was, notably in the theories of classical and medieval moralists, when virtue figured as the central feature in the conception of moral worth. Today, the notion of virtue has slid into conspicuous disuse. Among a few writers today, one can still detect scattered indications of a return to varieties of this conception of goodness; but in most of the contemporary literature it is safe to say that the deontic and usually co-relative notions of ‘right’, ‘ought’, ‘duty’ and ‘obligation’ now (...) command the primacy that once was virtue’s. In works of this decade, for instance, it is not uncommon to encounter the following kind of statement: “The experience of moral obligation is the central element in the concept of morality.” The replacement of the concept of virtue with the language of “right” and “obligation” is an historical phenomenon whose investigation would probably uncover a number of contributing causes. Quite obviously, for instance, the shift owes a great deal to Kant’s insistence upon the dispassionately legislative function of the moral judgment. Yet even more radically, I think it could be shown that the interpretation of moral experience has too often been invaded with the properly epistemic concerns of certitude and objectivity in the moral judgment—hence the emphasis on the “right”—and too often grounded on the assumption that moral judgments are properly moral only when they measure up to this or that criterion. But it is probably more to the point to suppose that the erosion of virtue within philosophical discourse was brought about as much by its own obfuscation as by any competing counter-insistence upon the legislative models of imperativeness and prescriptivity. If, that is to say, the notion of virtue was displaced as a significant ethical principle, it was because philosophers themselves became unclear as to its origins and nature. More concretely, the demise of the notion of virtue was inevitable when it was cut off from direct participation in human actions and relegated exclusively to the private area of emotions and desires. (shrink)

The concept of an 'assumption' is discussed, and it is suggested that the psychological model implied by normal usage is misleading. A new model is proposed which distinguishes between 'assumptions', as constraints upon the thinking process, and 'postulates', as corresponding potential or actual propositional vocalizations. Some evidence for this model is provided, and its implications, particularly for the process of assumption identification, are discussed. It is suggested that assumption identification requires lateral thinking, and needs to be separated from problem-solving. The (...) discussion is offered as an instance of an appropriate type of fusion of psychological and informal-logical approaches. (shrink)

Book reviewed in this article: The New Health Care For Profit: Doctors and Hospitals in a Competitive Environment. Edited by Bradford H. Gray The Healing Mission and the Business Ethic. By Robert M. Cunningham The Medical Industrial Complex. By Stanley Wohl.

First published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.

In this paper, I defend the thesis that alleffects of extra-linguistic context on thetruth-conditions of an assertion are traceable toelements in the actual syntactic structure of thesentence uttered. In the first section, I develop thethesis in detail, and discuss its implications for therelation between semantics and pragmatics. The nexttwo sections are devoted to apparent counterexamples.In the second section, I argue that there are noconvincing examples of true non-sentential assertions.In the third section, I argue that there are noconvincing examples of what (...) John Perry has called`unarticulated constituents''. I conclude by drawingsome consequences of my arguments for appeals tocontext-dependence in the resolution of problems inepistemology and philosophical logic. (shrink)

This paper is a companion piece to my earlier paper “Fallibilism and Concessive Knowledge Attributions”. There are two intuitive charges against fallibilism. One is that it countenances the truth (and presumably acceptability) of utterances of sentences such as “I know that Bush is a Republican, though it might be that he is not a Republican”. The second is that it countenances the truth (and presumably acceptability) of utterances of sentences such as “I know that Bush is a Republican, even though (...) I’m not certain that he is”, or “I know that Bush it a Republican, even though it isn’t certain that he is.” In “Fallibilism and Concessive Knowledge Attributions”, I argue that fallibilism in epistemology does not countenance the truth of utterances of sentences such as “I know that Bush is a Republican, though it might be that he is not a Republican”. In this paper, I argue that there are independent reasons for thinking that utterances of sentences such as “I know that Bush is a Republican, though I’m not certain that he is” and “I know that Bush is a Republican, though it’s not certain that he is” are unassertible. More specifically, I argue that these are simply instances of Moore’s Paradox, such as “Dogs bark, but I don’t know that they do.” The right account of Moore’s Paradox does not involve the falsehood of the semantic content of the relevant utterances, but rather their pragmatic unacceptability. So the anti-fallibilist intuitions turn out to have pragmatic, rather than semantic import, and therefore do not tell against the truth of fallibilism. Fallibilism in epistemology is often thought to be theoretically desirable, but intuitively problematic. My purpose with these two papers is to show that fallibilism is not intuitively problematic. (shrink)

"As the child of refugees of World War II Europe and a renowned philosopher and scholar of propaganda, Jason Stanley has a deep understanding of how democratic societies can be vulnerable to fascism: Nations don't have to be fascist to suffer from fascist politics. In fact, fascism's roots have been present in the United States for more than a century. Alarmed by the pervasive rise of fascist tactics both at home and around the globe, Stanley focuses here on (...) the structures that unite them, laying out and analyzing the ten pillars of fascist politics--the language and beliefs that separate people into an 'us' and a 'them.' He knits together reflections on history, philosophy, sociology, and critical race theory with stories from contemporary Hungary, Poland, India, Myanmar, and the United States, among other nations. He makes clear the immense danger of underestimating the cumulative power of these tactics, which include exploiting a mythic version of a nation's past; propaganda that twists the language of democratic ideals against themselves; anti-intellectualism directed against universities and experts; law and order politics predicated on the assumption that members of minority groups are criminals; and fierce attacks on labor groups and welfare. These mechanisms all build on one another, creating and reinforcing divisions and shaping a society vulnerable to the appeals of authoritarian leadership. By uncovering disturbing patterns that are as prevalent today as ever, Stanley reveals that the stuff of politics--charged by rhetoric and myth--can quickly become policy and reality. Only by recognizing fascists politics, he argues, may we resist its most harmful effects and return to democratic ideals."--Jacket. (shrink)

What is film? Why are movies important? Why do we care about them in the way we do? How do we think of the connections between the projected image and what it is actually an image of? Most movie-goers assume that they are entitled to make jugments and come to conclusions about the movies they see--to evaluate how "good" they are, or what they "mean." But what do they base, or what should they base, their judgments on? In this thought-provoking (...) new book, Stanley Cavell, a professor of philosophy and aesthetics at Harvard who has long taken a lively interest in movies, looks closely at these and other questions concerning America's most popular art and the perceptions we make of, by, and through it. His answers are surprising and important--not only to our understanding of film and of ourselves, but to our expectations of life and art. Mr. Cavell's explorations of some of Hollywood's stars, directors, and most famous films--as well as his fresh look at Godard, Bergman, and other great European directors--will be of lasting interest to movie-viewers and intelligent people of all ages. (shrink)

Fictionalist approaches to ontology have been an accepted part of philosophical methodology for some time now. On a fictionalist view, engaging in discourse that involves apparent reference to a realm of problematic entities is best viewed as engaging in a pretense. Although in reality, the problematic entities do not exist, according to the pretense we engage in when using the discourse, they do exist. In the vocabulary of Burgess and Rosen (1997, p. 6), a nominalist construal of a given discourse (...) is revolutionary just in case it involves a “reconstruction or revision” of the original discourse. Revolutionary approaches are therefore prescriptive. In contrast, a nominalist construal of a given discourse is hermeneutic just in case it is a nominalist construal of a discourse that is put forth as a hypothesis about how the discourse is in fact used; that is, hermeneutic approaches are descriptive. I will adopt Burgess and Rosen’s terminology to describe the two different spirits in which a fictionalist hypothesis in ontology might be advanced. Revolutionary fictionalism would involve admitting that while the problematic discourse does in fact involve literal reference to nonexistent entities, we ought to use the discourse in such a way that the reference is simply within the pretense. The hermeneutic fictionalist, in contrast, reads fictionalism into our actual use of the problematic discourse. According to her, normal use of the problematic discourse involves a pretense. According to the pretense, and only according to the pretense, there exist the objects to which the discourse would commit its users, were no pretense involved. My purpose in this paper is to argue that hermeneutic fictionalism is not a viable strategy in ontology. My argument proceeds in two steps. First, I discuss in detail several problematic consequences of any interesting application of hermeneutic fictionalism. Of course, if there is good evidence that hermeneutic fictionalism is correct in some cases, then some of these drastic consequences would have to be accepted.. (shrink)

These lectures by one of the most influential and original philosophers of the twentieth century constitute a sustained argument for the philosophical basis of romanticism, particularly in its American rendering. Through his examination of such authors as Emerson, Thoreau, Poe, Wordsworth, and Coleridge, Stanley Cavell shows that romanticism and American transcendentalism represent a serious philosophical response to the challenge of skepticism that underlies the writings of Wittgenstein and Austin on ordinary language.

Contextualism in epistemology is the doctrine that the proposition expressed by a knowledge attribution relative to a context is determined in part by the standards of justification salient in that context. The (non-skeptical) contextualist allows that in some context c, a speaker may truly attribute knowledge at a time of a proposition p to Hannah, despite her possession of only weak inductive evidence for the truth of that proposition. Relative to another context, someone may make the very same knowledge attribution (...) to Hannah, yet be speaking falsely, because the epistemic standards in that context are higher. The reason this is possible, according to the contextualist, is that the two knowledge attributions express different propositions. (shrink)

In this paper we argue that autobiographical memory can be conceptualized as a mental state resulting from the interplay of a set of psychological capacities?self-reflection, self-agency, self-ownership and personal temporality?that transform a memorial representation into an autobiographical personal experience. We first review evidence from a variety of clinical domains?for example, amnesia, autism, frontal lobe pathology, schizophrenia?showing that breakdowns in any of the proposed components can produce impairments in autobiographical recollection, and conclude that the self-reflection, agency, ownership, and personal temporality are (...) individually necessary and jointly sufficient for autobiographical memorial experience. We then suggest a taxonomy of amnesic disorders derived from consideration of the consequences of breakdown in each of the individual component processes that contribute to the experience of autobiographical recollection. (shrink)

Experience with electronic communication in ethics committees at two hospitals is reviewed and discussed. A listserver of ethics committee members transmitted a synopsis of the ethics consultation shortly after the consultation was initiated. Committee comments were sometimes incorporated into the recommendations. This input proved to be most useful in unusual cases where additional, diverse inputs were informative. Efforts to ensure confidentiality are vital to this approach. They include not naming the patient in the e-mail, requiring a password for access to (...) the listserver, and possibly encryption. How this electronic communication process alters group interactions in ethics committees is a fruitful area for future investigation. (shrink)

In the last two decades, philosophy of neuroscience has predominantly focused on explanation. Indeed, it has been argued that mechanistic models are the standards of explanatory success in neuroscience over, among other things, topological models. However, explanatory power is only one virtue of a scientific model. Another is its predictive power. Unfortunately, the notion of prediction has received comparatively little attention in the philosophy of neuroscience, in part because predictions seem disconnected from interventions. In contrast, we argue that topological predictions (...) can and do guide interventions in science, both inside and outside of neuroscience. Topological models allow researchers to predict many phenomena, including diseases, treatment outcomes, aging, and cognition, among others. Moreover, we argue that these predictions also offer strategies for useful interventions. Topology-based predictions play this role regardless of whether they do or can receive a mechanistic interpretation. We conclude by making a case for philosophers to focus on prediction in neuroscience in addition to explanation alone. (shrink)

Introduction Cavell's Voices and Derrida's Grammatology The stature of Stanley Cavell is increasingly considered unique among living American philosophers ...

In the first essay of this book, Stanley Cavell characterizes philosophy as a "willingness to think not about something other than what ordinary human beings think about, but rather to learn to think undistractedly about things that ordinary human beings cannot help thinking about, or anyway cannot help having occur to them, sometimes in fantasy, sometimes as a flash across a landscape." Fantasies of film and television and literature, flashes across the landscape of literary theory, philosophical discourse, and French (...) historiography give Cavell his starting points in these twelve essays. Here is philosophy in and out of "school," understood as a discipline in itself or thought through the works of Shakespeare, Molière, Kierkegaard, Thoreau, Brecht, Makavejev, Bergman, Hitchcock, Astaire, and Keaton. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Stanley Cavell WHAT BECOMES OF THINGS ON FILM? And does this title express a genuine question? That is, does one accept the suggestion that there is a particular relation (or a particular system of relations, awaiting systematic study) that holds between things and their filmed projections, which is to say between the originals now absent from us (by screening) and the new originals now present to us (in (...) photogenesis)—a relation to be thought of as something's becoming something (say as a caterpillar becomes a butterfly, or as a prisoner becomes a count, or as an emotion becomes conscious, or as after a long night it becomes light)? The title is, at any rate, the working formulation I have given myself for the guiding question of this discussion. Of the many issues and many levels of issue raised by the papers I have been invited to comment upon, I have picked two moments at which work of my own about film has been referred to, wishing to contribute to a conversation in the territory of film study. The first moment is one in which I am quoted (or Heidegger and I jointly quoted) as saying that "The cinematic image accentuates the conspicuousness, obtrusiveness and obstinacy of things." I am sorry to have given such an impression. The background of what I said —in the course of giving some examples of how thinking about films and thinking about philosophy have drawn upon one another in my work— was this: early in Being and Time, Heidegger characterizes the specific way in which the phenomenon occurs, in his terms, of the "worldhood of the world announcing itself"; it is a phenomenon in which a particular mode of sight or awareness is brought into play. What brings this mode of sight into play is a disruption of what Heidegger calls the "work-world," a disruption of the matters of course running among our tools, and the occupations they extend, and the environment which supports these occupations. It is upon the disruption of such matters of course (of a tool, say by its breaking; or of someone's occupation, say because of an injury; or of some absence of material) that the mode of sight then brought forth discovers objects in what Heidegger 249 250Philosophy and Literature notes as their conspicuousness, their obtrusiveness, and their obstinacy. Now the foreground of what I said was this: it struck me that this perception or apprehension of the things of our world is part of the grain of silent film comedy; and, more particularly, that Buster Keaton is the silent comic figure whose extraordinary works and whose extraordinary gaze, perhaps the fundamental feature of his character, illuminate and are illuminated by the consequent concept of the worldhood of the world announcing itself. While I take even this bare broaching of this idea to formulate one possibility of cinematic images of the things of our world, it is no more to be expected that all cinematic images carry this force, than it is to be expected that all are in the service of Keaton's species of comedy; any more than the idea of such images exhausts what there is to say about Keaton, orabout Heidegger, or about any further relations between them. What the idea ought to do is to help us to see and say at once what it is Keaton permits us to laugh about and what concretely the nature is of the mode of sight from which Heidegger begins his analysis of Being-in-the-world. This laughter is not defined, for example, by a Bergsonian suggestion that the human being has become machine-like, or vice versa. Keaton is as flexible, as resourceful, as Ulysses, and his giant machines do exactly what they might be expected to do under their circumstances. We have here to do with something about the human capacity for sight, or for sensuous awareness generally, something wë might express as our condemnation to project, to inhabit, a world that goes essentially beyond the delivery of our senses. This seems to be the single point of agreement throughout the history of epistemology, at least throughout the modern history of the... (shrink)

The first part of my hypothesis, then, is simple enough, and would be accepted in principle by most students of Plato: the dramatic structure of the dialogues is an essential part of their philosophical meaning. With respect to the poetic and mathematical aspects of philosophy, we may distinguish three general kinds of dialogue. For example, consider the Sophist and Statesman, where Socrates is virtually silent: the principal interlocutors are mathematicians and an Eleatic Stranger, a student of Parmenides, although one who (...) is not always loyal to his master's teaching of what might be called monadic homogeneity. In these dialogues, the mathematical character of philosophy is not merely emphasized but exaggerated, and any attempt to interpret them must take this fact into account. Otherwise, we shall not be able to understand why the Stranger seems to classify the general's art in the same species of the genus hunting as the louse catcher. The significance of this step, which does not stem from humanitarian considerations, but rather illustrates how the human becomes invisible from the mathematical viewpoint, contributes its share to the obscurity of these two dialogues. Second, there are dialogues like the Phaedrus and Symposium, in which the style, the interlocutors, and even the subject-matter seem to be largely poetic and rhetorical. Here, the overwhelming impression is of enthusiasm, divine madness, and intoxication in speech and deed. Finally, there are dialogues like the Philebus and Republic, in which it is not so easy to say whether poetry or mathematics predominates, if indeed either may be said to do so. (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 ethic. (shrink)

The most comprehensive compilation of the works of Abelard and Heloise ever presented in a single volume in English, _The Letters and Other Writings_ features an accurate and stylistically faithful new translation of both _The Calamities of Peter Abelard_ and the remarkable letters it sparked between the ill-fated twelfth-century philosopher and his brilliant former student and lover—an exchange whose intellectual passion, formal virtuosity, and psychological drama distinguish it as one of the most extraordinary correspondences in European history. Thanks to this (...) edition, Latin-less readers will be better placed than ever to see why this undisputed milestone in the intellectual life of medieval France is also a masterpiece of Western literature. In addition to the _The Calamities_ and the letters--the first complete English translation of all seven in more than eighty years--this volume includes an Introduction, a map, and a chronology, Abelard's _Confession of Faith_, letters between Heloise and Peter the Venerable, the Introduction to _The Questions of Heloise_, and selected songs and poems by Abelard, among them a previously untranslated shaped poem, Open Wide Your Eyes. Extracts of lost letters sometimes ascribed to Abelard and Heloise are given in appendixes. (shrink)

Abstract. A historical perspective allows for a different view on the compatibility of theistic views with a crucial foundation of modern scientific practice: the uniformity of nature, which states that the laws of nature are unbroken through time and space. Uniformity is generally understood to be part of a worldview called “scientific naturalism,” in which there is no room for divine forces or a spiritual realm. This association comes from the Victorian era, but a historical examination of scientists from that (...) period shows that uniformity was an important part of both theistic and naturalistic worldviews. Victorian efforts to maintain the viability of miracles and divine action within a universe ruled by natural laws receives special attention. The methodological practices of theistic and naturalistic scientists in the nineteenth century were effectively indistinguishable despite each group's argument that uniformity was closely dependent on their worldview. This similarity is used to reexamine both the reasons for the decline of the role of religion within the scientific community and claims made by the intelligent design movement about the relationship of science and religion. (shrink)