Do aesthetic reasons have normative authority over us? Could there be anything like an aesthetic ‘ought’ or an aesthetic obligation? I argue that there are no aesthetic obligations. We have reasons to act certain ways regarding various aesthetic objects – most notably, reasons to attend to and appreciate those objects. But, I argue, these reasons never amount to duties. This is because aesthetic reasons are merely evaluative, not deontic. They can only entice us or invite us – they can never (...) compel us. Beauty gives us goods without shoulds. (shrink)

Country music has not gotten much attention in philosophy. I introduce two philosophical issues that country music raises. First, country music is simple. Some people might think that its simplicity makes country music worse; I argue that simplicity is aesthetically valuable. The second issue is country music’s ideal of authenticity; fans and performers think that country should be real or genuine in a particular way. But country music scholars have debunked the idea that country authenticity gets at anything real; widespread (...) ideas about country authenticity are rooted in a racist and fabricated picture of country music. In discussing these two issues, I highlight the importance of community in country music. (shrink)

There are some artworks which we appreciate for their bad artistic qualities; these artworks are said to be “good because bad”. This is puzzling. How can art be good just because it is bad? In this essay, we attempt to demystify this phenomenon. We offer a two-part analysis: the artistic flaws in these works make them bizarre, and this bizarreness is aesthetically valuable. Our analysis has the consequence that some artistic flaws make for aesthetic virtues. Such works therefore present a (...) counterexample to aestheticism, the view that all artistically relevant features of artworks are aesthetic features. (shrink)

During the past four decades, the Netherlands played a leading role in the debate about euthanasia and assisted suicide. Despite the claim that other countries would soon follow the Dutch legalization of euthanasia, only Belgium and the American state of Oregon did. In many countries, intense discussions took place. This article discusses some major contributions to the discussion about euthanasia and assisted suicide as written by Nigel Biggar, Arthur J. Dyck, Neil M. Gorsuch, and John Keown. They share (...) a concern that legalization will undermine a society's respect for the inviolability and sanctity of life. Moreover, the Report of the House of Lords Select Committee on the Assisted Dying for the Terminally Ill Bill is analyzed. All studies use ethical, theological, philosophical, and legal sources. All these documents include references to experiences from the Netherlands. In addition, two recent Dutch documents are analyzed which advocate further liberalization of the Dutch euthanasia practice, so as to include infants and elderly people "suffering from life". (shrink)

There’s a common assumption that Western classical music performance essentially involves an ideal of perfect compliance: to perform a musical work, the performer must intend to play all of the notes in the score of that work, without deviating. Many accounts of musical ontology focus on Western classical music; consequently, they take this assumption to be fundamental to their accounts. However, recent musicological research reveals that this ideal is a relatively recent phenomenon, and doesn’t fit much paradigmatic classical music. I (...) use this research to argue that philosophers of music should reject the common assumption. (shrink)

Many comics are aesthetically trashy: They are immediately grasped and easily available. Historically, this trashiness is lobbed as an aesthetic defect of many comics, a defect for both their production and their appreciation. To defend these comics, some point to non-aesthetic values, like sociality. I argue that there is aesthetic value to these comics, and that it lies precisely in their trashy characteristics: their immediacy and availability. Many comics have these characteristics because many comics are cartooned. The immediacy of cartooning (...) is precisely what makes so many ordinary comics beautiful in an ordinary way. (shrink)

Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology of music. (...) Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in philosophy of sound to show that music is an art not just of hearing, but of sounds. (shrink)

In this article I consider the relationship between natural sounds and music. I evaluate two prominent accounts of this relationship. These accounts satisfy an important condition, the difference condition: musical sounds are different from natural sounds. However, they fail to meet an equally important condition, the interaction condition: musical sounds and natural sounds can interact in aesthetically important ways to create unified aesthetic objects. I then propose an alternative account of the relationship between natural sounds and music that meets both (...) conditions. I argue that natural sounds are distinct from music in that they express a kind of alterity or “otherness,” which occurs in two ways. It occurs referentially, because the sources of natural sounds are natural objects rather than artifactual objects, such as instruments; it also occurs acoustically, because natural sounds tend to contain more microtones than macrotones. On my account, the distinction between music and natural sounds is both conventional and vague; it therefore allows music and natural sounds to come together. (shrink)

This thesis evaluates Lydia Goehr’s claim that the musical work-concept did not regulate musical practice before the watershed date of 1800. In the first chapter, I evaluate Goehr’s arguments for this claim from historical musicology. I appeal both to recent secondary research sources in musicology, and to philosophical analysis. The second and third chapters focus on philosophical aspects of Goehr’s watershed claim. In the second chapter, I focus on understanding Goehr’s claim that a regulative shift occurred during the watershed date—that (...) is, a change in the norms of musical practice. I argue that this shift is properly understood as a shift in unconscious, rather than conscious, concepts about musical practice. In the third chapter, I consider the ontological implications of Goehr’s view; Goehr adopts a view according to which musical works do not exist. I show that the argument for this view is unsound. (shrink)

Politics and the Religious Imagination is the product of a group of interdisciplinary scholars each analyzing the connections between religious narratives and the construction of regional and global politics, combining a set of theoretical and philosophic insights with several case studies that represent varied geographies and religious customs. The past decade has seen increasing interest in the links between religion and politics, and this edited volume seeks to take religion seriously as a motivator of action. Few studies have attempted to (...) bring together the multi-disciplinary work in this burgeoning field of study and this work takes a global perspective, using a variety of contexts including East-West relations to analyze the following key themes: the constructive and destructive hermeneutics of religious stories the relevance and importance of religion as a dominant political narrative the rise of new stories among groups as agents of change the way that religious narratives help to define and constrain the Other the manipulation of religious stories for political benefit This work argues that it is insufficient to judge the relationship of religion and politics through mere institutional or quantitative lenses, and this collection proves that while this promise of the narrative part of the social imaginary has been recognized in political theory to a certain extent, its influence in the realm of empirical political science has yet to be fully considered. Combining the work of a wide range of experts, this collection will be of great interests to scholars of politics, philosophy, religious studies, and the literary influence of religion. (shrink)

My goal in this chapter is threefold. First, I argue that film is, at least partly, an art of sound. Most films are not made merely to be seen; they are also made to be heard. This offers an alternative to traditional accounts of film, which take film to be an essentially visual artform, and it suggests new directions for research in philosophy of film. Second, I argue that there are several distinct arts of sound in film. Some of these (...) arts, like film music, are “aesthetic” arts; others, like sound effects, are “functional” arts. Still others, like sound design, are both functional and aesthetic. Third, I consider and reply to the objection that the arts of sound in film cannot be arts at all, because they are all functional. (shrink)

This book is a comprehensive and unique text and reference in medical ethics. By far the most inclusive set of primary documents and articles in the field ever published, it contains over 100 selections. Virtually all pieces appear in their entirety, and a significant number would be difficult to obtain elsewhere. The volume draws upon the literature of history, medicine, philosophical and religious ethics, economics, and sociology. A wide range of topics and issues are covered, such as law and medicine, (...) truth-telling by the physician, research, population policy, genetics, abortion, dying, and individual rights in medical care. The selections span the centuries, beginning with material from the works of Hippocrates, continuing through Thomas Percival, John Stuart Mill, and Claude Bernard, down to modern commentators like Henry K. Beecher, Walsh McDermott, David L. Bazelon, Paul Freund, H. L. A. Hart, John Rawls, Paul Ramsey, Richard McCormick, Rashi Fein, and Bernard Barber. The text has eight major divisions, beginning with sections on the ethical dimensions of the physician-patient relationship in history; the moral bases of medical ethics; and regulation, compulsion, and protection of the consumer in clinical medicine and public health. Each of these sections includes key essays that appear for the first time. All of the book's major divisions contain primary documents: codes such as the Hippocratic Oath, Medieval Law for the Regulation of Medicine, and the first as well as the most recent code of the American Medical Association; court decisions, including those on Karen Quinlan and on abortion in the United States and West Germany; government documents such as the statement of the National Commission on the Protection of Human Subjects, the Tuskegee Syphilis Report, the British Parliamentary debate on euthanasia, and the Council of Europe on rights of the sick and dying; and various published guidelines such as the Harvard Medical School brain death criteria, the American Hospital Association on patient's rights, and Pope Pius XII on the prolongation of life. Cases that illustrate moral dilemmas are provided for discussion purposes. Each section is preceded by a succinct editor's introduction. The documents and essays are of practical value for practitioners and students in medicine, law, ethics, and counselling, and for individual patients and groups concerned with medical care. Through encompassing divergent viewpoints, the essays and primary documents were selected to encourage humane practices and deepen understanding of the multiple traditions that shaped and do shape the development of medicine. (shrink)

Akin to the mathematical recreations, John Wilkins' Mathematicall Magick (1648) elaborates the pleasant, useful and wondrous part of practical mathematics, dealing in particular with its material culture of machines and instruments. We contextualize the Mathematicall Magick by studying its institutional setting and its place within changing conceptions of art, nature, religion and mathematics. We devote special attention to the way Wilkins inscribes mechanical innovations within a discourse of wonder. Instead of treating ‘wonder’ as a monolithic category, we present a (...) typology, showing that wonders were not only recreative, but were meant to inspire Wilkins' readers to new mathematical inventions. (shrink)

A. THE TEXT The main importance of these two treatises lies in the insight they provide into Spinoza's conception of the relation between mathematics and certain disciplines not touched upon elsewhere in his major writings. The mathematics they involve are not the as those of the Ethics however, and the precise connection same between the geometrical order of this work and these excursions into optics and probability is by no means obvious. Add to this difficulty the knotty problems presented by (...) their editorial his tory, dating and scientific background, and it is not perhaps surprising that in spite of the fact that they provide such an excellent illustration of Spinoza's reaction to certain important developments in the history of physics and mathematics, they should not, so far, have attracted much attention. They were first published in 1687 by Levyn van Dyck (d. 1695), official printer to the town council in The Hague. Printing anything by Spinoza was not without its risks, and it is probably significant that during the same year van Dyck should also have published a lengthy and elaborate refutation of Spinozism by 1 the pious and eccentric physician ]. F. Helvetius. Spinoza's name was omitted from the title-page, possibly because the editor or publisher thought that his reputation as an atheist might prejudice the sale of the booklet, and it was not until 1860 that the Amsterdam bookseller Frederik Muller (1817-1881) identified him as its author. (shrink)

quamobrem aggredere, quaesumus, et sume ad hanc rem tempus, quae est a nostris hominibus adhuc aut ignorata aut relicta. nam post annales pontificum maximorum, quibus nihil potest esse iucundius, si aut ad Fabium aut ad eum qui tibi semper in ore est, Catonem, aut ad Pisonem aut ad Fannium aut ad Vennonium uenias, quamquam ex his alius alio plus habet uirium, tamen quid tam exile quam isti omnes?3iucundiusω: iucundiusDavies: ieiuniusUrsinus: nudiusRob. Steph.The manuscript readingiucundiushas had a few defenders, but nearly all (...) editors have chosen to emend, and of the several emendations proposed, the favourite has been Orsini'sieiunius, adopted recently in Jonathan Powell's Oxford Classical Text, in Andrew Dyck's magisterial commentary, and in the new edition of the fragments of the Roman historians. Although the emendation can now be considered canonical, it is nevertheless worthwhile to restate and augment the arguments for retaining the manuscript reading. (shrink)

Anthony van Dyck’s period of service to the Stuart court stretches from 1632, when he was appointed “principalle Paynter in ordinary to their Majesties” and knighted, to his death at the end of 1641. After an earlier visit of a few months, beginning in December 160, van Dyck had gone to Italy to improve himself; there he had defected from the service of James I. On his return to England this was forgiven, and in the early years he (...) was mainly employed in making portraits of the royal family and household. Later he was again absent from England, spending an entire year beginning in July 1634 back in Antwerp. During the last six years van Dyck spent in England, his clientele widened further; it is chiefly the portraits of this latter period that I will consider here.These portraits have been approached and evaluated in two basic ways. First of all, they have been taken to demonstrate the adaptation of van Dyck’s preexisting skills, especially his command of the “grand style,” to the requirements of a court and aristocracy which prized grace and elegance as hallmarks of breeding and quality, and which at the same time welcomed the trappings of grandeur and the subtleties of variation, in costume, post, and gesture, that the artist could build into his presentation for their predilection.1 Second, where critical considerations have come up, these paintings have been evaluated in terms of whether the adoption of mannered and decorative traits now betokens a decline from the artist’s previous work, or whether it represents rather a different kind of achievement which gave rise, at its best, to equally outstanding successes in conveying refined and subtly enhanced distinction.2But both these approaches agree in finding no intellectual content in the works in question, either of van Dyck’s own devising or based on interests and concerns in which his subjects partook. This absence of implication to the portraits is seem as fitting with thea rtist’s tendency to make creative decisions on an ad hoc basis, as evidenced by his preference for rapidly made drawings from the life over the use of oil sketches and by the pentimenti that his finished works reveal.3 It is also seen as fitting with the whole pattern—cultural as well as social and economic—of his relationship to the Stuart aristocrazy, for which these images were fashioned. 1. See esp. Ellis Water house, Painting in Britain, 1530-1790 , pp. 49-50 ; and cf. more recently Christopher Brown, Van Dyck .2. See, for example, Erik Larsen, intro. to L’opera completa di Van Dyck 1626-1641 , p. 8 and Oliver Millar, intro. to exhibition catalog Van Dyck in England , p. 27 and esp. p. 31 .3. See Millar, Van Dyck in England, p. 31, citing the miniaturist Richard Gibson on the “Sketches made from the life,” mainly lost, and cat. no. 12, on the pentimenti found in the 1633 Charles I on Horseback. Mark Roskill is professor of the history of modern art at the University of Massachusetts at Amherst. His most recent book is The Interpretation of Cubism . Previous contributions to Critical Inquiry include “On the Recognition and Identification of Objects in Paintings” and “A Reply to John Reichert and Stanley Fish”. (shrink)

Corey W. Dyck presents a new account of Kant's criticism of the rational investigation of the soul in his monumental Critique of Pure Reason, in light of its eighteenth-century German context. When characterizing the rational psychology that is Kant's target in the Paralogisms of Pure Reason chapter of the Critique commentators typically only refer to an approach to, and an account of, the soul found principally in the thought of Descartes and Leibniz. But Dyck argues that to do (...) so is to overlook the distinctive rational psychology developed by Christian Wolff, which emphasized the empirical foundation of any rational cognition of the soul, and which was widely influential among eighteenth-century German philosophers, including Kant. In this book, Dyck reveals how the received conception of the aim and results of Kant's Paralogisms must be revised in light of a proper understanding of the rational psychology that is the most proximate target of Kant's attack. In particular, he contends that Kant's criticism hinges upon exposing the illusory basis of the rational psychologist's claims inasmuch as he falls prey to the appearance of the soul as being given in inner experience. Moreover, Dyck demonstrates that significant light can be shed on Kant's discussion of the soul's substantiality, simplicity, personality, and existence by considering the Paralogisms in this historical context.Readership: Scholars and advanced students in history of philosophy, especially those working on Kant. (shrink)

Though the revised edition of A Theory of Justice, published in 1999, is the definitive statement of Rawls's view, so much of the extensive literature on Rawls's theory refers to the first edition.

Considered in light of the reader’s expectation of a thoroughgoing criticism of the pretensions of the rational psychologist, and of the wealth of discussions available in the broader 18th century context, which includes a variety of proofs that do not explicitly turn on the identification of the soul as a simple substance, Kant’s discussion of immortality in the Paralogisms falls lamentably short. However, outside of the Paralogisms (and the published works generally), Kant had much more to say about the arguments (...) for the soul’s immortality as he devoted considerable time to the topic throughout his career in his lectures on metaphysics. In fact, as I show in this paper, the student lecture notes prove to be an indispensable supplement to the treatment in the Paralogisms, not only for illuminating Kant’s criticism of the rational psychologist’s views on the immortality of the soul, but also in reconciling this criticism with Kant’s own positive claims regarding certain theoretical proofs of immortality. (shrink)

Reissued here in its corrected second edition of 1864, this essay by John Stuart Mill argues for a utilitarian theory of morality. Originally printed as a series of three articles in Fraser's Magazine in 1861, the work sought to refine the 'greatest happiness' principle that had been championed by Jeremy Bentham, defending it from common criticisms, and offering a justification of its validity. Following Bentham, Mill holds that actions can be judged as right or wrong depending on whether they (...) promote happiness or 'the reverse of happiness'. Although attracted by Bentham's consequentialist framework based on empirical evidence rather than intuition, Mill separates happiness into 'higher' and 'lower' pleasures, arguing for a weighted system of measurement when making and judging decisions. Dissected and debated since its first appearance, the essay is Mill's key discussion on the topic and remains a fundamental text in the study of ethics. (shrink)

In this paper I consider Tetens' reaction to Kant's Inaugural Dissertation in his two most important philosophical works, the essay “Über die allgemeine speculativische Philosophie” of 1775 and the two-volume Philosophische Versuche of 1777. In particular, I focus on Tetens’ critical discussion of Kant's account of the acquisition of concepts of space and time.

Kant's A-Edition objective deduction is naturally (and has traditionally been) divided into two arguments: an " argument from above" and one that proceeds " von unten auf." This would suggest a picture of Kant's procedure in the objective deduction as first descending and ascending the same ladder, the better, perhaps, to test its durability or to thoroughly convince the reader of its soundness. There are obvious obstacles to such a reading, however; and in this chapter I will argue that the (...) arguments from above and below constitute different, albeit importantly inter-related, proofs. Rather than drawing on the differences in their premises, however, I will highlight what I take to be the different concerns addressed and, correspondingly, the distinct conclusions reached by each. In particular, I will show that both arguments can be understood to address distinct specters, with the argument from above addressing an internal concern generated by Kant’s own transcendental idealism, and the argument from below seeking to dispel a more traditional, broadly Humean challenge to the understanding’s role in experience. These distinct concerns also imply that these arguments yield distinct conclusions, though I will show that they are in fact complementary. (shrink)

J.L. Mackie insists that ordinary evaluative thought presents itself as a matter of sensitivity to aspects of the world. And this phenomenological thesis seems correct. When one or another variety of philosophical non-cognitivism claims to capture the truth about what the experience of value is like, or (in a familiar surrogate for phenomenology) about what we mean by our evaluative language, the claim is never based on careful attention to the lived character of evaluative thought or discourse. The idea is, (...) rather, that the very concept of the cognitive or factual rules out the possibility of an undiluted representation of how things are, enjoying, nevertheless, the internal relation to 'attitudes' or the will that would be needed to count as evaluative. On this view the phenomenology of value would involve a mere incoherence, if it were as Mackie says--a possibility that then tends (naturally enough) not to be so much as entertained. But, as Mackie sees, there is no satisfactory justification for supposing that the factual is, by definition, attitudinatively and motivationally neutral. This clears away the only obstacle to accepting his phenomenological claim; and the upshot is that non-cognitivism must offer to correct the phenomenology of value, rather than give an account of it. -/- In Machie's view the correction is called for. In this paper I want to suggest that he attributes an unmerited plausibility to this thesis, by giving a false picture of what one is committed to if one resists it. (shrink)

In his preface Mr Wilson writes 'I feel that a great many adults … would do better to spend less time in simply accepting the concepts of others uncritically, and more time in learning how to analyse concepts in general'. Mr Wilson starts by describing the techniques of conceptual analysis. He then gives examples of them in action by composing answers to specific questions and by criticism of quoted passages of argument. Chapter 3 sums up the importance of this kind (...) of mental activity. Chapter 4 presents selections for the reader to analyse, followed by questions of university entrance/scholarship type. This is a book to be worked through, in a sense a text-book. (shrink)

In this philosophically sophisticated and historically significant work, John H. Zammito reconstructs Kant's composition of The Critique of Judgment and reveals that it underwent three major transformations before publication. He shows that Kant not only made his "cognitive" turn, expanding the project from a "Critique of Taste" to a Critique of Judgment but he also made an "ethical" turn. This "ethical" turn was provoked by controversies in German philosophical and religious culture, in particular the writings of Johann Herder and (...) the Sturm und Drang movement in art and science, as well as the related pantheism controversy. Such topicality made the Third Critique pivotal in creating a "Kantian" movement in the 1790s, leading directly to German Idealism and Romanticism. The austerity and grandeur of Kant's philosophical writings sometimes make it hard to recognize them as the products of a historical individual situated in the particular constellation of his time and society. Here Kant emerges as a concrete historical figure struggling to preserve the achievements of cosmopolitan Aufkl-rung against challenges in natural science, religion, and politics in the late 1780s. More specifically Zammito suggests that Kant's Third Critique was animated throughout by a fierce personal rivalry with Herder and by a strong commitment to traditional Christian ideas of God and human moral freedom. "A work of extraordinary erudition. Zammito's study is both comprehensive and novel, connecting Kant's work with the aesthetic and religious controversies of the late eighteenth century. He seems to have read everything. I know of no comparable historical study of Kant's Third Critique."-Arnulf Zweig, translator and editor of Kant's ;IPhilosophical Correspondence, 1759-1799;X "An intricate, subtle, and exciting explanation of how Kant's thinking developed and adjusted to new challenges over the decade from the first edition of the Critique of Pure Reason to the appearance of the Critique of Judgment. "--John W. Burbidge, Review of Metaphysics "There has been for a long time a serious gap in English commentary on Kant's Critique of Judgment Zammito's book finally fills it. All students and scholars of Kant will want to consult it."--Frederick Beiser, Times Literary Supplement. (shrink)

Though the revised edition of A Theory of Justice, published in 1999, is the definitive statement of Rawls's view, so much of the extensive literature on Rawls's theory refers to the first edition.

Knowledge and Lotteries is organized around an epistemological puzzle: in many cases, we seem consistently inclined to deny that we know a certain class of propositions, while crediting ourselves with knowledge of propositions that imply them. In its starkest form, the puzzle is this: we do not think we know that a given lottery ticket will be a loser, yet we normally count ourselves as knowing all sorts of ordinary things that entail that its holder will not suddenly acquire a (...) large fortune. After providing a number of specific and general characterizations of the puzzle, Hawthorne carefully examines the competing merits of candidate solutions. In so doing, he explores a number of central questions concerning the nature and importance of knowledge, including the relationship of knowledge to assertion and practical reasoning, the status of epistemic closure principles, the merits of various brands of scepticism, the prospects for a contextualist account of knowledge, and the potential for other sorts of salience-sensitive accounts. Along the way, he offers a careful treatment of pertinent issues at the foundations of semantics. His book will be of interest to anyone working in the field of epistemology, as well as to philosophers of language. (shrink)

How Galileo Galilei discovered the law of fall, and the difference that this makes Galileo’s law of fall is one of the crucial building blocks of classical mechanics. The question how this law was discovered has often been a topic of debate. This article offers a reconstruction of the developments within Galileo’s research that led to the discovery of the law. This reconstruction is offered to make a philosophical point regarding the epistemic status of experimental results: Galileo’s experiments can offer (...) sufficient justification for the acceptance of the law of fall only because of their place in a broad research programme. (shrink)

Recent years saw the rise of an interest in the roles and significance of thought experiments in different areas of human thinking. Heisenberg's gamma ray microscope is no doubt one of the most famous examples of a thought experiment in physics. Nevertheless, this particular thought experiment has not received much detailed attention in the philosophical literature on thought experiments up to date, maybe because of its often claimed inadequacies. In this paper, I try to do two things: to provide an (...) interesting interpretation of the roles played by Heisenberg's gamma ray microscope in interpreting quantum mechanics – partly based on Thomas Kuhn’s views on the function of thought experiments – and to contribute to the ongoing discussions on the roles and significance of thought experiments in physics. (shrink)

I show why Michael Friedman’s idea that we should view new constitutive frameworks introduced in paradigm change as members of a convergent series introduces an uncomfortable tension in his views. It cannot be justified on realist grounds, as this would compromise his Kantian perspective, but his own appeal to a Kantian regulative ideal of reason cannot do the job either. I then explain a way to make better sense of the rationality of paradigm change on what I take to be (...) Friedman’s own terms. (shrink)

Foreword I. Critical rationalism is a genuinely new philosophical perspective. It is not, however, one systematic view. The development of it by Popper and ...

What does reality encompass? Is it exclusively physical, or does it include mental and 'abstract' aspects? What are the elements of being, reality's raw materials? John Heil offers stimulating answers to these questions framed in terms of a comprehensive metaphysics of substances and properties inspired by Descartes, Locke, and their successors.

Everyone loves something or somebody, and most people are concerned with loving another person like themselves, all equal. This book is based on the belief that getting clear about the concept and meaning of love between equals is essential for success in our practical lives. For how can we love properly unless we have a fairly clear idea of what love is? The book is written in ordinary language and for the ordinary person, without jargon or philosophical technicalities. It aims (...) to show that love between equals involves a single basic disposition, though that disposition expresses itself in various ways. Thus, after an introduction explaining the need for analysis and clarification, the author then deals in order with love as desire or need; with intrinsic friendship and sharing the self; with basic difficulties concerning power, dependence, altruism and paranoia; with sex and erotic love; and finally with the value in human life of love between equals. The work as a whole gives clear, coherent and practical guidance for all who wish to grasp what such love is really like. (shrink)