What minimal role—if any—must consciousness of morally significant information play in an account of moral worth? According to one popular view, a right action is morally worthy only if the agent is conscious (in some sense) of the facts that make it right. I argue against this consciousness condition and close cousins of it. As I show, consciousness of such facts requires much more sophistication than writers typically suggest—this condition would bar from moral worth most ordinary, intuitively morally worthy agents. (...) Moreover, I show that the attraction to this flavor of consciousness condition rests on mistaken assumptions about what is required for a right act to be non-accidentally right and attributable to the agent. Drawing some lessons from the discussion, I defend a Value-Secured Reliability Theory of Moral Worth and show how a minimal yet indispensable role for consciousness falls out from it. On this independently plausible theory, an action can be morally worthy even when the agent is unaware of the right-making features of her action. (shrink)

It is intuitive that, under certain circumstances, it can be disrespectful or patronizing to excuse someone for an attitude. While it is easy enough to find instances where it seems disrespectful to excuse an attitude, matters are complicated. When and why, precisely, is it disrespectful to judge that someone is not responsible for his attitude? In this paper, I show, first, that the extant philosophical literature on this question is underdeveloped and overgeneralized: the writers who address the question suggest quite (...) strikingly that it is always disrespectful to excuse a sane, rational agent for his attitude, and their arguments rely on false generalizations about what is involved in excusing an attitude. I then sketch an account of respect to explain when and why it is disrespectful to excuse an attitude. Using this account, I show that one can coherently excuse an attitude even in some cases where that attitude was produced by a responsiveness to reasons. (shrink)

This article rejects Gideon Rosen's skeptical argument that attributions of blameworthiness are never epistemically justified. Granting Rosen's controversial claim that an act is blameworthy only if it is either akratic or the causal upshot of some akratic act, I show that we can and should resist his skeptical conclusion. I show, first, that Rosen's argument is, at best, hostage to a much more global skepticism about attributions of praiseworthiness, doxastic justification, and other phenomena which essentially involve causal‐historical facts about mental (...) states. I then show how, equipped with proper background knowledge, we can justifiedly attribute blameworthiness. (shrink)

W. J. Mander presents a history of metaphysics in nineteenth-century Britain. He traces the story of the development and interplay of three great schools of thought, the agnostics, the empiricists, and the idealists, and their different responses to the idea of an ultimate but unknowable way that things really are in themselves.

Besides serving us at the growing edge of science and beyond, metaphor figures even in our first learning of language; or, if not quite metaphor, something akin to it. We hear a word or phrase on some occasion, or by chance we babble a fair approximate ourselves on what happens to be a pat occasion and are applauded for it. On a later occasion, then, one that resembles the first occasion by our lights, we repeat the expression. Resemblance of occasions (...) is what matters, here as in metaphor. We generalize our application of the expression by degrees of subjective resemblance of occasions, until we discover from other people's behavior that we have pushed analogy too far and exceeded the established usage. If the crux of metaphor is creative extension through analogy, then we have forged a metaphor at each succeeding application of that early word of phrase. These primitive metaphors differ from the deliberate and sophisticated ones, however, in that they accrete directly to our growing store of standard usage. They are metaphors stillborn. It is a mistake, then, to think of linguistic usage as literalistic in its main body and metaphorical in its trimming. Metaphor, or something like it, governs both the growth of language and our acquisition of it. What comes as a subsequent refinement is rather cognitive discourse itself, at its most dryly literal. The neatly worked inner stretches of science are an open space in the tropical jungle, created by clearing tropes away. W. V. Quine is the Edgar Pierce professor emeritus of philosophy at Harvard University. His many influential works include Methods of Logic, Word and Object, and The Roots of Reference. "On the Nature of Moral Values," his previous contribution to Critical Inquiry, appeared in the Spring 1979 issue. (shrink)

The traditional doctrine of God's universal causality holds that God directly causes all entities distinct from himself, including all creaturely actions. But can our actions be free in the strong, libertarian sense if they are directly caused by God? W. Matthews Grant argues that free creaturely acts have dual sources, God and the free creaturely agent, and are ultimately up to both in a way that leaves all the standard conditions for libertarian freedom satisfied. Offering a comprehensive alternative to existing (...) approaches for combining theism and libertarian freedom, he proposes new solutions for reconciling libertarian freedom with robust accounts of God's providence, grace, and predestination. He also addresses the problem of moral evil without the commonly employed Free Will Defense. Written for analytic philosophers and theologians, Grant's approach can be characterized as “neo-scholastic” as well as “analytic,” since many of the positions defended are inspired by, consonant with, and develop resources drawn from the scholastic tradition, especially Aquinas. (shrink)

Although the notion of spatiality has always lurked in the background of discussions of literary form, the self-conscious use of the term as a critical concept is generally traced to Joseph Frank's seminal essay of 1945, "Spatial Form in Modern Literature."1 Frank's basic argument is that modernist literary works are "spatial" insofar as they replace history and narrative sequence with a sense of mythic simultaneity and disrupt the normal continuities of English prose with disjunctive syntactic arrangements. This argument has been (...) attacked on several fronts. An almost universal objection is that spatial form is a "mere metaphor" which has been given misplaced concreteness and that it denies the essentially temporal nature of literature. Some critics will concede that the metaphor contains a half-truth, but one which is likely to distract attention from more important features of the reading experience. The most polemical attacks have come from those who regard spatial form as an actual, but highly regrettable, characteristic of modern literature and who have linked it with antihistorical and even fascist ideologies.2 Advocates of Frank's position, on the other hand, have generally been content to extrapolate his premises rather than criticize them, and have compiled an ever-mounting list of modernist texts which can be seen, in some sense, as "antitemporal." The whole debate can best be advanced, in my view, not by some patchwork compromise among the conflicting claims but by a radical, even outrageous statement of the basic hypothesis in its most general form. I propose, therefore, that far from being a unique phenomenon of some modern literature, and far from being restricted to the features which Frank identifies in those works , spatial form is a crucial aspect of the experience and interpretation of literature in all ages and cultures. The burden of proof, in other words, is not on Frank to show that some works have spatial form but on his critics to provide an example of any work that does not. · 1. Frank's essay first appeared in Sewanee Review 53 and was revised in his The Widening Gyre . Frank's basic argument has not changed essentially even in his most avante-garde statements; he still regards spatial form "as a particular phenomenon of modern avante-garde writing." See "Spatial Form: An Answer to Critics," Critical Inquiry 4 : 231-52. A useful bibliography, "Space and Spatial Form in Narrative," is being complied by Jeffrey Smitten .· 2. This charge generally links the notion of spatial form with Wyndham Lewis and Ezra Pound, the imagist movement, the "irrationality" and pessimistic antihistoricism of modernism, and the conservative Romantic tradition. Frank discusses the complex motives behind these associations in the work of Robert Weimann and Frank Kermode in his "Answer to Critics," pp. 238-48. W. J. T. Mitchell, editor of Critical Inquiry, is the author of Blake's Composite Art, and The Last Dinosaur Book: The Life and Times of a Cultural Icon. The present essay is part of Iconology: The Image in Literature and the Visual Arts. "Diagrammatology" appeared in the Spring 1981 issue of Critical Inquiry. Leon Surette responds to the current essay in "‘Rational Form in Literature’". (shrink)

William Ernest Johnson was a renowned British logician and economist, and also a fellow of King's College, Cambridge. Originally published in 1921, this book forms the first of a three-volume series by Johnson relating to 'the whole field of logic as ordinarily understood'. The series is widely regarded as Johnson's greatest achievement, making a significant contribution to the tradition of philosophical logic. This book will be of value to anyone with an interest in Johnson's theories, philosophy and the historical development (...) of logic. (shrink)

The empiricism of eighteenth-century experimental science meant that the development of scientific instruments influenced the formulation of new concepts; a two-way process for new theory also affected instrument design. This relationship between concept and instrumentation will be examined by tracing the development of electrical instruments and theory during this period. The different functions fulfilled by these devices will also be discussed. Empiricism was especially important in such a new field of research as electricity, for it gave rise to phenomena that (...) could not have been predicted by theory alone. However, the interpretation of these phenomena, and what the natural philosopher thought he observed, were often unconsciously determined by current ideas and attitudes; the interaction between instrumentally induced phenomena and observation was more complex than was realized at the time. The shortcomings of this empirical approach will be discussed. In the case of electricity this became increasingly apparent during the latter part of the century. The many discoveries had to be placed in a unifying framework before new advances could be made. Instruments, however, continued to play an important role in scientific progress, for they made visible what was hidden in nature. (shrink)

The question naturally arises: Is public art inherently violent, or is it a provocation to violence? Is violence built into the monument in its very conception? Or is violence simply an accident that befalls some monuments, a matter of the fortunes of history? The historical record suggests that if violence is simply an accident that happens to public art, it is one that is always waiting to happen. The principal media and materials of public art are stone and metal sculpture (...) not so much by choice as by necessity. “A public sculpture,” says Lawrence Alloway, “should be invulnerable or inaccessible. It should have the material strength to resist attack or be easily cleanable, but it also needs a formal structure that is not wrecked by alterations.”12 The violence that surrounds public art is more, however, than simply the ever-present possibility of an accident—the natural disaster or random act of vandalism. Much of the world’s public art—memorials, monuments, triumphal arches, obelisks, columns, and statues—has a rather direct reference to violence in the form of war or conquest. From Ozymandias to Caesar to Napoleon to Hitler, public art has served as a kind of monumentalizing of violence, and never more powerfully than when it presents the conqueror as a man of peace, imposing a Napoleonic code or a pax Romana on the world. Public sculpture that is too frank or explicit about this monumentalizing of violence, whether the Assyrian palace reliefs of the ninth century b.c., or Morris’s bomb sculpture proposal of 1981, is likely to offend the sensibilities of a public committed to the repression of its own complicity in violence.13 The very notion of public art as we receive it is inseparable from what Jürgen Habermas has called “the liberal model of the public sphere,” a dimension distinct from the economic, the private, and the political. This ideal realm provides the space in which disinterested citizens may contemplate a transparent emblem of their own inclusiveness and solidarity, and deliberate on the general good, free of coercion, violence, or private interests.14 12. Lawrence Alloway, “The Public Sculpture Problem,” Studio International 184 : 124.13. See Leo Bersani and Ulysse Dutoit, “The Forms of Violence,” October, no. 8 : 17-29, for an important critique of the “narrativization” of violence in Western art and an examination of the alternative suggested by the Assyrian palace reliefs.14. Habermas first introduced this concept in The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society, trans. Thomas Burger and Frederick Lawrence . First published in 1962, it has since become the focus of an extensive literature. See also Habermas’s short encyclopedia article, “The Public Sphere,” trans. Sara Lennox and Frank Lennox, New German Critique 1 : 49-55, and the introduction to it by Peter Hohendahl in the same issue, pp. 45-48. I owe much to the guidance of Miriam Hansen and Lauren Berlant on this complex and crucial topic. W. J. T. Mitchell, editor of Critical Inquiry, is Gaylord Donnelly Distinguished Service Professor of English and art at the University of Chicago. His recent book is Iconology: Image, Text, Ideology. (shrink)

Via a reading of Cormac McCarthy’s Blood Meridian and a critical appraisal of Foucault’s break with historical materialism, W. Oliver Baker finds, at the limits of the new materialisms, space for a new post-humanist critical materialism that sees utopia not in post-human assemblages, but in the abolition of colonial and capitalist structures that condition those assemblages in the first place.

Ethics is freedom in Christ to pursue the good, true, and beautiful. Pastors regularly face concrete ethical questions. And they, too, pursue a moral life. In the busyness of ministry, it can be tempting to think pragmatically or derive one's ethics from the latest cultural concerns. But standard approaches to ethics, whether deontological, utilitarian, or virtue-ethical, all fall short of being distinctly Christian. Ethics ought to be grounded in the gospel and in our triune God. In Pastoral Ethics, W. Ross (...) Hastings provides pastors an evangelical and trinitarian framework for moral formation and ethical discernment. For Hastings, ethics must be reclaimed as theological. Theology without ethics becomes gnosticism. Ethics without theology leads to legalism and death. Christian ethics participates in God's life and God's work. This communion with God leads to obedience to his commands as summed up in the Decalogue, and over several chapters Hastings provides a rich exposition for pastoral formation. Pastors find their identity in God, and this inspires right thinking and acting with regard to authority, life and death, sexuality, work and rest, speech, and desires. An approach to ethics that prompts faith, hope, and love, Pastoral Ethics is an essential guide for Christians in all ministry contexts. (shrink)

Professor Strawson's paper is refreshing in content as well as refreshingly intemperate. It is salutary to be reminded that even the Type Identity Theory does not entail physicalism as that doctrine is usually understood (since c-fiber firings are not by definition purely physical). And it's fun to consider versions of panpsychism. I can see why Strawson finds his position hard to classify (p. 7), and I sympathize. In my title I have cast my own vote for '?-ism' on the grounds (...) that any familiar label would be either misleading or unwieldy. My main purpose here is to assess Strawson's case for panpsychism and then to offer some objections to panpsychism, but first I want to answer an interesting and serious charge he makes against me. (shrink)

This volume, which is part of the Clarendon Aristotle Series, offers a clear and faithful new translation of Books II to IV of Aristotle's Nicomachean Ethics, accompanied by an analytical commentary focusing on philosophical issues. In Books II to IV, Aristotle gives his account of virtue of character in general and of the principal virtues individually, topics of central interest both to his ethical theory and to modern ethical theorists. Consequently major themes of the commentary are connections on the one (...) hand with other relevant Aristotelian texts and on the other with modern writings, both text-related and thematic. Since the main aim of the volume is to make Aristotle's thought as accessible as possible to readers who do not know Greek, considerable care is taken to elucidate both his technical vocabulary and significant features of his Greek idiom. C. C. W. Taylor also provides systematic comparisons with other translations into English and other languages, and frequent references to other commentaries, ancient, medieval, and modern. These features make the work useful to other scholars in the field as well as to students of philosophy, both undergraduate and graduate.In view of the widespread contemporary interest in the topic of virtue, the volume should appeal to students of ethics and to any reader who is concerned to see how fundamental questions of life and conduct were approached in a culture significantly different from our own. (shrink)

Excerpt from Science and Ethics: Being a Series of Six Lectures Delivered Under the Auspices of the Natural Law Research League And abroad (germany, France, America, but although within the circumscribed limits of these lectures I have not. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst (...) repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)