Professional Legal Ethics: Critical Interrogations provides the first in-depth analysis and sustained critique of the ethics of English and Welsh lawyers. Drawing on a wide variety of disciplines, it argues that professional legal ethics has failed to deliver an approach which requires lawyers actively to engage with the ethical issues raised by legal practice. Through an analysis of the context of legal practice and the core ethical issues facing lawyers, the authors locate this failure in the influence of liberalism and (...) formalism, which leads lawyers to undermine the very values of human dignity and autonomy which they are meant to serve and to overlook the impact their actions might have on third parties, the wider community and the environment By contrast, the authors propose a contextual approach to individual ethical decision-making and outline a range of practical reforms aimed at encouraging a more ethical legal profession. (shrink)

of the nineteenth century. To confine ourselves to that of England, the poetry of Swinburne is full of it : Glory to Man in the highest, for Man is the ...

may be allowed to indicate certain characteristics of the thought of this period , which would have assisted an expression with Unitarian associations, ...

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

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 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 has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This volume reviews and takes stock of legal ethics, at a time when the legal profession globally is experiencing considerable change and challenges, through a re-evaluation of writings that are in some way foundational to the field. Legal ethics, understood here as the study of the ethics and professional regulation of lawyers, has emerged as a novel and important field of study over the last 50 years. It is also one that displays considerable diversity in its scholarship, with distinctive philosophical (...) and interdisciplinary approaches emerging over the years to underpin and supplement the doctrinal 'law on lawyering'. With contributions from leading and emerging scholars from the United States, Australia, Canada, the Netherlands, New Zealand and the United Kingdom, this collection offers not just critical insights into the authors' chosen texts, but a thought-provoking commentary on the current state of legal ethics scholarship and its future directions. In addition to being an essential resource for scholars and students of legal ethics theory, it will also be of interest to academics and researchers in legal theory, the philosophy of law, and applied ethics. (shrink)

This book, the first comprehensive study in English of Heidegger's philosophy of art, starts in the mid-1930s with Heidegger's discussion of the Greek temple and his Hegelian declaration that a great artwork gathers together an entire culture in affirmative celebration of its foundational 'truth', and that, by this criterion, art in modernity is 'dead'. His subsequent work on Hölderlin, whom he later identified as the decisive influence on his mature philosophy, led him into a passionate engagement with the art of (...) Rilke, Ce;zanne, Klee and Zen Buddhism, liberating him not only from the overly restrictive conception of art of the mid-1930s but also from the disastrous politics of the period. Drawing on material hitherto unknown in the anglophone world, Young establishes a new account of Heidegger's philosophy of art and shows that his famous essay 'The Origin of the Work of Art' is its beginning, not its end. (shrink)

Hoping is an integral part of what it is to be human, and its significance for education has been widely noted. Hope is, however, a contested category of human experience and getting to grips with its characteristics and dynamics is a difficult task. The paper argues that hope is not a singular undifferentiated experience and is best understood as a socially mediated human capacity with varying affective, cognitive and behavioural dimensions. Drawing on the philosophy, theology and psychology of hope, five (...) modes of hoping are outlined: patient, critical, sound, resolute and transformative. The key aim of the paper is to illustrate how different modes of hoping are associated with different pedagogical strategies. Phrased differently, the paper seeks to delineate a range of pedagogies of hope. The phrase ‘pedagogy of hope’ is very much associated with critical theory—one thinks instantly of, for example, Paulo Freire, Henry Giroux or bell hooks. There are many pedagogies of hope, however, and an explicitly conservative text such as William Bennett’s Book of Virtues has as strong a claim to the title as Freire’s radical and utopian ideas. A broader argument, therefore, is that there is nothing inherently radical or subversive about a pedagogy of hope. Pedagogies of hope can serve to reproduce social relations as well as to transform them. (shrink)

Arthur Schopenhauer was one of the greatest writers and German philosophers of the nineteenth century. His work influenced figures as diverse as Wagner, Freud and Nietzsche. Best known as a pessimist, he was one of the few philosophers read and admired by Wittgenstein. In this comprehensive introduction, Julian Young covers all the main aspects of Schopenhauer's philosophy. Beginning with an overview of Schopenhauer's life and work, he introduces the central aspects of his metaphysics fundamental to understanding his work as (...) a whole: his philosophical idealism and debt to the philosophy of Kant; his attempt to answer the question of what the world is; his account of science; and in particular his idea that 'will' is the essence of all things. Julian Young then introduces and assesses Schopenhauer's aesthetics, which occupy a central place in his philosophy. He carefully examines Schopenhauer's theories of the sublime, artistic genius and music, before assessing his ethics of compassion, his arguments for pessimism and his account of 'salvation'. In the final chapter, he considers Schopenhauer's legacy and his influence on the thought of Nietzsche and Wittgenstein, making this an ideal starting point for those coming to Schopenhauer for the first time. (shrink)

Where has the Western attraction to the study and practice of shamanic techniques brought us? Where might it take us? In what ways have our Western biases and philosophical underpinnings influenced and changed how shamanism is practiced, both in the West and in the traditional cultures out of which they emerged? Is it time to stop using the umbrella term “shamanism” to refer to such diverse cross-cultural practices? What are our responsibilities, both as researchers and as spiritual seekers? In this (...) conversation, researcher-authors Stephan Beyer, Stanley Krippner, and Hillary S. Webb discuss their work in field and consider some of the ramifications of the Western world's intellectual and spiritual fascination with shamanic practices. Special attention is paid to the language used to describe these techniques and their practitioners, the developing relationship between researchers and cultural participants, and the ethical implications of merging what are often very distinct worldviews. (shrink)

Husserl’s first work formulated what proved to be an algorithmically complete arithmetic, lending mathematical clarity to Kronecker’s reduction of analysis to finite calculations with integers. Husserl’s critique of his nominalism led him to seek a philosophical justification of successful applications of symbolic arithmetic to nature, providing insight into the “wonderful affinity” between our mathematical thoughts and things without invoking a pre-established harmony. For this, Husserl develops a purely descriptive phenomenology for which he found inspiration in Mach’s proposal of a “universal (...) physical phenomenology.” To account for applications to any domain, Husserl envisages a theory of all possible deductive systems, which he develops extensively in his Göttingen lectures wherein he engages with Hilbert’s work on deductive systems for geometry, real arithmetic, and physics. This leads Husserl to formulate claims of decidability and proofs of completeness for various arithmetics that result from his analysis of Kronecker’s general arithmetic. Careful attention to these proofs seem to show that Husserl was not oblivious to problems that underlie our incompleteness theorems, namely that of showing that some inversions of his algorithmic arithmetic are undefined. His growing preoccupation with the issue of a pre-established harmony between mathematical thought and reality motivate his pursuit of a “supramathematics” of all possible complete theory forms to demystify such harmony, by having such a form on hand for describing any empirical domain. He soon decides that a transcendental idealism of nature will reveal the wonderful affinity of thoughts and things comprising such harmony, to be a wonderful “parallelism of objective unities and constituted manifolds of consciousness.” But the paradoxes of logic and set theory cloud the clarity of mathematics, which Weyl would restore with Brouwer’s intuitionism and Hilbert with his metamathematics. Husserl informed Weyl that his student Becker had formulated a phenomenological foundation not only for Weyl’s generalization of relativity theory but also for the Brouwer-Weyl continuum. But Weyl eventually rejected much of Becker’s work, especially when it became clear that his phenomenological intuitionism could not account for the success of Hilbert’s transfinite mathematics in quantum physics. Becker responded to this “crisis of phenomenological method” with his mantic phenomenology celebrating the magic of mathematical mysticism, which Husserl finally rejects in favor of a pluralistic phenomenology of mathematics and nature. (shrink)

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy of art (...) into four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)

Discusses the work of G.I. Gurdjieff and his establishment of the Institute for the Harmonious Development of man, and examines the contributions of Gurdjieff's two major disciples, P.D. Ouspensky and A.R. Orage.

Drawing together the ideas, practices, and techniques associated with the subject, this book puts them in historical context and demonstrates their relevance to ...

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy of art (...) into four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)