My question, then, is how does Thank You For Smoking, in addition to othercultural and social phenomena such as Parrish’s stance, enact this same divorcebetween the abstract form of corporate America and its particular contents oremployees? My answer is that, to win its viewers’ identification with itscharacters and, through them, its ideological assumptions, the film organises itscontent around an ethical form, that of the tragic hero in Søren Kierkegaard’ssense. Consequently, what I hope to enact in this essay is the revenge (...) of contentupon form, because the form that produces the tragic hero, in Thank You ForSmoking and for Steve Parrish, ignores its own content and thereby threatens toundermine an authentic ethics, which is often intolerant and not necessarilyconsensual. In short, the film, based loosely on the ‘smoking wars’ that began inthe mid 1990s, ultimately champions an impoverished ethics, an ‘ethics ofconsumption’ with the ‘right to consume’ figuring as its first principle. (shrink)

Book synopsis: The most debated issue in aesthetics today Written by an international team of leading experts Addresses growing methodological concerns in the field Includes an extensive introduction which illuminates key issues Through much of the twentieth century, philosophical thinking about works of art, design, and other aesthetic products has emphasized intuitive and reflective methods, often tied to the idea that philosophy's business is primarily to analyze concepts. This 'philosophy from the armchair' approach contrasts with methods used by psychologists, sociologists, (...) evolutionary thinkers, and others who study the making and reception of the arts empirically. How far should philosophers be sensitive to the results of these studies? Is their own largely a priori method basically flawed? Are their views on aesthetic value, interpretation, imagination, and the emotions of art to be rethought in the light of best science? The essays in this volume seek answers to these questions, many through detailed studies of problems traditionally regarded as philosophical but where empirical inquiry seems to be shedding interesting light. No common view is looked for or found in this volume: a number of authors argue that the current enthusiasm for scientific approaches to aesthetics is based on a misunderstanding of the philosophical enterprise and sometimes on misinterpretation of the science; others suggest various ways that philosophy can and should accommodate and sometimes yield to the empirical approach. The editors provide a substantial introduction which sets the scene historically and conceptually before summarizing the claims and arguments of the essays. (shrink)

Are public officials morally justified in threatening violence, engaging in deception, or forcing citizens to act for their own good? Can individual officials be held morally accountable for the wrongs that governments commit? Dennis Thompson addresses these questions by developing a conception of political ethics that respects the demands of both morality and politics. He criticizes conventional conceptions for failing to appreciate the difference democracy makes, and for ascribing responsibility only to isolated leaders or to impersonal organizations. His book (...) seeks to recapture the sense that men and women, acting for us and together with us in a democratic process, make the moral choices that govern our public life. Thompson surveys ethical conflicts of public officials over a range of political issues, including nuclear deterrence, foreign intervention, undercover investigation, bureaucratic negligence, campaign finance, the privacy of officials, health care, welfare paternalism, drug and safety regulation, and social experimentation. He views these conflicts from the perspectives of many different kinds of public officials - elected and appointed executives at several levels of government, administrators, judges, legislators, governmental advisers, and even doctors, lawyers, social workers, and journalists whose professional roles often thrust them into public life. In clarifying the ethical problems faced by officials, Thompson combines theoretical analysis with practical prescription, and begins to define a field of inquiry for which many have said there is a need but to which few have yet contributed. Philosophers, political scientists, policy analysts, sociologists, lawyers, and other professionals interested in ethics in government will gain insight from this book. (shrink)

What does it mean for a proposition to be "true in a fiction"? According to the account offered by Kendall Walton in Mimesis as Make-Believe (1990), what is fictionally true, or simply fictional, is what a work of fiction invites or prescribes that we imagine. To say that it is fictional that Okonkwo kills Ikemefuna in Chinua Achebe's Things Fall Apart, for example, is to say that we are supposed to imagine that event. Yet Walton gives no account of the (...) kind of imagining relevant to understanding fictionality. In this paper I argue that the relevant kind of imagining is imagining a storyworld. I propose an account of this sort of imagining, as well as the nature of the invitations or prescriptions to imagine generated by fiction. I show that this account can be defended against various criticisms of Walton's original view, including his own argument in 2015 that prescriptions to imagine provide only necessary conditions for fictionality. (shrink)

This will be the best way of explaining ‘Paris is the lover of Helen’, that is, ‘Paris loves, and by that very fact [et eo ipso] Helen is loved’. Here, therefore, two propositions have been brought together and abbreviated as one. Or, ‘Paris is a lover, and by that very fact Helen is a loved one’.

How do we understand the agency and significance of material forces and their interface with human bodies? What does it mean to be human in these times, with bodies that are inextricably interconnected with our physical world? Bodily Natures considers these questions by grappling with powerful and pervasive material forces and their increasingly harmful effects on the human body. Drawing on feminist theory, environmental studies, and the sciences, Stacy Alaimo focuses on trans-corporeality, or movement across bodies and nature, which (...) has profoundly altered our sense of self. By looking at a broad range of creative and philosophical writings, Alaimo illuminates how science, politics, and culture collide, while considering the closeness of the human body to the environment. (shrink)

By insisting on the importance of materiality, this volume breaks new ground in philosophy, feminist theory, cultural studies, science studies, and other fields where the body and nature collide.

The question has long confounded philosophers and scientists, and it is this so-called explanatory gap between biological life and consciousness that Evan ...

Analytic aesthetics has had little to say about academic schools of criticism, such as Freudian, Marxist, feminist, or postcolonial perspectives. Historicists typically view their interpretations as anachronistic; non-historicists assess all interpretations according to formalist criteria. Insofar as these strategies treat these interpretations as on a par, however, they are inadequate. For the theories that ground the interpretations differ in the claims they make about the world. I argue that the interpretations of different critical schools can be evaluated according to the (...) truth or epistemic merit of these claims. (shrink)

Many philosophers have drawn parallels between scientific models and fictions. In this paper I will be concerned with a recent version of the analogy, which compares models to the imagined characters of fictional literature. Though versions of the position differ, the shared idea is that modeling essentially involves imagining concrete systems analogously to the way that we imagine characters and events in response to works of fiction. Advocates of this view argue that imagining concrete systems plays an ineliminable role in (...) the practice of modeling that cannot be captured by other accounts. The approach thus leaves open what we should say about the ontological status of model-systems, and here advocates differ among themselves, defending a variety of realist or anti-realist positions. I argue that this debate over the ontological status of model-systems is misguided. If model-systems are the kinds of objects fictional realists posit, they can play no role in explaining the epistemology of modeling for an advocate of this approach. So they are at best superfluous. Defenders of the approach should focus on developing an account of the epistemological role of imagining model-systems. (shrink)

The essays in this book - all of them published here for the first time - provide a long-overdue critical discussion of Jürgen Habermas's cascade of ideas. These are topped off by a freshet of original Habermas: in the final essay, he replies to the criticism developed in the preceding contributions and to other recent assessments of his work, provides an important clarification of his earlier views, and reveals the direction of his current thought.Each essay probes a particular theme in (...) Habermas's work, and each presents both an exposition and a critique. Among the subjects covered are Habermas's theory of knowledge-constitutive interests, his account of language and truth, his "overcoming" of hermeneutics, the concept of universal pragmatics, the orientation of his thought relative to the Marxist tradition, and his project of analyzing the crisis tendencies of capitalism within the context of evolutionary theory.The contributors are philosophers and social theorists of international standing, most of them affiliated with German, English, and American universities. They are Agnes Heller, Rudiger Bubner, Thomas McCarthy, Henning Ottmann, Mary Hesse, Steven Lukes, Anthony Giddens, Michael Schmid, Andrew Arato, and the editors. The editors have also contributed a substantial introduction outlining the central contours of Habermas's work and summarizing the main arguments of the essays.John B. Thompson is a Fellow of Jesus College, Cambridge, and David Held is Lecturer in Politics, University of York. (shrink)

This book reconstructs the concept and practice of dialectics as a means of grounding a critical theory of society. At the center of this project is the thesis of phronetic criticism or a form of reason that is able to synthesize human value with objective rationality. This book argues that defects in modern forms of social reason are the result of the powers of social structure and the norms and purposes they embody. Increasingly, modern societies are driven not by substantive (...) values concerning human good but by the technical imperatives of economic management leading to a cultural condition of nihilism that has eroded dialectical consciousness. The first half of the book demonstrates the various ways that social power erodes and undermines critical-rational forms of consciousness. The second part of the book constructs an alternative basis for critical reason by showing how it requires seeing human value as essentially ontological: that is, constituted by objective forms of sociality that either promote human freedom or pervert our capacities and drives toward pathological forms of life. The philosophical claim is that a critical theory of ethics must be rooted in these concrete forms of life and that this will serve as a critical vantage point for critical political judgment and transformational praxis. Descent of the Dialectic will be of interest to researchers working in philosophy, political theory, social theory, and critical theory. (shrink)

Is this the right book for me? An accessible introduction to ethics Whether you're a student studying philosophy at any level, or simply want to gain a deeper understanding of this fascinating subject, Understand Ethics is an accessible introduction to all the key theories and thinkers. Fully updated, this latest edition includes contemporary examples and discussion of current debates including terrorism, genetics and the media, helping you to grasp how ethics applies to life today. Understand Ethics includes: Chapter 1: Introduction: (...) the art of living What makes something moral? What is the point of ethics? What price integrity? Rights and responsibilities The art of living Chapter 2: Free to choose? What kind of freedom? Determinism Reductionism Freedom and the State How much freedom does morality need? Chapter 3: What do we mean? Three kinds of language Defining key terms Some theories 'Is' and 'ought' Chapter 4: Is it natural? Does it have a 'final cause'? Some features of 'natural law' How do you decide what is 'natural'? Applying 'natural law' Are we naturally good or bad? Evolution, change and the natural law Chapter 5: Looking for results Egoistic hedonism Utilitarianism Forms of utilitarianism General criticisms of utilitarianism Chapter 6: The experience of moral choice Conscience The categorical imperative The creative response Determined and yet free?.. Chapter 7: Personal development and virtue Altruism? Nietzsche Virtue ethics Existentialism Humankind, Marx and Freud Chapter 8: Law and order Society and moral choice In whose interest? Is equality possible? A social contract Crime and punishment Capital punishment In self-defence? Civil disobedience If Nietzsche were a civil servant... Chapter 9: Religion and moral values How are religion and morality related? The basis for religious ethics Religious values and society Should religious freedom be restricted? Chapter 10: Scepticism and relativism Philosophers or politicians? Situation ethics Relativism and moral absolutes Chapter 11: Applied ethics The natural environment Animal rights International issues War and peace Gender issues Sexual issues Some issues in medical ethics The beginning and end of life Business ethics Media issues Learn effortlessly with a new easy-to-read page design and interactive features: Not got much time? One, five and ten-minute introductions to key principles to get you started. Author insights Lots of instant help with common problems and quick tips for success, based on the author's many years of experience. Test yourself Tests in the book and online to keep track of your progress. Extend your knowledge Extra online articles to give you a richer understanding of the subject. Five things to remember Quick refreshers to help you remember the key facts. Try this Innovative exercises illustrate what you've learnt and how to use it. (shrink)

The present study aimed to quantify the magnitude of sex differences in humans' ability to accurately recognise non-verbal emotional displays. Studies of relevance were those that required explicit labelling of discrete emotions presented in the visual and/or auditory modality. A final set of 551 effect sizes from 215 samples was included in a multilevel meta-analysis. The results showed a small overall advantage in favour of females on emotion recognition tasks (d = 0.19). However, the magnitude of that sex difference was (...) moderated by several factors, namely specific emotion, emotion type (negative, positive), sex of the actor, sensory modality (visual, audio, audio-visual) and age of the participants. Method of presentation (computer, slides, print, etc.), type of measurement (response time, accuracy) and year of publication did not significantly contribute to variance in effect sizes. These findings are discussed in the context of social and biological explanations of sex differences in emotion recognition. (shrink)

Most discussions of proper names in fiction concern the names of fictional characters, such as ‘Clarissa Dalloway’ or ‘Lilliput.’ Less attention has been paid to referring names in fiction, such as ‘Napoleon’ (in Tolstoy’s War and Peace) or ‘London’ (in Orwell’s Nineteen Eighty-Four). This is because many philosophers simply assume that such names are unproblematic; they refer in the usual way to their ordinary referents. The alternative position, dubbed Exceptionalism by Manuel García-Carpintero, maintains that referring names make a distinctive semantic (...) contribution in fiction. In this paper I offer a positive argument for Non-Exceptionalism, relying on the claim that works of both fiction and non-fiction can express the same singular propositions. I go on to defend my account against García-Carpintero’s objections. (shrink)

This paper explores R. D. Laing's application of existential and phenomenological tradtions, specifically Hegel and Heidegger, to his groundbreaking work with psychotic process as well as psychotherapeutic practice more generally.

Ethics in nursing: continuity and change -- Cultural issues, methods and approaches to nursing ethics -- Nursing ethics: what do we mean by 'ethics'? -- Becoming a nurse and member of the profession -- Power and responsibility in nursing practice and management -- Professional responsibility and accountability in nursing -- Classical areas of controversy in nursing and biomedical ethics -- Direct responsibility in nurse/patient relationships -- Conflicting demands in nursing groups of patients -- Ethics in healthcare management: research, evaluation and (...) performance management -- The political ethics of healthcare: health policies and resource allocation -- Corporate ethics in healthcare: strategic planning and ethical policy development -- Making moral decisions and being able to justify our actions -- The relevance of moral theory: justifying our ethical policies. (shrink)

While aestheticians have devoted substantial attention to the possibility of acquiring knowledge from fiction, little of this attention has been directed at the acquisition of factual information. The neglect traces, I believe, to the assumption that the task of aesthetics is to explain the special cognitive value of fiction. While the value of many works of nonfiction may be measured, in part, by their ability to transmit information, most works of fiction do not have this aim, and so many conclude (...) that the transmission of information is irrelevant to their value. I am skeptical of these claims. I doubt that there is any value, cognitive or otherwise, special to all and only works of fiction. Thus I see no reason to neglect the capacity to convey factual information—specifically, propositional knowledge about real individuals and events—when assessing the value of particular works. In this paper I consider the value of learning about history from a particular work of fiction, Gore Vidal’s Lincoln: A Novel. Drawing on recent work in cognitive psychology, I argue that narrative devices used by Vidal can enhance our ability to learn and retain factual information, despite also increasing the possibility that we will form false beliefs, and that acquiring propositional knowledge from fiction, far from being a process we can take for granted, constitutes a difficult achievement. (shrink)

Rev. version of the author's Habilitationsschrift, Martin-Luther-Universitèat.

I argue that judgments of what is ‘true in a fiction’ presuppose the Reality Assumption: the assumption that everything that is true is fictionally the case, unless excluded by the work. By contrast with the more familiar Reality Principle, the Reality Assumption is not a rule for inferring implied content from what is explicit. Instead, it provides an array of real-world truths that can be used in such inferences. I claim that the Reality Assumption is essential to our ability to (...) understand stories, drawing on a range of empirical evidence that demonstrates our reliance on it in narrative comprehension. However, the Reality Assumption has several unintuitive consequences, not least that what is fictionally the case includes countless facts that neither authors nor readers could ever consider. I argue that such consequences provide no reason to reject the Reality Assumption. I conclude that we should take fictions, like non-fictions, to be about the real world. (shrink)

This pedagogical reader of the Greek text of Plato?s Gorgias, originally published for students in Victorian England, is an immensely helpful textbook for the student of the Greek language and literature. Edited by the prominent W. H. Thompson.

Many works of fiction include portraits in their storyworlds. Some of these portraits are themselves fictional, such as the portrait of Dorian Gray in Oscar Wilde's novel. Others are real, such as the Darnley portrait of Elizabeth I in A. S. Byatt's The Virgin in the Garden. When authors invent portraits, they expect us to visualise them. When they refer to real portraits, they exploit our familiarity with how they actually look. Like representations of other real entities in fiction, references (...) to real portraits function to ground the story in the real world. But portraits are more than material entities; they are also representational in their own right. In contrasting the ways real portraits are used in Josephine Tey's The Daughter of Time and Orhan Pamuk's My Name is Red, I argue that authors can be criticised when they mischaracterise the representational features of real portraits. (shrink)

In Film, Art and the Third Culture, Murray Smith articulates and defends a naturalized aesthetics of film that exemplifies a “third culture,” integrating the insights and methods of the natural sciences with those of the arts and humanities. By contrast with skeptics who reject the relevance of psychology or neuroscience to the study of film and art, I agree with Smith that we should embrace the third-cultural project. However, I argue that Smith does not go far enough in in developing (...) this project. In defending the contribution of the natural sciences to film aesthetics as traditionally conceived in the arts and humanities, Smith focuses on only one side of the equation, unduly limiting the potential contribution of the arts and humanities to the scientific study of film. Using the example of emotional responses to fiction film, I propose that we adopt a more genuinely integrative approach. (shrink)

An accessible introduction to the central questions in Western philosophy and how the major philosophers have explored them. What can we know for certain about the world or ourselves? Can we prove the existence of God? How is the mind related to the body? What does it mean to be moral or immoral? What is justice? How should society be organized?

Standard theories define fiction in terms of an invited response of imagining or make-believe. I argue that these theories are not only subject to numerous counterexamples, they also fail to explain why classification matters to our understanding and evaluation of works of fiction as well as non-fiction. I propose instead that we construe fiction and non-fiction as genres: categories whose membership is determined by a cluster of nonessential criteria, and which play a role in the appreciation of particular works. I (...) claim that this proposal captures the intuitions motivating alternative theories of fiction. (shrink)

Georg Lukács was one of the most important intellectuals and philosophers of the 20th century. His last great work was an systematic social ontology that was an attempt to ground an ethical and critical form of Marxism. This work has only now begun to attract the interest of critical theorists and philosophers intent on reconstructing a critical theory of society as well as a more sophisticated framework for Marxian philosophy. This collection of essays explores the concept of critical social ontology (...) as it was outlined by Georg Lukács and the ways that his ideas can help us construct a more grounded and socially relevant form of social critique. This work will of special interest to social, moral and political philosophers as well as those who study critical theory, social theory and Marxism. It is also of interest to those working within the area of social ontology. (shrink)

Exclusive moral concern for human beings is often thought to be the ideological source of many contemporary environmental problems. So the development of a non-anthropocentric theory of intrinsic moral value, according to which at least some parts of the non-human world are morally considerable for their own sake, is often thought to be a defining characteristic of a satisfying environmental ethic. This chapter unpacks three distinct forms of anthropocentrism, outlines three versions of ethical nonanthropocentrism, and sketches some of the debate (...) between anthropocentrists and nonanthropocentrists before concluding that a virtue-theoretic approach to human natural goodness exemplifies one form of anthropocentrism that may continue to play a vital role in developing an environmental ethic suitable to the Anthropocene. (shrink)

Today humanity faces radical global climate change, mass species extinctions, and unprecedented transformations to both terrestrial and aquatic ecosystems across the globe. Environmental ethics is an academic subfield of philosophy concerned with normative and evaluative propositions about the world of nature and, perhaps more generally, the moral fabric of relations between human beings and the world we occupy. This Handbook contains 45 newly commissioned essays written by leading experts and emerging voices and represent some of the best and most contemporary (...) thinking in environmental ethics. The chapters range over a broad variety of issues, concepts, and perspectives that are both central to and characteristic of the field, thus providing an authoritative but accessible account of the history, analysis, and prospect of ideas that are essential to contemporary environmental ethics. (shrink)

In Undomesticated Ground, Stacy Alaimo issues a bold call to reclaim nature as feminist space.

In his best-selling The Time Falling Bodies Take to Light , William Irwin Thompson intrigued readers with his thoughts on mythology and sexuality. In his newest book, Coming Into Being: Artifacts and Texts in the Evolution of Consciousness , he takes the reader on a journey through the evolution of consciousness from the preverbal communications of early stone carvings, to the writings of Marcel Proust, around the monumental wrappings of Christo and up to the rebirth of interest in the (...) Taoist philosophy of Lao Tzu. Owing as much to the rhythmic constructions of jazz as to established methods of scholarship, Thompson plays a riff on biology and culture seeing the birth of the mind in Proust’s Madeleine, the displacement of humanity in Christo’s wrapping of the Reichstag and, in Lao Tzu’s Tao Te Ching , the path forward to a new planetary culture. In Coming Into Being , William Irwin Thompson presents a fascinating vision of our past, our present, and our future that no one will want to miss. (shrink)

If there are no fictional characters, how do we explain thought and discourse apparently about them? If there are, what are they like? A growing number of philosophers claim that fictional characters are abstract objects akin to novels or plots. They argue that postulating characters provides the most straightforward explanation of our literary practices as well as a uniform account of discourse and thought about fiction. Anti-realists counter that postulation is neither necessary nor straightforward, and that the invocation of pretense (...) provides a better account of the same phenomena. I outline and assess these competing theories. (shrink)

This article focuses on how solidarity is negotiated in interactions during medical visits between nurse practitioners and patients. Drawing on data from ethnographic field notes, audio-recorded interactions and interviews involving one NP and 20 patients, the article outlines ways in which the NP creates a sense of solidarity by lessening the social distance between herself and her patients. These attempts at solidarity do not correlate with what has been noted in previous studies of medical visits involving medical doctors and may (...) represent a difference in how both the NP and the patients view the NP as a mid-level provider. As NPs are taking on a more prominent role in the healthcare landscape, it is important to understand what the interactional norms are and how these may deviate from the norm set by MDs. (shrink)

What if the work of a nurse, physio or homecare worker was designated an art, so that the qualities of the experiences they create became understood as aesthetic qualities? What if the interactions and physical connections created by artists, directors, dancers, or workshop facilitators was understood as a work of care? Care Aesthetics is the first full length book to explore these questions and examine the work of carer artists and artist carers to make the case for the importance of (...) valuing and supporting aesthetically caring relations across multiple aspects of our lives. Theoretically and practically the book outlines the implications of care aesthetics for the socially engaged arts field and health and social care, and for acts of aesthetic care in the everyday. Part One of the book outlines the approaches to aesthetics and to care theory that are necessary to make and defend the concept of care aesthetics. Part Two then tests this through practice, examining socially engaged arts and health and social care through its lens. It makes the case for careful art exploring the implications of care aesthetics for participatory or applied arts. Then it argues for artful care and how an aesthetic orientation to care practices might challenge some of the inadequacies of contemporary care. This is a vital, paradigm-shifting book for anyone engaged with socially engaged arts or social and health care practices, on an academic or professional level. (shrink)