The goal of this paper is methodological. It offers a comprehensive mapping of the theoretical positions on the ethical criticism of art, correcting omissions and inadequacies in the conceptual framework adopted in the current debate. Three principles are recommended as general guidelines: ethical amenability, basic value pluralism, and relativity to ethical dimension. Hence a taxonomy distinguishing between different versions of autonomism, moralism, and immoralism is established, by reference to criteria that are different from what emerging in the current literature. The (...) mapping is then proved capable of (1) locating the various theories that have been proposed so far and clarifying such theories’ real commitments, (2) having the correct relationship with actual art making and art criticism practices, and (3) showing the real weight of the alleged counter-example to a moralist position of a work that succeeds artistically because of its immorality. (shrink)

I defend the ethical fittingness theory (EFT), the thesis that whenever it is legitimate ethically to evaluate a representational artwork for the perspective it embodies, such evaluation systematically bears on the work's artistic value. EFT is a form of radical moralism, claiming that the systematic relationship between the selected type of ethical evaluation and artistic evaluation always obtains, for works of any kind. The argument for EFT spells out the implications of ethically judging an artwork for its perspective, where such (...) an ethical evaluation is understood as an assessment of how well the work's ethical perspective fits extra-fictional reality—how appropriate, correct, or true the perspective is. The argument shows that the ethical legitimacy of judging a work for its perspective ipso facto proves the judgment's art-critical relevance. Hence, the argument effectively amounts to a reductio ad absurdum of theories that admit the legitimacy of ethically judging artworks this way, but deny or qualify the judgment's relevance to artistic merit. Since EFT is stated conditionally, the argument need not indicate how often artworks are subject to this type of ethical evaluation. Nonetheless, I make a case for the relevance of EFT to actual art criticism and contemporary philosophical debate. (shrink)

Offers a comprehensive historical overview of the field of aesthetics. Eighteen specially commissioned essays introduce and explore the contributions of those philosophers who have shaped the subject, from its origins in the work of the ancient Greeks to contemporary developments in the 21st Century. -/- The book reconstructs the history of aesthetics, clearly illustrating the most important attempts to address such crucial issues as the nature of aesthetic judgment, the status of art, and the place of the arts within society. (...) Ideal for undergraduate students, the book lays the necessary foundations for a complete and thorough understanding of this fascinating subject. -/- Table of Contents -/- Introduction \ 1. Plato, Robert Stecker \ 2. Aristotle, Angela Curran \ 3. Medieval Aesthetics, Gian Carlo Garfagnini \ 4. David Hume, Alan Goldman \ 5. Immanuel Kant, Elisabeth Schellekens \ 6. G.W.F. Hegel, Richard Eldridge \ 7. Arthur Schopenhauer and Friedrich Nietzsche, Scott Jenkins \ 8. Benedetto Croce and Robin Collingwood, Gary Kemp \ 9. Roger Fry and Clive Bell, Susan Feagin \ 10. John Dewey, Thomas Leddy \ 11. Martin Heidegger, Joseph Shieber \ 12. Walter Benjamin and T.W. Adorno, Gerhard Richter \ 13. Monroe Beardsley, Noël Carroll \14. Nelson Goodman, Alessandro Giovannelli \ 15. Richard A.Wollheim, Malcolm Budd \ 16. Arthur C. Danto, Sondra Bacharach \ 17. Kendall L. Walton, David Davies \ Some Contemporary Developments, Alessandro Giovannelli . (shrink)

The ethical criticism of art has received increasing attention in contemporary aesthetics, especially with respect to the evaluation of narratives. The most prominent philosophical defenses of this art-critical practice concentrate on the notion of response , specifically on the emotional responses a narrative requires for it to be correctly apprehended and appreciated. I first investigate the mechanisms of emotional participation in narratives ; then, I address the question of the legitimacy of the ethical criticism of narratives and advance an argument (...) in support of such a practice . ;Chapter 1 analyzes different modes of emotional participation in narratives, distinguishing between: emotional inference, affective mimicry, empathy, sympathy, and concern. Chapter 2 first critically discusses Noel Carroll's objections to identificationism and to an empathy-based account of character participation, and then analyzes the sorts of imaginative activities involved in narrative engagement, by investigating the distinctions introduced by Richard Wollheim between central and acentral imagining, and iconic and non-iconic imagination. ;Chapter 3 offers a taxonomy of the possible views on the relationship between the ethical and the artistic values of a narrative, distinguishing between reductionist and non-reductionist views, and sorting the latter ones into autonomism and moralism, radical and moderate. Chapter 4 analyzes the ethical assessment of narratives for their consequences on their perceivers and the means of their production, and indicates the evaluation in terms of the ethical perspective a narrative embodies as the kind of ethical evaluation on which an argument for the ethical criticism of narratives ought to concentrate. Chapter 5 critically assesses the accounts of "imaginative resistance" to fiction offered by Kendall Walton, Richard Moran, and Tamar Gendler, and concludes that none of them is adequate to ground an argument for the ethical criticism of narratives. Chapter 6 looks at Carroll's argument for moderate moralism and Berys Gaut's "merited-response" argument for "ethicism," and finds both arguments wanting. Chapter 7 proposes a version of moralism grounded in the notion of a narrative's ethical perspective, and defended on the grounds of narratives' commitments to provide a realistic representation of reality. (shrink)

In this paper, I critically examine Berys Gaut’s proposals regarding ethical criticism, that is, regarding the question of whether, and if so how, an ethical evaluation of a work of art can be considered amongst the determinants of the work’s value as art. I critically examine Gaut’s proposed taxonomy on the possible positions on the ethical criticism question as well as his own influential answer to such question: ethicism. My critique focuses on one missing element, I argue, in Gaut’s overall (...) approach and in ethicism as he formulates and defends it: reference to artistic categorization and to the aims and commitments artworks have in virtue of the artistic categories they belong to. I show how reference to artistic categorization facilitates the generation of a more fine-grained taxonomy of positions than the one Gaut proposes. Such taxonomy makes it possible to distinguish between two very different types of positions within what Gaut dubs ‘contextualism’: what I call limited or restricted ethicism and particularism. As an application of this more fine-grained taxonomy, I show how Noël Carroll’s ‘moderate moralism’, which Gaut convincingly claims to be incomplete, need not reduce to either ethicism or contextualism as Gaut claims: the view can also be completed in the direction of a limited or restricted ethicism. As for Gaut’s own proposal, surprisingly it itself proves to have leanings towards particularism, in so far as it delegates the question of the artistic (or aesthetic) relevance of ethical features to case-by-case decisions. Again, reference to artistic categorization would offer Gaut grounds to be less sceptical on the possibility of finding general philosophical principles governing the relevance of ethical features to artistic worth. Further, lack of reference to artistic categorization can be shown to affect Gaut’s claims within all three the arguments he puts forward in defence of ethicism—the moral beauty, the cognitive, and the merited-response argument. I show such claims to be ill founded when not implausible. (shrink)

Recent literature on emotional participation in narratives witnesses a contrast between those who emphasize the role of readers and spectators of narratives as participants and those who emphasize their role as mere onlookers. The former refer to notions like identification, empathy, and what Richard Wollheim calls «central imagining». The latter criticize the idea of identification, and use notions like sympathy and Wollheim’s «acentral imagining». I claim this debate to be vitiated by simplistic accounts of identification and empathy, a lack of (...) attention for the relationships between self- and other-oriented emotions, a misinterpretation of Wollheim’s central/acentral distinction in relation to another distinction suggested by him, that between «iconic» and «non-iconic» imagining. I defend an understanding – different from Wollheim’s correctly interpreted one – of these two distinctions and maintain the importance of iconic and central imaginings to the interpretation and appreciation of narratives. (shrink)

Résumé La critique éthique considère que la valeur éthique d’une œuvre d’art affecte sa valeur artistique. Elle s’intéresse ordinairement à la valeur éthique du point de vue que l’œuvre adopte, ou à celui des effets qu’elles produisent, mais ne considère guère celle du processus de production de l’œuvre. Or celui-ci peut intéresser l’éthique comme lorsqu’une toile est réalisée en laissant des poissons rouges enduits de peinture agoniser et s’agiter sur une toile. C’est précisément de la valeur éthique des procédés utilisés (...) dont il est ici question. L’auteur défend un moralisme des moyens, selon lequel le jugement éthique des procédés a une place légitime dans l’évaluation artistique, et formule deux versions compatibles de cette position : la thèse esthétique et la thèse artistique. (shrink)

Résumé La critique éthique considère que la valeur éthique d’une œuvre d’art affecte sa valeur artistique. Elle s’intéresse ordinairement à la valeur éthique du point de vue que l’œuvre adopte, ou à celui des effets qu’elles produisent, mais ne considère guère celle du processus de production de l’œuvre. Or celui-ci peut intéresser l’éthique comme lorsqu’une toile est réalisée en laissant des poissons rouges enduits de peinture agoniser et s’agiter sur une toile. C’est précisément de la valeur éthique des procédés utilisés (...) dont il est ici question. L’auteur défend un moralisme des moyens, selon lequel le jugement éthique des procédés a une place légitime dans l’évaluation artistique, et formule deux versions compatibles de cette position : la thèse esthétique et la thèse artistique. (shrink)

Riassunto : Il fenomeno delle “near-death experiences”, esperienze soggettive intense e profonde, è caratterizzato dalla percezione di essere in una dimensione diversa da quella ordinaria, di aver abbandonato il proprio corpo e, con esso, la dimensione spazio-temporale del mondo fisico. Il termine NDE è utilizzato per indicare esperienze simili occorse in condizioni cliniche molto diverse, ad esempio l’arresto cardiaco, il coma, lo svenimento o l’assunzione di sostanze psicotrope. In questo lavoro si considerano esclusivamente quelle esperienze sperimentate in condizioni di prossimità (...) alla morte. Il fenomeno viene discusso confrontando gli elementi più comunemente presenti nelle NDE di soggetti occidentali con quelli riportati da soggetti di altre culture. Le varie esperienze pre-morte sono discusse in funzione dei contenuti riportati e delle modalità con cui si sono verificate. Infine, lo stato di coma è stato valutato come condizione di “near-death” nell’ottica di considerare la morte come un processo. Parole chiave: Near-death Experiences; Cultura; Coscienza; Memoria; Arresto cardiaco; Coma Towards a definition of “near-death experiences”: Physiologic, psychologic and cultural dimensions: The phenomenon of near-death experiences, intense and profound subjective experiences, is characterized by the perception of being in a different dimension from the ordinary one, of having abandoned one’s body and, with it, the space-time dimension of the physical world. The term NDE has been used to indicate similar experiences that occurred in very different clinical conditions, namely cardiac arrest, coma, fainting, use of psychotropic substances, etc. In what follows will be considered only experiences taking place in conditions of proximity to death. The phenomenon will be discussed comparing elements most commonly present in NDEs of Western subjects with those reported by subjects from other cultures. The various near-death experiences will be discussed in according to the contents reported and the ways in which they occurred. Finally, the state of coma was considered as a near-death condition under the assumption of death as a process. Keywords: Near-Death Experiences; Culture; Consciousness; Memory; Cardiac Arrest; Coma. (shrink)

(No abstract is available for this citation).

Comment devient-on philosophe? Par quel sursaut un Aristoclès se fait-il Platon, jusqu'à s'imposer dans la liste des " auteurs philo " Il faut enquêter, non pas sur la vie privée, mais sur la vie intime : rumination intellectuelle, ton sur lequel on parle, motivations amoureuses... Ce qui fait un philosophe, c'est un immense travail sur soi, et la rencontre d'autres philosophes, vivants, de leurs problématiques. Mémoire sémantique + obsession métaphysique, voilà le code génétique du philosophe. Il débute par un attentat (...) religieux, puisqu'il commence sa carrière en niant tel ou tel sacré. Bien sûr, il vaut mieux être mâle, communiquer par les livres adopter la langue dominante, écrire quand on est célibataire. Comment gagner sa vie? Pas forcément en étant enseignant, comme c'est le cas aujourd'hui. Le profil du philosophe nous le révèle orphelin, vivant à l'étranger, souvent laid, jamais fou, et serial thinker, prêt à changer de philosophie pourvu qu'il reste, lui, à menacer le monde donnera ou donnera pas du sens à notre vie? Le philosophe est l'être inquiet qui pense inquiéter l'Être par deux trois mots bien aiguisés. (shrink)

While there are numerous doubts, controversies and lack of consensus on alternative definitions of human death, it is argued that it is more ethical to allow people to choose either cessation of cardio-respiratory function or loss of entire brain function as the definition of death based on their own views. This paper presents the law of organ transplantation in Japan, which allows people to decide whether brain death can be used to determine their death in agreement with their family. Arguably, (...) Japan could become a unique example of individual choice in the definition of death if the law is revised to allow individuals choose definition of death independently of their family. It suggests that such an approach is one of the reasonable policy options a country can adopt for legislation on issues related to the definition of death. (shrink)

Extraterrestrial Altruism examines a basic assumption of the Search for Extraterrestrial Intelligence (SETI): that extraterrestrials will be transmitting messages to us for our benefit. This question of whether extraterrestrials will be altruistic has become increasingly important in recent years as SETI scientists have begun contemplating transmissions from Earth to make contact. Technological civilizations that transmit signals for the benefit of others, but with no immediate gain for themselves, certainly seem to be altruistic. But does this make biological sense? Should we (...) expect altruism to evolve throughout the cosmos, or is this only wishful thinking? Is it dangerous to send messages to other worlds, as Stephen Hawking has suggested, or might humankind benefit from an exchange with intelligence elsewhere in the galaxy? Would extraterrestrial societies be based on different ethical principles, or would we see commonalities with Earthly notions of morality? Extraterrestrial Altruism explores these and related questions about the motivations of civilizations beyond Earth, providing new insights that are critical for SETI. Chapters are authored by leading scholars from diverse disciplines—anthropology, astronomy, biology, chemistry, computer science, cosmology, engineering, history of science, law, philosophy, psychology, public policy, and sociology. The book is carefully edited by Douglas Vakoch, Director of Interstellar Message Composition at the SETI Institute and professor of clinical psychology at the California Institute of Integral Studies. The Foreword is by Frank Drake. This interdisciplinary book will benefit everybody trying to understand whether evolution and ethics are unique to Earth, or whether they are built into the fabric of the universe. (shrink)

How (Not) to Be Secular is what Jamie Smith calls "your hitchhiker's guide to the present" -- it is both a reading guide to Charles Taylor's monumental work A Secular Age and philosophical guidance on how we might learn to live in our times. Taylor's landmark book A Secular Age (2007) provides a monumental, incisive analysis of what it means to live in the post-Christian present -- a pluralist world of competing beliefs and growing unbelief. Jamie Smith's book is a (...) compact field guide to Taylor's insightful study of the secular, making that very significant but daunting work accessible to a wide array of readers. Even more, though, Smith's How (Not) to Be Secular is a practical philosophical guidebook, a kind of how-to manual on how to live in our secular age. It ultimately offers us an adventure in self-understanding and maps out a way to get our bearings in today's secular culture, no matter who "we" are -- whether believers or skeptics, devout or doubting, self-assured or puzzled and confused. This is a book for any thinking person to chew on. (shrink)

Introduction: Conversion and the practice of transformation -- The philosophical structure of Jonathan Edwards's religious affections -- Habit, habit change, and conversion in C.S. Peirce -- Reconstructing faith : religious overcoming in Dewey's pragmatism -- Transforming obligation in William James -- Dwelling in absence: the reflective origin of conversion -- Creative transformation : the work of conversion -- The evasion of conversion in recent American philosophy.

Ludwig Wittgenstein (1889-1951) was an extraordinarily original thinker, whose influence on twentieth-century thinking far outside the bounds of philosophy alone. In this engaging Introduction, A.C. Grayling makes Wittgenstein's thought accessible to the general reader by explaining the nature and impact of Wittgenstein's views. He describes both his early and later philosophy, the differences and connections between them, and gives a fresh assessment of Wittgenstein's continuing influence on contemporary thought.

Background: The magnitude of bullying and harassment among psychiatrists is reportedly high, yet no peer-review published studies addressing this issue could be found. Therefore, it was decided to conduct a pilot study to assess the degree of the problem, the types of bullying/harassment and to provide some insights into the situation.Methods and Principal Findings: Following multiple focus group meetings, a yes/no response type questionnaire was developed to assess the degree and type of bullying and harassment experienced by psychiatrists. Over a (...) 3-month period the questionnaire was administered to a random sample of 60 psychiatrists. 57 out of the 60 psychiatrists reported harassment and bullying. Frequencies of the following response variables are presented in descending order: rumours 40% ; defamation 20% ; passing remarks 20% ; false accusations 15% ; threats 13.3% ; verbal abuse 13.3% ; unjustified complaints 13.3% ; promotion blocked 13.3% ; humiliation 13% ; bad reference given 10% ; credentials questioned 8.3% ; physical attacks 5% ; termination 5% ; derogatory remarks 1.7% and 1.7% were subjected to personal work. As a result of being subjected to harassment, 66.7% of the psychiatrists did not take any action, whereas 33.3% confronted the person they believed responsible. Asked whether the bullying and harassment caused distress, 18.3% of the psychiatrists did not report any effect, 30% reported mild distress, 40% moderate distress and severe distress was reported by 11.7%.Conclusions: It was concluded that the magnitude of bullying and harassment among psychiatrists may be quite high, as evidenced by this pilot study. There is a need for extensive systematic studies on this subject and to establish strategies to prevent and address this issue at a national and regulatory level. (shrink)