Citations of:
Turning on default reasons
Journal of Moral Philosophy 4 (1):55-76 (2007)
Add citations
You must login to add citations.
|
|
|
|
This work is an investigation into philosophical method and rational argument in moral philosophy. It makes an original contribution to human understanding, by taking some of the tools and techniques that Gordon Baker identifies in the later work of Wittgenstein, and using them as a way of fending for oneself in an area of philosophy that neither Baker, nor Wittgenstein, wrote on. More specifically, a discussion of some different aspects of the contemporary literature on Dancy’s moral particularism is used as (...) No categories |
|
A putative problem for the moral particularist is that he or she fails to capture the normative relevance of certain considerations that they carry on their face, or the intuitive irrelevance of other considerations. It is argued in response that mastery of certain topic-specific truisms about a subject matter is what it is for a reasonable interlocutor to be engaged in a moral discussion, but the relevance of these truisms has nothing to do with the particularist/generalist dispute. Given that practical (...) |
|
What makes some acts morally right and others morally wrong? Traditionally, philosophers have thought that in order to answer this question we must find and formulate exceptionless moral principles—principles that capture all and only morally right actions. Utilitarianism and Kantianism are paradigmatic examples of such attempts. In recent years, however, there has been a growing interest in a novel approach—Particularism—although its precise content is still a matter of controversy. In this paper I develop and motivate a new formulation of particularism (...) |
|
Contemporary analytic aesthetics has seen a heated debate about whether there are general critical principles that determine the merits/demerits of an artwork. The so-called generalists say ‘yes’, whereas the so-called particularists say ‘no’. On the particularists’ view, a feature that is a merit in one artwork might well turn out to be a defect in another, so critical principles purporting to define merits and defects are pretty much in vain. Against this, the generalists argue that while some features change their (...) |