Is it true that all formative influence is unethical, and that we ought to avoid influencing children (and indeed anyone at all)? There are more or less defensible versions of this doctrine, and we shall follow some of the strands of argument that lead to this conclusion. It seems that in maintaining that all influence is immoral, one commits oneself to the idea that children have innate teleologies, that these may be frustrated, and that to frustrate a child’s innate teleology (...) would be to wrong them. First we consider a strong view of innate teleology exemplified in the writing of Plato. However, even those who favour such a view can approve of those formative influences which lead people to better realise their innate teleology. Next we consider a weaker version of the doctrine, one claiming that we ought to broaden the possibilities available to those that we influence, and never to narrow them. This seems too permissive a strategy, however. Finally Foss and Griffin’s worry about a desire for control and domination being embedded in persuasion is explored together with their proposed alternative strategy of ‘invitational rhetoric’. Ultimately, this paper argues that we often have good reason to encourage certain formative outcomes and discourage others. (shrink)

RESUMO Neste artigo, são rejeitadas duas teses relativamente aceitas a respeito do projeto filosófico tardio desenvolvido por John Rawls. A primeira tese afirma que o objetivo de obras como "O Liberalismo Político" e "Justiça como Equidade: Uma Reformulação" seria o de revisar a natureza do argumento contratualista de Rawls. A segunda, por sua vez, afirma que a principal consequência dessa revisão teria sido certo recuo das implicações igualitárias de sua teoria da justiça original. Procurar-se-á rejeitar ambas as proposições mostrando que (...) "O Liberalismo Político" deve ser entendido como uma teoria acerca do uso legítimo do poder em uma sociedade democrática, e que essa teoria da legitimidade possui consequências distributivas próprias, incompatíveis com teorias liberais convencionais. ABSTRACT The article aims to reject two interrelated theses on the philosophical project carried forward by the late John Rawls. The first thesis states that there is an important change in Rawls' late works such as "Political Liberalism" and "Justice as Fairness: A Restatement" regarding the nature of his theory. Particularly, this change would had brought about a reassessment of Rawls' contractualist argument. The second thesis claims that one of the most important consequences of such reassessment is the retreat from strong egalitarian commitments, as they were present in Rawls' original theory of justice. The article rejects both theses, showing that Political Liberalism can be understood as a theory about the legitimate uses of power in a democratic society and that such new theory of legitimacy brings about distributive consequences by its own that sharply contrast with classical liberal theories. (shrink)

This paper puts the famous story of Jekyll and Hyde to work for a specific analytic purpose. The question of responsibility for crime, complicated by the divided subjectivity implicit in Mr. Hyde’s appearance, and illuminated by Robert Louis Stevenson’s grasp of contemporary psychiatric, evolutionary and medical thought as promising new technologies for effecting a distinction between criminality and innocence, is key to the interest of the story. I argue that Jekyll and Hyde serves as a powerful metaphor both for specifically (...) late Victorian perplexities about criminality and criminal responsibility, and for more persistently troubling questions about the legitimacy of and practical basis for criminalization. A close reading of the story illustrates the complex mix of elements bearing on criminal responsibility-attribution, and—incidentally—helps to explain what is wrong with the influential argument that, by the end of the nineteenth Century, attributions of responsibility in English criminal law already rested primarily and unambiguously on factual findings about the defendant’s state of mind. Far from representing the triumph of a practice of responsibility-attribution grounded in the assessment of whether the defendant’s capacities were fully engaged, I argue that the terrain of mental derangement defences in late nineteenth Century England helps us to understand that longer-standing patterns of moral evaluation of character remained central to the criminal process. And precisely because ‘character’ remained key to the institutional effort to distinguish criminality and innocence, the ‘terror’ of Stevenson’s story resides in its questioning of whether either scientific knowledge or moral evaluation of character can provide a stable basis for attributions of responsibility. In conclusion, I will also suggest that Stevenson’s tale can help us to make sense of the resurgence of overtly ‘character-based’ practices of responsibility attribution in contemporary Britain and the United States, which themselves reflect a renewed crisis of confidence in our ability to effect a ‘dissociation’ between criminality and innocence. (shrink)

Ponte City is a project by Mikhael Subotzky and Patrick Waterhouse that uses photographs, architectural diagrams, text, interviews, fiction, found objects, oral history, and archival material to critically explore a particular urban landscape in Johannesburg. The exhibition and book, which comprise this project, manifest in different ways, but both work together to cut across disciplines and incorporate the languages of fine art, photography, architecture, urban planning, history, economics, popular culture, and literature. The publication comprises a book of photographs and pamphlets (...) in which the artists have collaborated with former and current residents, gathered personal stories, delved into the archive, invited authors to contribute essays on a variety of topics, and worked with material found at the site. This article examines the notion of a ‘portrait of a city’ in relation to the Ponte City project, and asks the questions: What is a portrait of a city? Is it possible to take a ‘portrait of a city’, and what techniques are used when a photographer portrays places and people, or attempts to take, or make, a ‘portrait’ – of a city, a place or even a building such as Ponte? Can a building come to stand in for a city? And how have these strategies been put into play by Subotzky and Waterhouse in the Ponte City project? (shrink)

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)

In this thesis, I address the metaphysical question `What is humour?' and the ethical question `When is humour immoral?' Consulting a dictionary reveals a circle of definitions between `amusement', `funniness', and `humour'. So I split the metaphysical question `What is humour?' into three questions: `What is amusement?', `What is funniness?' and `What is humour?' By critically analysing then synthesising recent research in philosophy, psychology and linguistics, I give the following answers: x amuses y if and only if: y is in (...) a non-serious, non-threatened, non-goal-directed state. y simultaneously activates two incompatible interpretations of x via unsound logic. sufficiently increases the psychological arousal of y. x is funny if and only if x merits amusement. x is humour if and only if the function of x is to merit or elicit amusement. Similarly, I split the ethical question `When is humour immoral?' into three questions: `When is amusement immoral?', `How does immorality affect funniness?' and `When is humour immoral?' By using, and, I give the following answers: Amusement is immoral when the correct theory of normative ethics defines, or to be immoral. Immorality negatively affects funniness. Humour-types are not subject to moral evaluation. Humour-tokens are immoral when the correct theory of normative ethics defines them to be immoral. This thesis contributes to the knowledge of the subject in two ways. First, by critically analysing and synthesising recent inter-disciplinary research, provides a more precisely specified definition of amusement than that in the philosophical literature. Second, research on humour, across all disciplines, conflates the three closely related but distinct concepts of humour, amusement and funniness. By providing a linear sequence of definitions,, and avoid the conceptual confusions that commonly occur. (shrink)

This thesis explores the concept of timbre through the lens of analytic philosophical aesthetics and philosophy of music. I argue that timbre should be thought of as providing the grounds for artistic and aesthetic values in music. To this end and firstly, I critique the physical sense of timbre in favour of two anti-realist senses of timbre. These two are the qualitative and the semantic senses which are developed from two of Siedenburg and McAdams’ four senses of timbre. I argue (...) that the qualitative sense of timbre is the experience of the unique qualities of sounds. The semantic sense is that which associates timbres to objects and concepts. Within the semantic sense, I argue for what I call a genealogical sense of timbre which relates timbres to sources and concepts through a history of built up associations. Secondly, these two senses are situated within the artform of music by demonstrating the functions they may fulfil there and how these ground artistic and aesthetic values. Regarding these values, I employ Robert Stecker’s definitions of artistic and aesthetic value. Finally, I summarise the two arguments for why we should think that timbre can provide grounds for aesthetic and artistic value in music. (shrink)

This thesis concerns our moral and epistemic responsibilities regarding our concepts. I argue that certain concepts can be morally, epistemically, or socially problematic. This is particularly concerning with regard to our concepts of social kinds, which may have both descriptive and evaluative aspects. Being ignorant of certain concepts, or possessing mistaken conceptions, can be problematic for similar reasons, and contributes to various forms of epistemic injustice. I defend an expanded view of a type of epistemic injustice known as ‘hermeneutical injustice’, (...) where widespread conceptual ignorance puts members of marginalized groups at risk of their distinctive and important experiences lacking intelligible interpretations. Together, I call the use of problematic concepts or the ignorance of appropriate concepts ‘conceptual incapacities’. I discuss the conditions under which we may be responsible for our conceptual incapacities on several major theories of responsibility, developing my own account of responsibility in the process, according to which we are responsible for something just in case it was caused by one of our reasons-responsive constitutive psychological traits. However, I argue that regardless of whether we are responsible for something, we may still be required to take responsibility for it. Whether or not we are responsible for our conceptual incapacities, we are required to reflect critically upon them in a variety of scenarios that throw our use of those concepts into question. I consider the method of conceptual engineering — the philosophical critique and revision of concepts — as one way we might take responsibility for our concepts, or at least, defer that duty to experts. But, this top-down model of conceptual revision is insufficient. Using a pragmatist model of the social epistemology of morality, I argue that conceptual inquiry is a social endeavour in which we are all required to participate, to some degree. (shrink)

Normal 0 21 false false false ES-CO X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabla normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Este estudio tiene la intención de profundizar en la estética de la ciencia de la Hemotafonomía (HTN), mediante la identificación de sus pa­­ralelos estilísticos con la Literatura y las Artes Visuales. El objeto de estudio de esta ciencia (...) es la citomorfología de las células sanguíneas en manchas de sangre. Sus sujetos de estudio son especímenes manchados de sangre, mientras que su método de estudio es el análisis de imágenes en claroscuro obtenidas por Microscopía Electró­­nica de Barrido. Literariamente, la HTN es estilísticamente paralela a la estética del Tremendismo y el Deca­­dentismo. Visualmente, la HTN es estilísticamente paralela a la estética de la decoración arquitectónica chu­­rrigueresca y al Tenebrismo pictórico. De acuerdo con los resultados de este estudio, la HTN puede también con­­siderarse estilísticamente como un Realismo literario y un Naturalismo visual. Además, puesto que Tremen­­dismo, Decadentismo, Churrigueris­­mo y Tenebrismo convergen en la cultura del Barroco, debe concluirse que, estéticamente, la HTN es una ciencia barroquista. Normal 0 21 false false false ES X-NONE X-NONE MicrosoftInternetExplorer4. (shrink)