At first glance, love seems to be a psychological state for which there are normative reasons: a state that, if all goes well, is an appropriate or fitting response to something independent of itself. Love for one’s parent, child, or friend is fitting, one wants to say, if anything is. On reflection, however, it is elusive what reasons for love might be. It is natural to assume that they would be nonrelational features of the person one loves, something about her (...) in her own right. According to the “quality theory,” for example, reasons for love are the beloved’s personal attributes, such as her wit and beauty. In J. David Velleman’s provocative and ingeniously argued proposal, the reason for love is the beloved’s bare Kantian personhood, her capacity for rational choice and valuation. But no such nonrelational feature works. To appreciate just one difficulty, observe that whatever nonrelational feature one selects as the reason for love will be one that another person could, or actually does, possess. The claim that nonrelational features are reasons for love implies, absurdly, that insofar as one’s love for Jane is responsive to its reasons, it will accept any relevantly similar person as a replacement. (shrink)

R. Jay Wallace argues in this book that moral accountability hinges on questions of fairness: When is it fair to hold people morally responsible for what they do? Would it be fair to do so even in a deterministic world? To answer these questions, we need to understand what we are doing when we hold people morally responsible, a stance that Wallace connects with a central class of moral sentiments, those of resentment, indignation, and guilt. To hold someone responsible, he (...) argues, is to be subject to these reactive emotions in one's dealings with that person. Developing this theme with unusual sophistication, he offers a new interpretation of the reactive emotions and traces their role in our practices of blame and moral sanction. With this account in place, Wallace advances a powerful and sustained argument against the common view that accountability requires freedom of will. Instead, he maintains, the fairness of holding people responsible depends on their rational competence: the power to grasp moral reasons and to control their behavior accordingly. He shows how these forms of rational competence are compatible with determinism. At the same time, giving serious consideration to incompatibilist concerns, Wallace develops a compelling diagnosis of the common assumption that freedom is necessary for responsibility. Rigorously argued, eminently readable, this book touches on issues of broad concern to philosophers, legal theorists, political scientists, and anyone with an interest in the nature and limits of responsibility. (shrink)

Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness, Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and desire, (...) and to show that the values of art, independently of their moral worth, are equally crucial to the rest of life.Nehamas makes his case with characteristic grace, sensitivity, and philosophical depth, supporting his arguments with searching studies of art and literature, high and low, from Thomas Mann's Death in Venice and Manet's Olympia to television. Throughout, the discussion of artworks is generously illustrated.Beauty, Nehamas concludes, may depend on appearance, but this does not make it superficial. The perception of beauty manifests a hope that life would be better if the object of beauty were part of it. This hope can shape and direct our lives for better or worse. We may discover misery in pursuit of beauty, or find that beauty offers no more than a tantalizing promise of happiness. But if beauty is always dangerous, it is also a pressing human concern that we must seek to understand, and not suppress. (shrink)

Nietzsche's mature masterpiece, Beyond Good and Evil considers the origins and nature of Judeo-Christian morality; the end of philosophical dogmatism and beginning of perspectivism; the questionable virtues of science and scholarship; liberal democracy, nationalism, and women's emancipation. A superb and new translation by Marion Faber, this highly annotated edition is complemented by a lucid introduction by one of the most eminent of Nietzsche scholars, Robert C. Holub.

In this much-anticipated book, Jonathan Dancy offers the only available full-scale treatment of particularism in ethics, a view with which he has been associated for twenty years. Dancy now presents particularism as the view that the possibility of moral thought and judgement does not in any way depend on an adequate supply of principles. He grounds this claim on a form of reasons-holism, holding that what is a reason in one case need not be any reason in another, and maintaining (...) that moral reasons are no different in this respect from others. Ethics Without Principles offers detailed treatment and criticism of opposing positions of all sorts, with useful summaries. It also contains three chapters on the nature of what Dancy calls 'contributory' reasons, which, though the topic of much interest at the moment, are not often discussed in anything like the detail given here. And it offers a distinctive form of value-holism to go with the holism of reasons. As Dancy's definitive statement on particularism, the book will be required reading for all those working on moral philosophy and ethical theory. (shrink)

This book develops and defends a conception of commitment and explores its limits. Gary Chartier shows how commitment serves to resolve conflicts between ordinary moral intuitions and the reality that the basic aspects of human well-being are incommensurable. He outlines a variety of overlapping and mutually reinforcing rationales for making commitments, explores the relationship between commitment and vocation and the relevance of commitment to love, and notes some reasons why it might make sense to disregard one’s commitments. The Logic of (...) Commitment will appeal to ethicists interested in the connection between commitment and personal well-being, and to anyone who wonders why and when it might make sense to make or keep commitments. (shrink)

For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.

By the time of his death in 2003, Bernard Williams was one of the greatest philosophers of his generation. Ethics and the Limits of Philosophy is not only widely acknowledged to be his most important book, but also hailed a contemporary classic of moral philosophy. Presenting a sustained critique of moral theory from Kant onwards, Williams reorients ethical theory towards ‘truth, truthfulness and the meaning of an individual life’. He explores and reflects upon the most difficult problems in contemporary philosophy (...) and identifies new ideas about central issues such as relativism, objectivity and the possibility of ethical knowledge. (shrink)

This chapter argues that there is a particular kind of ‘internal’ commitment typically made in the context of romantic love relationships that has striking meta-normative implications for how we understand the role of the will in practical normativity. Internal commitments cannot plausibly explain the reasons we have in committed relationships on the usual model—as triggering reasons that are already there, in the way that making a promise triggers a reason via a pre-existing norm of the form ‘If you make a (...) promise to x, then you have a reason to x’. Instead, internal commitments are that in virtue of which one has the special reasons of committed relationships; they are the grounds of such reasons. In this way, the will is a source of practical normativity. (shrink)

Do aesthetic reasons have normative authority over us? Could there be anything like an aesthetic ‘ought’ or an aesthetic obligation? I argue that there are no aesthetic obligations. We have reasons to act certain ways regarding various aesthetic objects – most notably, reasons to attend to and appreciate those objects. But, I argue, these reasons never amount to duties. This is because aesthetic reasons are merely evaluative, not deontic. They can only entice us or invite us – they can never (...) compel us. Beauty gives us goods without shoulds. (shrink)

Responsibility and the Moral Sentiments offers an account of moral responsibility. It addresses the question: what are the forms of capacity or ability that render us morally accountable for the things we do? A traditional answer has it that the conditions of moral responsibility include freedom of the will, where this in turn involves the availability of robust alternative possibilities. I reject this answer, arguing that the conditions of moral responsibility do not include any condition of alternative possibilities. In the (...) terms that have become familiar, the book thus defends a compatibilist account of moral responsibility. (shrink)

This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or not these arguments suffice (...) to refute hedonism decisively, I argue that its privileged status, as the sole contender in aesthetic value theory, is detrimental to downstream research on aesthetic phenomena. The essay concludes with an overview of current work and promising avenues of inquiry into non-hedonic alternatives. (shrink)

A defence of the idea that there are sui generis duties of love: duties, that is, that we owe to people in virtue of standing in loving relationships with them. I contrast this non-reductionist position with the widespread reductionist view that our duties to those we love all derive from more generic moral principles. The paper mounts a cumulative argument in favour of the non-reductionist position, adducing a variety of considerations that together speak strongly in favour of adopting it. The (...) concluding section connects this debate with larger issues in moral theory concerning the general idea of obligation. (shrink)

According to tradition, aesthetic value is non-contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non-contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non-Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of this paper is (...) to point to a blind spot in the dialectic between these two standard positions by defending a third neglected answer to the question above, the answer of the Value-Meriting-Pleasure [VMP] advocate. According to this answer, a certain kind of (cognitive and responsive) pleasure is connected to aesthetic value non-contingently, but also non-hedonically. VMP is the view that objects of aesthetic value are non-contingently related to pleasure insofar as they merit a certain kind of pleasure. But, pace the hedonist, those objects are valuable (those that are to be engaged with etc.) neither on account of their capacity to give pleasure nor on account of the hedonic value of the attitude they merit. (shrink)

This article explores the philosophically neglected topic of artistic integrity, situated within the literature on personal or moral integrity more generally. It argues that artists lack artistic integrity if, in the process of creation, they place some other—competing, distracting, or corrupting—value over the value of the artwork itself, in a way that violates their own artistic standards. It also argues, however, that artistic integrity does not require adamant refusal to acknowledge or act upon commitments to values other than single-minded devotion (...) to one's art. Artists of integrity need not be inflexible fanatics. They can seek to earn a living through their art, alter their vision of a work to reach an audience, evolve their artistic standards as they grow as artists, and balance the energy devoted to their art against energy devoted to family, friends, and self-care; they can honor the demands of morality. (shrink)

This article puts pressure on moral motivational internalism and rejects normative motivational internalism by arguing that we should be aesthetic motivational externalists. Parallels between aesthetic and moral normativity give us new reason to doubt moral internalism. I address possible disanalogies, arguing that either they fail, or they succeed, but aren’t strong enough to underwrite a motivational difference between the domains. Furthermore, aesthetic externalism entails normative externalism, providing further presumptive evidence against moral internalism. I also make the case that, regardless of (...) these particular conclusions, examining different normative domains alongside each other is a fruitful way to move debates forward. (shrink)

What does the aesthetic ask of us? What claims do the aesthetic features of the objects and events in our environment make on us? My answer in this paper is: that depends. Aesthetic reasons can only justify feelings – they cannot demand them. A corollary of this is that there are no aesthetic obligations to feel, only permissions. However, I argue, aesthetic reasons can demand actions – they do not merely justify them. A corollary of this is that there are (...) aesthetic obligations to act, not only permissions. So, I conclude, the aesthetic asks little of us as patients and much of as agents. (shrink)

Many writers describe a sense of requirement in aesthetic experience: some aesthetic objects seem to demand our attention. In this paper, I consider whether this experienced demand could ever constitute a genuine normative requirement, which I call an aesthetic obligation. I explicate the content, form, and satisfaction conditions of these aesthetic obligations, then argue that they would have to be grounded neither in the special weight of some aesthetic considerations, nor in a normative relation we bear to aesthetic objects as (...) such, but in the connections that certain aesthetic considerations have to our practical identities. On the practical identity approach, aesthetic obligation is best understood as a species of promissory obligation, namely self-promising. But this means that the experienced demand can have, at best, the status of a veridical hallucination: although both have the same content, it is the self-promise, and not the experienced demand, that gives rise to the obligation. While aesthetic obligations concern aesthetic objects, they are not obligations to the aesthetic per se. (shrink)

There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I suggest, is (...) that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. Deferring to aesthetic testimony, then, makes the same mistake as looking up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments. -/- *There is an audio version available: look for the Soundcloud link, below.*. (shrink)

How should we pursue aesthetic value, or incorporate it into our lives, if we want to? Is there an ideal of aesthetic life? Philosophers have proposed numerous answers to the analogous question in moral philosophy, but the aesthetic question has received relatively little attention. There is, in essence, a single view, which is that one should develop a sensibility that would give one sweeping access to aesthetic value. I challenge this view on two grounds. First, it threatens to undermine our (...) "aesthetic love", or the meaningful attachments we form with aesthetic items, e.g., poems, paintings, songs, or items of design and dress. Second, it fails to accommodate the motivational character of our encounter with beauty, which can diminish our desire to pursue the wider world of aesthetic value. I conclude that whatever the aesthetic ideal is, it must reconcile our desire to broaden our access to aesthetic value with our desire to maintain and cultivate our meaningful aesthetic attachments. I motivate the alternative thought that having style is the aesthetic ideal. (shrink)

The default theory of aesthetic value combines hedonism about aesthetic value with strict perceptual formalism about aesthetic value, holding the aesthetic value of an object to be the value it has in virtue of the pleasure it gives strictly in virtue of its perceptual properties. A standard theory of aesthetic value is any theory of aesthetic value that takes the default theory as its theoretical point of departure. This paper argues that standard theories fail because they theorize from the default (...) theory. (shrink)

It is uncontroversial that our engagement with artworks is constrained by obligations; most commonly, these consist in obligations to other persons, such as artists, audiences, and owners of artworks. A more controversial claim is that we have genuine obligations to artworks themselves. I defend a qualified version of this claim. However, I argue that such obligations do not derive from the supposed moral rights of artworks – for no such rights exist. Rather, I argue that these obligations are instances of (...) duties of love: obligations that one incurs in virtue of loving some object, be it a person or, in this case, an artwork. (shrink)

A defence of the idea that there are sui generis duties of love: duties, that is, that we owe to people in virtue of standing in loving relationships with them. I contrast this non‐reductionist position with the widespread reductionist view that our duties to those we love all derive from more generic moral principles. The paper mounts a cumulative argument in favour of the non‐reductionist position, adducing a variety of considerations that together speak strongly in favour of adopting it. The (...) concluding section connects this debate with larger issues in moral theory concerning the general idea of obligation. (shrink)

Deeply embedded in popular cultural portrayals of admirable lives, in everyday conceptions of maturity, and in philosophical work in ethics and political philosophy is the idea that people not only will, but ought to, make commitments and that it is good for the individual herself to do so. In part one I briefly raise skeptical doubts about the defensibility of the normative pressure to commit, and suggest that commitment may only be one style of managing one’s diachronic existence. In part (...) two I examine the distinguishing features of commitment and how commitment differs from “mere” intention. Parts three and four are devoted to detailed critique of the principal philosophical defenses of the value of commitment, including both Pragmatic and Better Life arguments. In the last section, I try to construct an explanation for what makes commitment attractive to many persons if not universally so. (shrink)

Our lives are filled with aesthetic choices, that is, choices of objects for aesthetic experience. Choice is crucial to having a fulfilling aesthetic life. Our immediate satisfaction and long term flourishing require the ability to generate rewarding aesthetic opportunities. A good aesthetic life is one of good aesthetic choices. Given the centrality of choice to a good aesthetic life, aesthetic theory is in need of an account of choice. However, aesthetic choice has gone unexamined. This paper considers how choice helps (...) to make us who we are as aesthetic persons. I situate aesthetic choice within debates in contemporary choice theory. The paper also examines whether the recommenders on websites like Amazon or Netflix pose a risk to our aesthetic flourishing. Aesthetic choice is mostly constructive and conditional, in other words, ad hoc and easily influenced. Aesthetic choices tend to be small choices, with low stakes and relaxed deliberation. The effect of our choices is cumulative, and the import of individual choices is best judged by seeing them in the context of other choices, especially the plans to which they belong. (shrink)

Beauty is a contested concept insofar as it seeks to mark a categorical distinction among the sources of pleasure, typically in terms of oppositions such as objective/subjective, universal/particular, necessity/contingency. Kant represents a culmination of this tradition in defining the judgment of beauty in terms of the requirement for universal agreement, modeling the judgment of beauty as closely as possible to ordinary factual judgments. A different tradition of thinking about beauty, however, while still seeking to mark a categorical distinction by reference (...) to the idea of necessity, finds the relevant sense of necessity not in conditions of agreement but necessities of erotic love and the sense of requirement felt toward its objects. This paper explores the consequences of taking this other tradition seriously, using Proust as a representative exemplar, as a way both of making sense of some of the features Kant ascribes to the concept of the beautiful, while avoiding the paradoxes stemming from his focus on the conditions for universal agreement. (shrink)