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The chapter challenges hyperbolic claims about the centrality of appreciation of beauty to Buddhism. Within the texts, attitudes are more mixed, except for a form of 'inner beauty' - the beauty found in the expression of virtues or wisdom in forms of bodily comportment. Inner beauty is a stable presence throughout Buddhist history, practices, and art. |
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In Exemplarist Moral Theory of Linda Zagzebski presents an original moral theory based on direct reference to exemplars of goodness, whom we identify through the emotion of admiration. Using examples of heroes, saints, and sages, she shows how narratives of exemplars and empirical work on the most admirable persons can be incorporated into the theory to serve both theoretical and practical purposes. No categories |
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This paper sympathetically examines the neglected virtue-centric idea that the primary location of beauty is in bodily expressions of human virtues, so that things like buildings are beautiful only because of an appropriate relationship they have to beautiful people. After a brief history of the idea as articulated by, for example, Kant, it is then distinguished from accounts of beauty with which it might be confused, such as the view that something is beautiful only if it helps to instil virtue. (...) |
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In this book the author considers data from both early and later schools of Buddhism in an attempt to provide an overall characterization of the structure of Buddhist ethics. The importance of ethics in the Buddha's teachings is widely acknowledged, but the pursuit of ethical ideals has up to now been widely held to be secondary to the attainment of knowledge. Drawing on the Aristotelian tradition of ethics the author argues against this intellectualization of Buddhism and in favour of a (...) |
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James Kirwan provides both a lucid and concise history of the concept of beauty as a distinct aesthetic experience (marginalized by the rise of philosophical aesthetics in the twentieth century), and offers a new and persuasive answer to the age-old question of what beauty is an answer that, placing the responsibility for beauty firmly with the eye of the beholder, explains what it is in this "eye" that gives rise to beauty. |
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These two texts are fundamental for the understanding not only of Neoplatonism but also of the conventions of biography in late antiquity. Neither has received such extensive annotation before in English, and this new commentary makes full use of recent scholarship. The long introduction is intended both as a beginner’s guide to Neoplatonism and as a survey of ancient biographical writing. |
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A study of the philosophy and theology of the spiritual life that takes religious sensibility or the practice of religious life, rather simply creedal commitment, as a starting point. |
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From Botticelli to birdsong, Mozart, and the Turner Prize, Roger Scruton explores what it means for something to be beautiful. This thought-provoking introduction to the philosophy of beauty draws conclusions that some may find controversial, but, as Scruton shows, help us to find greater sense of meaning in the beautiful objects around us. |
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In this study, Olberding proposes a new theoretical model for reading the _Analects_. Her thesis is that the moral sensibility of the text derives from an effort to conceptually capture and articulate the features seen in exemplars, exemplars that are identified and admired pre-theoretically and thus prior to any conceptual criteria for virtue. Put simply, Olberding proposes an "origins myth" in which Confucius, already and prior to his philosophizing knows _whom _he judges to be virtuous. The work we see him (...) |
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The book offers a conception of philosophy as a form of self-enquiry which begins not in reflection, but in silence and meditation, conceived as conditions for the emergence and cessation of contending states of mind which influence perception and action. The philosopher thus becomes a kind of cartographer of a shifting interior landscape. This underlying perspective explains the personal nature of the writing and its mixing of genres. The book draws on both the Greek and Buddhist traditions, recognising that it (...) |
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Throughout the twentieth century, aestheticians and art theorists declared the 'death' of beauty as a serious, meaningful concept for aesthetics and art practice. Such declarations are better understood as polemical provocations, making their obituarism premature. Careful attention to the writings of those cited testify to the persistence of beauty, albeit in new, 'difficult', 'challenging' forms. Beauty persists, taking on new forms and inflections. |
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