Many critics of Locke have worried that restricting knowledge to relationships among ideas would bar knowledge from extending to the outer reality which "corresponds to" these ideas. The question of how well Locke can answer such concerns leads us into a number of peculiar and intriguing passages on knowledge and the relationships between perception, reality, pain, and pleasure. This chapter examines what John Locke has to say about sensitive knowledge, to investigate several ways in which his remarks on (...) this topic can be reconciled with what he says elsewhere. It also talks about the idea of sensation, and assesses the merits of Locke's conception of sensitive knowledge both as a response to skepticism and as a part of the larger picture of human understanding painted in the Essay. Two passages in the Essay describe sensitive knowledge in some detail, both beginning with a description of the skeptical problem. (shrink)

According to Manuel de Góis the sensitive knowledge is the only source of the intellective knowledge, when the soul is united with the body. Among the external senses, vision plays the main role. Visual images are the principal source of the intellective knowledge. The pleasure of knowing is sourced also in the pleasure of seeing that expresses the beauty, the harmony and the variety of nature and points to the intelligibility and goodness of the Creation.

My aim is to discuss the impact of higher-order evidence on aesthetic appreciation. I suggest that this impact is different with respect to aesthetic beliefs and to aesthetic affective attitudes (such as enjoyment). More specifically, I defend the view that higher-order evidence questioning the reliability of one’s aesthetic beliefs can make it reasonable for one to revise those beliefs. Conversely, in line with a plausible account of emotions, aesthetic affective attitudes are not directly sensitive to this type of higher-order (...) evidence; they are sensitive only to those features of objects that make such attitudes (un)fitting. Thus, I argue, there are cases of non-defective recalcitrant aesthetic attitudes where the subject has both a non-defective, fitting aesthetic affective attitude and a reasonable belief questioning the fittingness of this attitude. I further discuss whether, in this type of case, the subject has decisive reasons to try to change her recalcitrant attitudes—say by trying to modify her aesthetic affective dispositions. My answer is negative. Even granting that subjects always have aesthetic reasons to try to avoid aesthetically unfitting attitudes, these can be outweighed by further reasons not to do so—perhaps including aesthetic reasons related to the construction of valuable aesthetic identities or to the value of aesthetic engagement. (shrink)

The following text is not just unpublished. There is something intimate, secret, confidential about it. It consists of a series of notes - classed from A to H - that Gilles Deleuze had entrusted to me in order that I give them to Michel Foucault. It was in 1977. Foucault had just published La Volonté de savoir, the introduction to a Histoire de la Sexualité which challenged the play of categories through which the struggles of sexual liberation reflected itself. The (...) reception of the book, poorly understood, was contemporary with a sort of crisis in Foucault, already wholly bent to the task of bringing out of himself, and converting himself to, what would become the problematic of L'usage de plaisirs and the Souci de soi. Gilles Deleuze, sensitive to what he perceives as a suffering in his friend, thus writes up these notes: therein he gives the account of his convergences and divergences with Foucault. It is not a matter of a critique, even less of a polemic, but of an invitation, entirely imbued with the sincerity of friendship, to take up again a dialogue which had been interrupted. (shrink)

Wallace-Hadrill's reading of spatial hierarchy does not address the representation of gender in mythological paintings. However, a rough survey indicates that the majority are erotic and/or violent. Erotic depictions common on household items suggest that the Romans were sensitive to this content; the likely use of pattern books in selecting programs for domestic decoration suggests a synoptic awareness of it. This points to the applicability of contemporary theories of representation and power, and Mulvey's model of visual pleasure in (...) narrative film is adapted for this paper. According to Mulvey, film offers two pleasures: scopophilia, which presents the woman as aesthetic-erotic fragments, suggesting but concealing her difference ; sadistic voyeurism, which assumes difference and then investigates, punishes, or forgives it. Both are illustrated in paintings of Ariadne abandoned and rediscovered, and in other paintings which portray either the gaze or erotic violence . While these paintings seem to confirm in relation to gender what the rest of the house says about class and status, some paintings confuse the issue. The male body is often fetishized , and attacked ; gender and role are sometimes deliberately ambiguous . Such transgressions of the boundaries of the male body are not a part of Mulvey's theory, and they suggest the use of gender to complicate as well as confirm the class/status message of the house; two different negotiations of this use are found in the House of the Vettii and the House of the Ara Maxima. One can compare reversals and reassertions of gender, class and status in other evidence, in literature, pantomime and the games. (shrink)

Ce dossier est consacré à la correspondance de Fénelon, dont l’édition, achevée en 2007, a considérablement enrichi la connaissance de la vie et de l’œuvre de l’archevêque de Cambrai, en éclairant d’un jour nouveau ses multiples visages. Miroir et mémoire de l’œuvre publiée, quand elle ne constitue pas elle-même une part essentielle de l’œuvre, la correspondance en augmente la compréhension par la découverte de ses étapes d’élaboration, des obstacles qu’elle a rencontrés ou des circonstances qui l’ont favorisée. Elle dévoile aussi (...) ce que l’œuvre ne montre pas : les projets avortés et les renoncements, enfin, et surtout, l’ample milieu qui, autour de Fénelon lui permet de tisser le réseau où s’insère cette exceptionnelle vie faite d’engagements radicaux, de combats, de gloire mais aussi de déceptions, de disgrâces, et de soumission. (shrink)

Assembled with skill and sensitivity, this selection of brief and incisive quotations range from religion and theology, personal and social ethics, service, and international and political affairs, to the family, education, culture, Indian problems, and Gandhi's most original concept, satyagraha - group nonviolent direct action. Some quotes from this book: Ahimsa is the highest ideal. It is meant for the brave, never for the cowardly. Eating for the sake of pleasure is a sin like animal indulgence for the sake (...) of it. The real meaning of economic equality is 'to each according to his need'. Without prayer there is no inward peace. (shrink)

It Is My Pleasure To Introduce this discussion of Naoko Saito's American Philosophy in Translation. We have contributions from three experts in American philosophy, all of whom have been in conversation with the author for many years: Jim Garrison, Vincent Colapietro, and Steven Fesmire. Prior to their contributions, I would like to set the scene with some brief remarks to introduce the book and to explain something of its background.Over the past two decades, I have worked closely with Saito (...) on a number of projects, and I have been familiar with her ideas for this book since its inception. In some respects, the book is the product of studies in American philosophy that go back to her time as an undergraduate in Tokyo in the 1980s, ideas that were advanced considerably when she did an MA at Harvard, taking classes with Stanley Cavell and Hilary Putnam, and subsequently when she completed her PhD at Teachers College, with René Arcilla as her advisor and Cavell as a member of her committee. It was against this background that, in 2006, Saito published her first singly authored book, The Gleam of Light: Moral Perfectionism and Education in Dewey and Emerson. As that title indicates, she was already exploring the relation between Dewey and pragmatism, on the one hand, and American transcendentalism, on the other. Her sense back then of some separation between these traditions of thought, and of the nature of the tensions between them, has been refined and, for the most part, strengthened in the years since that earlier publication. No doubt she has been influenced in this by Cavell, who, in one essay, for example, asks: “What's the use of calling Emerson a pragmatist?” In any case, her account of this relationship is extended and altered significantly in American Philosophy in Translation.Through the course of her research, Saito has been conscious of the fact that she is studying American philosophy from a distance—a distance that is geographical, cultural, and linguistic—and she retains a thoughtful humility in relation to this. But she also sees here a possible opening to the perception and release of untapped aspects of these traditions of thought, in ways that might fertilize and extend the ground in which the inheritance of American philosophy has flourished. This is very much the line that she pursues in this book. In the light of this, and as the book's title indicates, there is a particular focus on language and translation. It is important that the latter term is understood not merely as an attractive metaphor for change and transformation: crucial to her developing argument is the experience of translating between languages and the reality of the experience in the lives of so many today, within the academy and without. In the course of this experience, one is sometimes confronted, quite self-consciously, with a word or phrase that resists translation. But sometimes—more often in the life of the accomplished or habituated speaker of the foreign language in question—the experience persists as an undercurrent, subtly opening a world that is other in some respects from the one that comes to light in the mother tongue.By contrast, to the many (especially Anglophone) monolingually minded, the need for translation can appear as an unwanted barrier, something of a nuisance, a problem to be solved. This is by no means a response confined, however, to the uneducated (or the Anglophone or the monolingual). There is also a sophisticated variant of this narrowness of outlook where faith is placed in an artificial or technical language with the power, the fantasy runs, to overcome the vagaries of natural language. Hilary Putnam recalls how Rudolf Carnap, whose stature as a thinker and as a human being he does not doubt, felt strongly that “for all x, planned x is better than unplanned x” and was drawn to the idea of a common world language: Thus the idea of a socialist world in which everyone spoke Esperanto (except scientists, who, for their technical work, would employ notations from symbolic logic) was one which would have delighted him. And I recently had a conversation with a student who remarked quite casually that it would not be a bad idea if there were only one language and one literature: “We would get used to it, and it might help to prevent war.” (Putnam 185)Putnam does not deign to respond to the latter assertion. What is foregrounded in his discussion is that monolingualism is likely to hide the plurality of goods that is realized in different cultures. The importance of that plurality is surely something that the luminaries of American philosophy bring to light. Indeed, Putnam's key point of reference in making these remarks is William James.The undercurrent of translation in the experience of the more accomplished speaker of a foreign language can act then as a sensitization to cultural difference, to different possibilities of thought and being. But in fact, this shifting of thought can apply within any language itself, not just inter- but intra-lingually, opening an insight that is close to the heart of American philosophy. If one can hear the cry of the rooster, then one may be wakened also by Thoreau's turn of expression in the idea of the “father tongue”: through a maturing experience of the language we are brought up with, we come to “a reserved and select expression, too significant to be heard by the ear, which we must be born again in order to speak” (Thoreau 69). This renewed investment in language, this continual return to our words, is what opens them to new thought and gives them interest. It is first an inheritance from the culture we are brought up in, but it dies in our speech and thinking if we do not turn it to something new. To build, we must begin by borrowing an axe, but we can return it sharper than when we borrowed it.If translation is operative in our language as a whole, as Saito's argument shows, this points to the many little rebirths within ourselves and in our interactions with one another. In fact, the point becomes political in that democracy depends upon this renewal of our words. This renewal resists not only the allure of ideology but also the now familiar etiolated rhetoric of “political realism.” Moreover, it points beyond the reliance, within the politics of recognition, on the defining of groups and categories toward a politics of acknowledgment.In this vein, Saito's outsider perspective is in tune with what Richard Bernstein has called the “global resurgence of American pragmatism.” The borderline or outsider perspective can have a powerful effect on thought, in relation to which Saito invites the reader to recall that America's past was itself an outsider-past: it was outside Europe, a relation with which it was bound to struggle, but it was also ready, as Emerson and Thoreau demonstrate, to draw from greater cultural distances, where it found congenial aspects in East Asian thought.Saito stresses the anti-foundationalist character of American philosophy as of critical importance for both philosophy and politics, and again her discussion of language is crucial to this. Dewey's emphasis on communication, with his relatively flat style of prose, is contrasted with the stylistic experiment and invention that she finds in Emerson, Thoreau, and Cavell. She sees the style of these writers, in some contrast to that of Dewey, as having a salutary, destabilizing effect. She wants to destabilize Dewey. It is entirely consonant with her position, furthermore, that she raises doubts about the bland acceptance of a politics of inclusion. Not only can this become a surreptitious form of discipline and control: it can engender the conformism that Emerson worked so hard to prevent.The book finishes on a more aesthetic note, taking up lines of thought in Dewey's aesthetics but turning this toward the more extravagant elision, in Thoreau, of the functional and the beautiful. The thematization of the aesthetic in this way is, she tries to show, crucial to our (political) world. (shrink)

What are the conditions under which an agent has an aesthetic reason to stop appreciating something? In this paper, I argue that such a reason is dependent not only on the aesthetic properties of the object of appreciation but also on the hedonic state of the agent. Virtuous aesthetic agents who are responsive to aesthetic reasons need to be sensitive to hedonic changes in relation to the object and to recognise when these changes make it appropriate to sever one’s (...) appreciative focus. The resulting view has implications for how to understand aesthetic fittingness, aesthetic obligation, and the difference between aesthetic and moral reasons. (shrink)

We often derive aesthetic pleasure from nature as well as from works of art. Although our experiences of both are analogous in some respects, there are some important differences. Since nature is not created specifically for aesthetic enjoyment it can be appreciated in more various ways than art. Hence, the distinction between aesthetic and non-aesthetic experience is crucial in examining the aesthetic appreciation of nature. ;An appreciation of any object is considered aesthetic if it is directed toward the sensuous (...) surface of the object for its own sake. This notion of the aesthetic, however, does not necessarily preclude the aesthetic relevance of various conceptual considerations. Examples are provided to illustrate how associated facts can modify our perception of the object's sensuous surface. Thus, a variety of aesthetic appreciations of the same object are possible. ;Among various possible appreciations of an artwork, the range of appropriate responses is limited by cultural, historical, and institutional determinations. In contrast, nature lacks such determinations; consequently, aesthetic considerations in most cases cannot show that certain responses toward nature are inappropriate. Neither can we claim that certain aesthetic responses toward nature are improper because they do not help justify the preservation of nature, hence are ethically undesirable. An aesthetic justification for preserving nature, therefore, presupposes its ethical justification. ;Contrary to a widely held view, such ethical considerations against destroying nature are not suggested by the traditional Japanese love of nature. The Japanese traditionally have appreciated nature for its psychological, aesthetic, and metaphysical values and thus their love toward nature lacks an ethical dimension. I suggest instead that the most fundamental reason for preserving nature concerns its functional unity which is indispensable to our health and survival. In this sense, the aesthetic appreciation of nature that incorporates the scientific considerations regarding such unity helps us develop an ecologically sensitive attitude toward nature. (shrink)

The concepts of pleasure and good, both separately and in their relation to one another, have for centuries been a favourite and fruitful subject of philosophical discussion. The contrasting concepts of pain and evil, however, though by no means entirely neglected, have been, and still are, less popular among philosophers. The reason for this disparity is not altogether clear. The title of a recent autobiography, “Philosophers lead sheltered lives,” might support the explanation that philosophers are reluctant to write on (...) matters of which they have little or no first-hand knowledge. Pleasure and good, it may be said, form part of their own personal experience: but their academic seclusion has little place for either pain or evil. A more serious reason is the assumption, often made but rarely defended, that, since pain and pleasure, evil and good, are in some sense pairs of “opposites,” a full discussion of all four concepts is unnecessary. The nature of pain, it is thought, can easily be inferred from the nature of pleasure, and that of evil from that of good. But even if this were true, it ought not to be taken for granted; the belief that these concepts are symmetrically disposed opposites ought to be held only after an investigation into all of them. And in fact the belief is not true. It does not need profound insight or observation to see that we cannot construct a simple hedonic scale on which pleasure appears as a plus, and pain as a minus quantity. Contemporary hedonists have often paid more attention to the psychological complexities involved in this problem than did their classical predecessors. A. L. Hilliard, for example, distinguishes carefully between pain and unpleasantness. Pain he describes as a sensitivity, “correlated with the excitation of specific receptors in the nervous system”: unpleasantness is an affectivity to which physiological correlates, though they must be assumed to exist, have not yet been discovered. (shrink)

More than two hundred years after his birth, and 150 years after the publication of his most famous essay On Liberty, John Stuart Mill remains one of the towering intellectual figures of the Western tradition. This book combines an up-to-date assessment of the philosophical legacy of Millâes arguments, his complex version of liberalism and his account of the relationship between character and ethical and political commitment. Bringing together key international and interdisciplinary scholars, including Martha Nussbaum and Peter Singer, this book (...) combines the latest insights of Mill scholarship with a long-term appraisal of the ways in which Millâes work has been received and interpreted from the time of his death in 1873 to today. The book offers compelling insights into Millâes posthumous fate and reputation; his youthful political and intellectual activism; his views on the formation of character; the development of his thought on logic; his differences from his father and Bentham; his astonishingly prescient, environmentally sensitive and âe~greenâe thought; his relation to virtue ethics; his conception of higher pleasures and its relation to his understanding of justice; his feminist thought and its place in contemporary debates and feminist discourses; his defence of free speech and its fundamental significance for his liberalism; and his continued contemporary relevance on a number of major issues. This book will be of interest to students and scholars of Politics, Political Theory, Philosophy, History, English, Psychology, and also Cultural Studies, Empire studies, nationalism and ethnicity studies. (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)

Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...) psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework. (shrink)

Among the many striking features of the philosophy of the Zhuāngzǐ is that it advocates a life unperturbed by emotions, including even pleasurable, positive emotions such as joy or delight. Many of us see emotions as an ineluctable part of life, and some would argue they are a crucial component of a well-developed moral sensitivity and a good life. The Zhuangist approach to emotion challenges such commonsense views so radically that it amounts to a test case for the fundamental plausibility (...) of the Daoist ethical orientation: If the Zhuangist stance on emotion is untenable, then other aspects of Daoist ethics may founder as well. In this essay, I explore what I call a Zhuangist ‘Virtuoso View’ of emotion and its connections with human agency, attempting to show that at least one version of a Zhuangist approach to emotion passes the ‘basic plausibility’ test. I begin by describing the Virtuoso View and sketching its theoretical foundation, which involves claims about human agency, the self, psychophysical hygiene, the good life, epistemology, and metaphysics. Next, I defend the Virtuoso View against three objections, namely that it abandons intentionality, that it interferes with a good life, and that it yields a schizophrenic conception of agency. I argue for three major theses. First, the Virtuoso View is easily intelligible and largely defensible. Second, it reflects a crucial insight into a fundamental dichotomy at the core of human agency: the unavoidable conflict within a self-aware human agent between an internal, engaged perspective and an external, detached one. Third, I suggest that certain problems or conflicts arising from the Virtuoso View actually reflect inherent features of the human predicament and thus are not mere conceptual defects. Hence even if we do not find the Virtuoso View wholly convincing, we can nevertheless gain much insight from it. (shrink)

This is a meditation on love and suffering, pleasure and pain. Despite common sense, public discourse and scholarship narrating these states as diametrically opposed, the lived experience of queer romantic love cannot be disarticulated from the social realities of loss and pain. Suturing love and suffering is the metaphysic of indeterminacy, with the unexpected and uncertain marking romantic encounters and ambitions with precarity and impermanence. Drawing from vignettes gained through an ethnography on queer erotics in Sri Lanka in 2016, (...) I explore how queer love manifests and perishes in the most inexplicable fashion, against the backdrop of structural violence and the vagaries of intersubjective relationalities. A sensitivity to indeterminacy enables an excavation of the elsewheres that inhere to and are conjured by queer romantic love, from the entanglements that live outside of the binaries of heterosexual-homosexual to the utopic futural imaginaries that are made possible at this site. Meanwhile, the suffering engendered by indeterminacy gestures to the precarities of elsewhere, and the transient nature of queer futurity. I engage scholarship on social suffering and romantic love to demonstrate how both corpora of literature are united at the site of the Sri Lankan queer figure, and how centring indeterminacy troubles epistemic projects that seek to know love and the lover with certainty. (shrink)

In earlier work I defended Intrinsic Attitudinal Hedonism—a view about what makes for individual personal welfare. On this view, a person’s level of welfare is entirely determined by the amounts of intrinsic attitudinal pleasure and pain he or she takes in things. The view seems to run into trouble in cases involving individuals who take their pleasure in disgusting, immoral things; and in cases involving individuals who take their pleasure in things that really don’t actually happen; and (...) in cases involving individuals who enjoy pleasures but who lead meaningless lives; and in cases involving individuals whose lives fail to manifest an attractive narrative structure. After sharpening up the objections, I introduce a distinction between Pure Welfare Narrowly Conceived and Enriched Welfare Broadly Conceived. I go on to claim that if this distinction is recognized, we will be able to say that each of the objections rests on the fallacy of equivocation. If, years ago, I had been more sensitive to the distinction between Pure Welfare and Enriched Welfare I would have been able to respond to the objections in a more coherent and effective way. I present that response here. In an appendix, I compare my current view with a related view defended by Shelly Kagan in ‘Me and My Life’. (shrink)

The paper discusses the problem of relation of Kierkegaard’s aesthetic conception to the original project of aesthetics of Baumgarten. I demonstrate that Kierkegaard’s aesthetic concep-tion wasn’t inspired by Baumgarten. On the one hand, Kierkegaard wasn’t acquainted with Baumgarten’s texts and he could meet only later interpretations of Baumgarten’s aesthetics as a beautiful science or philosophy of art, if at all; on the other, the conception of aesthetic stage of human existence has nothing to do with epistemic context of Baumgarten’s science (...) of sensitive knowledge. Kierkegaard understands aesthetic as sensuous in the meaning of sensuous immedi-acy that is here a basis of pleasure, not through the satisfaction of carnal desires, but related to the ability to understand beauty and art. So Kierkegaard’s interpretation of aesthetic as sensuous doesn’t originate from Baumgarten’s aesthetics, but, in a sense, leads to it. The reason for this is that Baumgarten’s project of aesthetics not only gave a stimulus for all later philosophical processes called “aesthetics” but also was – though neglected – their invisible distant back-ground. In this perspective, Kierkegaard’s aesthetic conception is interesting as a random un-predictable hint at Baumgarten’s authentic aesthetics already in the 19thcentury. (shrink)

The closing chapters of Aristotle’s Nicomachean Ethics x are regularly described as “puzzling,” “extremely abrupt,” “awkward,” or “surprising” to readers. Whereas the previous nine books described—sometimes in lavish detail—the multifold ethical virtues of an embodied person situated within communities of family, friends, and fellow-citizens, NE x 6-8 extol the rarified, god-like and solitary existence of a sophos or sage (1179a32). The ethical virtues that take up approximately the first half of the Ethics describe moral exempla who experience fear fighting for (...) their communities, are sensitive to the esteem and recognition of others, and feel love for a desire to live together with a wide variety of kinds of friends. Such good people take pleasure in prudently expending sums to improve their communities—communities in which they exchange goods and participate in ruling and being ruled in a cooperative fashion. The exemplum of x 7-8, by contrast, is a person whose activity consists almost entirely in exercising his or her mind (nous)—a part of one’s soul that Aristotle explicitly notes is disconnected from human emotions and that can be exercised, insofar as one as wise, in a wholly solitary fashion (1178a15-16, a19-20; 1177a33-34). Although Aristotle’s claim that a “life in accord with the mind” is best and most pleasant (1178a6-7) may jar the intuitions of many people—he himself endorses Anaxagoras’ claim that the happy person will appear as “someone who is absurd” (atopos, 1179a15) to most people—it is false to claim that his conclusions in NE x 6-8 are unexpected or unanticipated, or that the text is in any way discontinuous with what precedes it. The Nicomachean Ethics exhibits aspects of ring-composition both within the work as a whole and within book 10. In NE i 5 Aristotle introduces his rendition of a trope that he inherits (most immediately) from Plato, viz. that the problem of the good can be considered like a contest between three different kinds of life—the life of enjoyment (apolaustikos), the life of politics (politikos), and the life of contemplation (theôrêtikos). NE x 6-8 returns to that contest, rendering a verdict about which life takes first, second, and third place. As the opening lines of NE x 6 note, that verdict presupposes central claims articulated between the first and last books of the Ethics, specifically about the nature of the virtues, the nature of friendship, and the nature of pleasure. NE i 5 and x 6-8 thus serve as “bookends” which encase arguments and proposition located between them. Book 10 exhibits a similar ring-composition. NE x opens with methodological reflection on the gap between the theoretical positions that thinkers articulate and the way they live their lives (especially in the case of scolds who simultaneously criticize pleasure on a scientific level but seek it on a practical level [1172a33-b8]). Chapter 8 concludes with an explicit reiteration of the methodological point, a reiteration that underscores how Aristotle’s treatment of the contest of lives incorporates central aspects of the discussion of pleasure in NE x 1-5. Aristotle’s reiteration of the problem of a gap between theory and practice also draws attention to the centrality of his treatment of pleasure in his adjudication of the three lives. Although the life of pleasure takes a distant third in the contest of lives, the contemplative life wins the contest in part because it itself is the most pleasant form of life. The central philosophical problem looming behind Aristotle’s treatment of the contest of lives concerns the relationship between the notion of activity (energeia) and the notion of a way of life (bios). In the last four decades, much of the scholarship on NE x 6-8 has sought to address the question of what activities a certain way of life includes or excludes. “Monistic” or “dominant” end interpretations of the best life have viewed it as including only contemplative activities whereas “inclusivist” end interpretations of the best life have viewed it as including non-contemplative activities. Although this chapter largely side-steps this debate—partially because there are ample recent first-rate introductory treatments of the debate, partially because I have addressed the question elsewhere in my own writing —I argue that focusing solely on the contest between the two best ways of life overshadows the way that Aristotle incorporates insights from the third way of life into the best way of life. Although the notion of a contest among different kinds of lives presupposes that the lives are mutually exclusive, Aristotle has no problem saying that the contemplative life trumps the life of pleasure because the contemplative life is more pleasant. I proceed in two parts. In the first part I examine what I will call the “outer” ring of the Ethics, namely the relationship between the contest of lives proposed in NE i 5 and its overall resolution in x 6-8. I show how i 5 and x 6 establish the framework for the contest, how x 7 adjudicates that contest in large part by relying upon premises articulated in the interim between books 1 and 10, and how x 6 and x 8 determine the second and third place positions in the contest. In the second part I focus on what I will call the “inner” ring of NE x. More than half of NE x struggles with the nature of pleasure, its role in a happy life, and the methodological problems of examining pleasure within a practical science. I show how x 1 and x 8 are “bookends” that underscore the methodological problem of examining pleasure and how the contest of lives draws upon the proximate conclusions concerning the nature of pleasure in NE x 1-5. (shrink)

The literature on mass communication is now dominated by "objective sociological "approaches. What makes the work of Stephenson so unusual is his starting points: his frank willingness to adopt a "subjective "and "psychological "approach to the study of mass communication. In short, this is an internal analysis of how communication processes are absorbed by individuals. The theory of play is not a doctrine of frivolity, but rather a way in which Stephenson gets at such sensitive areas of communication theory (...) as what is screened out and why. Without a notion of the play element in communication one would be led to imagine that every televised docudrama would be immediately lived out by every adolescent. Clearly, this is not the case. People can distinguish quite well between imaginary and real events in mass communication contexts. "The Play Theory of Mass Communication "is a work that studies subjective play, how communication serves the cause of self-enhancement and personal pleasure, and the role of entertainment as an end in itself. In short, for those who are tired of cliche-ridden volumes on the political hidden messages and meanings of communication, or the economic management of media decisions, this volume will come as a refreshment, a piece of entertainment as well as instruction. But with all the emphasis "on "aspects, Stephenson's volume is shrewdly political. He takes up themes ranging from the reduction! of international tensions to the happily alienated worker to such pedestrian events as the reporting of foreign Soviet dignitaries in their visits to democratic cultures. This is, in short, an urbane, wise book--sophisticated in its methodology and critical in its theorizing. (shrink)

In 'Spirit of Life', Luis Portela talks about his broad range of experiences in several texts, which apparently are not related, but they all search for the truth, in a moralizing, constructive and elucidative way. Sometimes he talks about his trips and the pleasure of being in touch with nature, he makes us feel as if we were with him in these different places. At other times he tells short stories, in such a way that only a very (...) class='Hi'>sensitive person could do. He also reminds us of great historic moments and figures who are pointed out as examples. He contemplates present-day issues that are important, making an objective and independent analysis. All this diversity brings about a pleasant combination of texts that are carefully written and easy to read. Yet they stimulate the mind and provoke reflection. With fascinating simplicity, Luis Portela challenges us to think about the greatest matters concerning the meaning and destiny of man as a spiritual being. (shrink)

The body and bodily experience make little appearance in analytic moral philosophy. This is true even of analytic sexual ethics—the one area of ethical inquiry we might have expected to give a starring role to bodily experience. I take a small step toward remedying that by identifying one way in which the bodily experience of sex is ethically significant: some of the physical actions of sex have a default expressive significance, conveying trust, affection, care, sensitivity, enjoyment, and pleasure. When (...) people having sex don't in fact have these feelings, the sex can be misleading, even if they've antecedently communicated that they don't have these feelings. This account of how sex can mislead is inspired by a perhaps surprising source, Catholic sexual morality. Analytic sexual ethicists could benefit from emulating Catholic sexual morality's attentiveness to the bodily nature of sex and its ethical significance. (shrink)

The purpose of this article is to describe the structure of sentimental and romantic affects. These structures set the forms of the life of the soul in sentimentalism and romanticism as spiritual movements that determine the epochs of culture. They remain relevant to the present and compete in it. I am starting from the distinction between emotion and affect, which has become one of the main themes of the “affective turn” in social sciences and humanities. Here I follow Brian Massumi (...) and suggest that emotions and affects are dis­tinct entities. Emotion is formed in ontogenesis and works with direct perception as a pri­mary reaction. The affect connects later and can correct the emotion. In the sphere of the symbolic, on the contrary, affects are the first to work, and then emotions can already be connected. The description of the four-part structure of affect as such is given. On its basis, sentimental and romantic assemblages of specific affects arise. Sentimentalism is pluralistic, sees the world as a rhizome, works with the economy of feelings. Sentimental­ist humanity is held together by an empathic pleasure in a variety of feelings. Romanti­cism refers to the nomad and to organic unity. His affects are based on a combination of cognitively comprehended metaphors “grasps”, “lifts” and “carries away” with the in­teroception of the body’s organs. The Romantic offers the experience of ecstatic reincar­nation, performative mental action, and action on behalf of the absolute. Sentimentalism is moving towards deepening individual sensitivity and improving the skills of managing feelings; romanticism, on the contrary, is simplified to low mass affects. The conclusion of the article is that in the complex interactions of the two types of affects, the sentimen­tal ones gradually replace the romantic ones, when and if the ability to control one’s feel­ings is considered as a valuable quality. (shrink)

In this article human-posthuman ruptures and disconnections both in comprehension and in practices, as well as the possibility of epistemological contingency contemporaneously are investigated. This means that an epistemological ruptures and an ontological disconnections of sexuality both differ from one another, and also join together. Since ancient times both sensitive and sensible practices of sexuality were considered the best mode to concern to sexual care of self. It has shown that, in relation to sexuality, a correlation of epistemological discontinuity (...) and continuity is possible. Sexuality, which is actualized with the help of both natural, vital and death, annihilative drives, fits into the context of onticology as a posthuman ontology. Being connected with the thermodynamics of infinitesimal vital parts, anonymous strange strangers, singularities, it turns out to be especially awesome. Such a mode of sexuality is not necessarily reproductive; rather, it unfolds in the fluid space of non-presence and at the same time determines this space. It emphasizes that that the cos mo‑illogical becoming of posthuman leads to negentropy or extropy as vitality. Following this position, the foucaultian conception of the care of self mirrors lacanian graphs of sexuation in a context of object-oriented ontologies in comparison with philosophies of presence. It is recognized that this is the sexuality of the productive disconnection and the pleasure cosmic dissolution. This article concludes by illustrating that the mode of sexuality of Speculative Posthumanism is contingent with the Libidinal Materialism or Vital Posthumanism in a context in which the sexuality of Wide Human Descendants is thought to be oriented to that which is pleasure and is differentiated. (shrink)

In this article, it is often pointed out to a more specific area by using the term Ṣūfi art on the basis of the aforementioned understanding. Thus, an analytic approach is adopted along with the usage of deductive method, and a layer of meaning is tried to be established through criticism and analysis. Firstly, a basic framework was constructed by mentioning the origins of Ṣūfi art. Then the attention was drawn to the sacredness included in Ṣūfi art in terms of (...) its historical frame and ontological structure. It is asserted that Ṣūfi art is based on four basic arguments: beauty, creativity, transcendence, and imagination. Ṣūfis considered art as an activity of beauty and the expressive power of it. Relying on the basic motive that Allah is the Greatest Artist, the Ṣūfis believe that the beauty of their art is a manifestation of Divine Names. They saw art as an expression of manifestation and unveiling. The Ṣūfis, who deemed the world in terms of Divine Beauty (Jamāl), witnessed the manifestations of the Divine Attribute of Beauty in all things; as a result of this witnessing, the masterpieces of Islamic art came into existence. It is the sapiental and the gnostic outlook that underlies this success of the Ṣūfi orders (tariqa) in Islamic history. In Ṣūfism, the perfection (kamāl) presupposes the beauty (jamāl); and each beauty presupposes also the perfection. Therefore, it is not possible to distinguish beauty from perfection in the Ṣūfi art. The sense of loving the beauty is so strong for them that they have tried to reflect the perfect beauty they witness in their works of art, to give an external presence to the phenomenon of beauty and to make the spiritual reality visible that is innate within their beings. Ṣūfism is in a sense an effort to seek beauty. It has been an endless longing to seek, search and witness The All Beauty, that is God Himself. The effort to search for Divine Beauty is sometimes revealed by tune, and sometimes by harmonious words or by a single line. Then, they turn into music, poetry, calligraphy and illumination. According to the maxim stating “There is a path from heart to heart”, these works were transmitted from one generation to another, ensuring the continuity of this Divine tune. Despite the fact that Ṣūfi works make no pretensions to be art as such, they were widely accepted, influenced the masses and gained appreciation in that they were created by people with a sincere heart, intimate sentiments and a deep world of contemplation. The second stage of the gnostic dimension in Islamic arts has been tried to be expounded through the ultimate goal of Ṣūfi art. In Ṣūfi tradition, the aesthetics and sensitivity of art attract attention at every opportunity, but the Ṣūfis did not consider art as their main aim. For them, art denotes only a means. Ṣūfis, who appeal to the eyes, ears and mind with the artistic forms, endeavoured to permeate to the hearts with the spiritual atmosphere provided. With their performances, exuberance and success in different branches of fine arts, they mobilized the aesthetic sentiments in each person's nature and ensured that the human pleasure become accorded with the divine pleasure. Focusing on the sapiential and gnostic dimension of Islamic arts, the basic principles of Ṣūfi art are emphasized as the third stage. It is also suggested that these principles also have a religious content are marked with religious style, have a strong sense of sacredness, possess generality and the peculiarity, have symbolic and representative aspects, are based on symbolism and have traditional characteristics, their style of expression is based on revelation, and are not intended to provoke carnal desires. As to the fourth remarkable factor within the sapiential and gnostic dimension of Islamic art, the Ṣūfi worldview behind the mentioned artistic works is given. As to the fifth remarkable factor in the gnostic dimension of Islamic arts, the thought behind the world of art sustained in the dervish lodges (tekke) is discussed. These dervish lodges were emphasized as the most important places where the beautiful word, beautiful sound and beautiful line converge and these lodges were evaluated as the kitchen where the fine arts were prepared and as the boiler where the arts are cooked. It is due to these features that each of the dervish lodges in Ottoman Empire became a kind of education and fine arts centre. In these lodges, many musicians, composers, poets, illuminators, bookbinders, carvers, engravers and marbling masters were trained. While the dervishes in the dervish lodges exhibited their own unique works of art, they also carried out the requirements of their spiritual trainings (sayru sulūk). (shrink)

Samizdat, the underground circulation of unofficial and forbidden literature in the Soviet Union, is an example of how censorship can backfire. Ideological restrictions produced walls of monotony in libraries and bookstores, propelling readers to search for more interesting fare. Sensitive texts on religion, philosophy, human rights, and current events, as well as literary works, passed from hand to hand clandestinely from around 1960 until censorship was abolished in the late 1980s. Von Zitzewitz's study is itself interesting fare, uncovering the (...) workings of samizdat as both a distribution network, comparable to that of print culture, and a social network that developed bonds between people who shared a defined purpose outside the public space. By no means did they all think of themselves as dissenters. For many people who lived ordinary Soviet lives, it was simply that “reading samizdat increased [their] individual feeling of freedom and represented a personal act of resistance.”One merit of this book is its point-by-point comparison of the samizdat distribution network to the print-culture production chain of author-publisher-printer-shipper-bookseller-reader. Samizdat had an analogous chain, in which a text made its way from author to reader through a network of people, each performing a specific function—procuring manuscripts, housing them, typing (or photographing) multiple copies, and delivering copies to readers. There were others who served as compilers, translators, collectors, and even editors and “librarians” (although accepting this designation requires abandoning the notion of a library as a stationary physical repository).Since all participants in the network strove to hide their traces from the prying eyes of the security police, samizdat researchers are hampered by a lack of records and evidence. To help fill the information gap, von Zitzewitz (in collaboration with Memorial's Gennadii Kuzovkin) designed a sixty-three-question survey targeting former samizdat participants and posted online in 2017. Tables display statistics (from the first 122 respondents) on demographics (respondents’ gender, place and decade of birth, and education level) as well as information on which authors, genres, and subject matter were most read. Other survey questions were designed to elicit recollections that help us understand what it felt like to participate in samizdat culture, whether as an author or reader, or in some aspect of acquisition or distribution. The many quotations from the survey responses bring to life the intensity of this activity. Receiving a sought-after text with an injunction to return it (or pass it on) the next day might mean reading all through the night to get through hundreds of pages. And while it is intuitive to think of samizdat as walled off from official culture, this study argues persuasively that they were intertwined. There were plenty of gray areas and fuzzy boundaries, too. One owner of samizdat books had several of them confiscated during a KGB search of his apartment, only to find them later for sale in a bookshop.Having begun as a clandestine, makeshift response to the institution of censorship, samizdat became more sophisticated over time, evolving into an institution itself. It arguably contributed to the perestroika reforms and became unnecessary when censorship was given the heave-ho. Subsequently, samizdat activists who had managed the covert production and circulation of entire journals published full accounts of their activity and the operation of their networks. Von Zitzewitz makes good use of these sources and shows admiration for the role these men played. She notes, though, that their detailed descriptions omit names of any of the typists who gave up their leisure hours and nightly sleep for the pleasure of hammering out multiple carbon copies of forbidden literature, usually for no pay. The word typist, given its lowly connotation in both Russian and English, is unfortunate. Typists were samizdat's printing press, and without their commitment and sacrifice the whole enterprise would have collapsed. Von Zitzewitz suggests that it may never have occurred to the samizdat heavyweights to acknowledge them by name. They were just... women. On the other hand, the menial typist designation had its upside. It seems to have resulted in a shorter prison sentence for at least one of them.Von Zitzewitz argues strenuously that samizdat was first and foremost a social network. If you wanted to get hold of, say, The Gulag Archipelago, you needed to know someone with the connections to help you get it. To call samizdat a social network is, of course, to wade into comparisons with today's online social media networks. Von Zitzewitz notes parallels, but she finds that the differences overwhelm the similarities. Samizdat was a social network, but one that depended on mutual trust. (shrink)

This paper explores the relationship between mania, or pathologically elevated mood, and philosophical theories of well-being. A patient, Mr. M., is described who oscillated between periods when he refused medication and periods when he was willing to accept it, and whose desires and life objectives were radically different in his medicated and unmedicated states. The practical dilemmas this raised are explored in terms of the three principal philosophical theories of well-being: hedonism, the desire fulfillment theory, and objectivism. None of these (...) adequately accounted for Mr. M.'s case: hedonism, because pleasure is increased in mildly manic states; desire fulfillment theories, because these suggest that an unending cycle of treatment and nontreatment would be in Mr. M.'s best interests; and objectivism, because, in a form that would be applicable to Mr. M., that theory brings with it substantial risks of paternalism. Four further philosophical approaches are explored briefly—approaches focusing on autonomy, rationality, personal identity, and illness, respectively—but these also provide no straightforward resolution of the clinical dilemmas. It is concluded that philosophical analysis, even if it does not resolve cases like Mr. M.'s, can deepen our understanding of the issues involved in clinical decision making in psychiatry, especially the importance of sensitivity to the patient's wishes and values; and conversely, that mild mania is an important "real life" case against which philosophical theories of well-being can be tested. (shrink)

In debates about nature conservation, aesthetic appreciation is typically understood in terms of valuing nature as an amenity, something that we value for the pleasure it provides. In this paper I argue that this position, what I call the hedonistic model, rests on a misunderstanding of aesthetic appreciation. To support this claim I put forward an alternative model based on disinterestedness, and I defend disinterestedness against mistaken interpretations of it. Properly understood, disinterestedness defines a standpoint which precludes self-interest and (...) utility, and it does not entail a passive subject abstracted from who they are. This standpoint is compatible with a 'situated aesthetic' in which appreciation of aesthetic qualities is grounded in an embedded subject who is sensitive to the context and narrative of the object. The alternative model provides a conception of aesthetic value which distinguishes it from amenity value, and it also defines a non-instrumental approach that offers the opportunity for enhanced appreciation and attention to nature's value. (shrink)

The impact of Foucault's work can still be felt across a range of academic disciplines. It is nevertheless important to remember that, for him, theoretical activity was intimately related to the concrete practices of self-transformation; as he acknowledged: `I write in order to change myself.' 1 This avowal is especially pertinent when considering Foucault's work on the relationship between sex and power. For Foucault not only theorized about this topic; he was also actively involved in the S&M subculture of the (...) 1970s. Although his explicit discussions of S&M are somewhat piecemeal, in this article I will show how they provide a useful point of access into his broader conception of power relations. Having first reconstructed Foucault's quasi-Sartrean account of creative self-transformation — specifically through one's sexuality — I will then explain why his defence of S&M (as embodying `strategic' power) is insufficiently sensitive to the inherent ambiguities of this `game'. Key Words: consent • desire • identity • limits • pleasure • power • role-play • subjectivity • trust. (shrink)

This article explores the limits of social constructionism and criticizes the `demiurgic conception of society' associated with it. It contemplates the possibility of sociological realism by investigating the intrinsic and objective properties of action, cognition and morality. The incorporation of intrinsic meanings and intentions in social actions, the objective information supporting cognitive processes and human sensitivity to pleasure and pain as well as the normative rejection of undue suffering, delineate the objective core of social facts, which can be interpreted (...) or influenced, but not arbitrarily or capriciously constructed or manipulated. This general argument is supported by various illustrations drawn from the semantics of social actions and classical puzzles of interpretative sociology such as the meaning of suicide or the morality of social sanctions. (shrink)

The aim of this paper is to provide an approach to the etho-aesthetic dimension in Marcuse’s thought. The approach in this paper is built upon the following thesis: the etho-aesthetic dimension consists of the transformation of subjectivity based on artistic sensitivity and critical rationality from which social relations opposed to an advanced industrial society and its one-dimensional man are reconstructed materially and intellectually. The conclusion is the following: a Marcusian critical theory, inherited from Marx and Schiller, would be one capable (...) of analyzing the potential qualitative changes of the subjects and social institutions to generate a higher level of rational development, equitable in the distribution of resources and in the generation of greater spaces of freedom. Its basis would be an etho-aesthetic attitude that does not take pleasure in squandering, but in the reflective experience of the sensible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Jewish Choices, Jewish Voices: Body ed. by Elliot N. Dorff and Louis E. NewmanGeoffrey ClaussenJewish Choices, Jewish Voices: Body Edited by Elliot N. Dorff and Louis E. Newman Philadelphia: Jewish Publication Society, 2008. 134 pp. $16.00This volume, focused on Jewish attitudes toward the human body, is the first volume of the Jewish Choices, Jewish Voices series published by the Jewish Publication Society. Subsequent volumes focus on money, power, (...) sex and intimacy, war and national security, and social justice. Each volume in the series presents hypothetical case studies involving modern moral questions, a collection of classical and contemporary sources relevant to the case studies, and a collection of short essays by a range of contemporary American Jews reflecting on these materials or on other related issues. Elliot Dorff and Louis Newman, the preeminent scholars of Jewish ethics who edited this first volume in the series, explain in their introduction that they sought to gather together “a variety of authors with many different Jewish beliefs and approaches” (xvi). They do not claim to present “what Judaism says,” but, rather, to anthologize a variety of Jewish perspectives. In doing so, they seek to follow the approach of the Bible and the Talmud, both of which contain “many, many voices articulating often diverse points of view” (xvi).On the other hand, Dorff and Newman reject the idea that “anything goes” when it comes to Jewish views about the body. They indicate that modern American Jews may be tempted to endorse such a perspective, accustomed as they are to the American notion that “I own my body.” But, Dorff and Newman suggest, American Jews would do well to consider the contrary notions that animate much of classical Jewish thought on the body: that God is the true owner of every human body, and that God makes demands about how one should use one’s body. The case studies that follow challenge readers to keep these ideas in mind as they consider duties to limit one’s body weight, refrain from tattooing one’s body, and avoid high-risk behaviors.The essays that make up the heart of this book do by and large embrace Dorff and Newman’s challenge. A few do so quite confidently, such as the one Orthodox contributor to the volume, who declares God’s ownership of human bodies to be “the attitude of Torah Judaism.” But a similar view is also upheld by less traditionally inclined authors such as Adam Goodkind, a college student who expresses his doubts about conventional Jewish observance and theology but who sees the idea of not owning one’s body as reflecting the “common sense” of the Jewish tradition. [End Page 213]Many of the essays are also linked by their view of Judaism as a tradition that does not disparage bodily pleasures. Such pleasures should be greatly valued, a number of authors stress, at least within certain limits. Goodkind takes a stronger stance, opining that “part of being a good Jew is getting a maximum amount of enjoyment out of life” (43). Such talk is not surprising—it fits well with the this-worldly ethos of contemporary American Judaism. But it is worth noting that the more ascetic and otherworldly voices found in the tradition are largely absent from this volume.The volume may not showcase the full breadth of traditional Jewish perspectives, but it does demonstrate how thoughtful and generally liberally minded American Jews do think about key ethical questions when they are asked to consider them through a Jewish lens. And while the essays in the volume are somewhat uneven in quality, they tend to be marked by moral sensitivity and by the creative application of traditional Jewish ideas. This first book in the Jewish Choices, Jewish Voices series offers stimulating reflections about the human body, and it also offers a fine introduction to the patterns of moral reasoning found among many contemporary American Jews.Geoffrey ClaussenElon UniversityCopyright © 2013 Society of Christian Ethics... (shrink)

Vulnerability: an ethical category. Vulnerability must not be considered as an equivalent for the weakness or for the precariousness, i.e. the state in which the most resourceless people are living -with regard to power, wealth and health -; the strong are also vulnerable and they are potentially likely to be weakened. We will try to give its chance to an ethical category which, unlike person, personality, dignity, benevolence, non-malevolence, focusses on pleasures and displeasures, no more on the virtues of nursing (...) people. Moreover the category of vulnerability is quantity-sensitive. We will expose two mathematical models that highlight this last point of view. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Reason and Emotion. Essays in Ancient Moral Psychology and Ethical TheoryEve Browning ColeJohn M. Cooper, Reason and Emotion. Essays in Ancient Moral Psychology and Ethical Theory. Princeton: Princeton University Press, 1999. Pp. xiii + 605. Cloth, $75.00.This collection of essays spans 27 years of John Cooper's career as an interpreter of ancient philosophy. Its earliest essay, "The Magna Moralia and Aristotle's Moral Philosophy," already shows Cooper's distinctive approach; (...) he seeks to discover "a simpler and more natural way" (200) to understand the discrepancies between this small treatise and Aristotle's major ethical works than by the comparatively convoluted theory of Dirlmeier. In seeking this simpler and more natural interpretive route, Cooper attends to "the philosophical content of the work" (202), rather than considerations of style and linguistic usage. He concludes with frank discussion of the problems which his interpretation cannot solve; these are dismissed with characteristic exasperation-italics: "... one must not expect to explain everything..." (210). He confines his rougher polemical points to footnotes (Dirlmeier "doesn't even face the question squarely" in note 19, hence he is "wildly off" in note 28). [End Page 430]These characteristics run through all the essays here collected. Only two of the 23 essays are previously unpublished: a reconsideration of Xenophon as a source on Socrates, and a treatment of pleasure and desire in Epicurus. Other essays take up moral problems examined by Socrates, Plato, Aristotle, and several Hellenistic philosophers or schools. A theme running through most if not all the discussions is the desire (shared by the ancient philosophers and by Cooper equally, it would seem) to develop and defend a viable eudaimonism. The relation between human goodness and human happiness must be shown to be one of extremely close affinity, such that the virtuous are also the happy, even in adversity. Thus though no attempt is made to connect the essays into a coherent argument leading to a global thesis about ancient moral philosophy, the book nevertheless contains the ingredients for such an argument and thesis. The book presenting such an argument and thesis could in some ways be both more elegant and more helpful than this collection; it could spend fewer of its pages in arguing against other interpreters over minor differences (the standard journal-article format for our time), more of its pages awakening the texts, eliciting their message, and presenting it in a form useful for guiding life. Perhaps Cooper will write such a book soon.But the present volume will certainly be of interest to scholars and students, who will find in it much to enjoy and ponder. Generally what is striking about Cooper's interpretations is their freshness. He is at his best when dislodging some stale orthodoxy. The essay on Xenophon's Socrates is a case in point. The portrait of Socrates which emerges in Xenophon's Memorabilia is usually taken to be far less accurate than that presented in Plato's earlier dialogues. The Memorabilia seldom appear on the required reading lists of Greek philosophy courses, nor does Xenophon's version of Socrates' approach to moral questions receive even a fraction of the scholarly attention devoted to Plato's early work. Cooper convincingly shows this neglect to rest on a prejudice. The Socrates of Xenophon's portrait addresses a different kind of audience than that of Plato; the difference in the style of questioning and in the topics discussed reflects the historical Socrates' sensitivity to his partners in conversation. He addresses them where they live (so to speak), and this makes him "all the more remarkable a person" (14).Two other strengths run throughout the essays here collected. No matter how intense the exegetical quibble may have become on any given page, Cooper is able to make a sudden soaring flight upward and provide a synoptic view of the broader philosophical terrain, both for any given philosopher and for that philosopher's contemporaries, predecessors, and successors. These flights are sometimes dizzying and often unpredictable, but always refreshing.In addition, Cooper is able to make connections with large issues in contemporary moral philosophy, relating the ancient controversies to their modern versions (John Rawls, Bernard Williams, Leo Strauss... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Imagination in Hume’s Philosophy: The Canvas of the Mind by Timothy M. CostelloeSaul TraigerTimothy M. Costelloe. The Imagination in Hume’s Philosophy: The Canvas of the Mind. Edinburgh: Edinburgh University Press, 2018. Pp. xv + 312. Hardback. ISBN: 9781474436397. $107.00.If anything about Hume’s philosophy can be characterized as widely accepted, it is that the imagination is front and center in Hume’s account of the mind. The aim of (...) Timothy Costelloe’s book is to fully develop the observation, that the imagination, as Hume understands it, is “the canvas of the mind.” Costelloe amply demonstrates that the imagination is a broad canvas, ranging from Hume’s epistemology and metaphysics, to his aesthetics, moral and political philosophy, history, philosophy of religion, and his general conception of philosophy itself. Seven substantial chapters cover these areas, and show how Hume takes the imagination to play a pivotal role in each.One of the many strengths of this book is that Costelloe responsibly mines the secondary literature, carefully explaining the interpretations he seconds and those he finds wanting. The attention to the relevant secondary literature is apparent from the start, where Costelloe laments the surprising dearth of book-length treatments of Hume on the imagination, but helpfully highlights both the lesser known Hume-centric monographs on the imagination by Furlong and Wilbanks, as well as more widely read interpretations.The introductory chapter makes important distinctions and introduces some main concepts. Hume differentiates the imagination’s “combinatory power” from its “creative power.” While the uninhibited ability to concatenate ideas might also be seen as a creative act, Costelloe sees the creative power where the imagination [End Page 173] “generates a class of ideas—‘fictions’ of a certain sort—independent of experience and according to its own inner logic” (21). This characterization makes sense when viewing the imagination’s function as directed towards a goal, such as achieving coherence or creating an aesthetically pleasing effect. Costelloe suggests that achieving an aesthetically pleasing effect is an element in any exercise of the imagination’s creative power. The imagination creates easy transitions among ideas where there were none, where doing so is pleasurable, or aided by the passions.Costelloe introduces his account of Hume’s fictions as errors of the imagination whereby ideas are formed in a manner different from the standard derivation from antecedent impressions. He insists, helpfully, that fictions are not illusions, but rather errors of a different kind. Though both involve error, fictions, unlike illusions, are not described in terms of jest or irony (30).Though he acknowledges that Hume does not describe any fictions as “artificial,” Costelloe finds it helpful to draw a distinction between natural and artificial fictions. Natural fictions are generated without reflection. Artificial fictions, such as those created by poets and philosophers, issue from “the voluntary act of imagination” (31). Costelloe holds that artificial fictions “are rarely taken to refer to objects with real existence and that any professed belief is really a matter of people being persuaded of something and taking the ideas in question as having real referents, thus only lending themselves to their existence for one reason or another” (31). This is a bit unclear. Certainly, poetic fictions are voluntary creations not intended to refer to real objects. But substance, and the double existence of ideas and external objects, as philosophical fictions, surely both involve belief and the corresponding existential commitments on the part of the philosophers who are committed to them. It is also difficult to see the purported contrast between belief and taking ideas to have real referents.Chapter 2, on metaphysics, is the longest chapter in the book, and it addresses the fictions of the imagination in Hume’s account of space and time, continued and distinct existence, liberty and necessity, and personal identity. Costelloe is sensitive to the worry that classifying Hume’s subject in Book 1 of the Treatise as metaphysics may appear to be slighting the central epistemological concerns and failing to appreciate Hume’s nascent cognitive psychology. Such worries fall away as Costelloe explores the roles that the imagination plays in the formation of our conception of duration without change, and the identity... (shrink)

Anhedonia is the diminished motivation and sensitivity to pleasurable stimuli. It has been reported to be more prevalent in patients with chronic pain as compared to healthy controls. Endometriosis is a chronic inflammatory systemic disease with a significant psychosocial impact that compromises wellbeing and the day-to-day life of patients. Women with endometriosis show significant psychological distress, even more pervasive when chronic pelvic pain is present. In the current review we will discuss the role of anhedonia in endometriotic chronic pelvic pain. (...) We will also present new lines of research that could lead to more fully clarifying the psychological impact of endometriosis and its detrimental repercussions to quality of life and mental health. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 7.2 (2002) 39-59 [Access article in PDF] Response to My Critics Karen J. Warren Introduction In the Preface to my book, Ecofeminist Philosophy: A Western Perspective on What It Is and Why It Matters, 1 I describe as both "exciting and taxing" the process of writing the book over more than one decade (Warren, x). It was exciting because I was contributing to the still (...) nascent field of ecofeminist philosophy; it was taxing because I often found it difficult to know what I wanted to say about ecofeminism as a philosophical position. The book that emerged is my attempt to say, in my own voice and in a language and style amenable to a reflective lay audience, what I understand ecofeminist philosophy to be and why I think it matters.Ecofeminist Philosophy is premised on the conviction that ecofeminist philosophy has liberating potential to generate insights and recommendations for any theory, practice, or policy that is feminist, ecofeminist, or environmental. The version of ecofeminist philosophy I defend focuses on a variety of contingent interconnections—historical, empirical, socioeconomic, conceptual, linguistic, symbolic and literary, spiritual and religious, epistemological, metaphysical, political, ethical, and theoretical—among the dominations of women, other subordinated humans, nonhuman animals, and nature. It locates the commonalities of mutually reinforcing "isms of domination" (e.g., sexism, racism, classism, heterosexism, ageism, colonialism, [End Page 39] ethnocentrism, speciesism and "naturism," or the unjustified domination of nonhuman nature) in oppressive conceptual frameworks, institutions, and practices mediated and justified by a "logic of domination." Connecting these isms of domination to pressing contemporary feminist and environmental issues, I argue for a version of ecofeminist philosophy that provides both critical analyses of and creative solutions to the intersecting practices, policies, and structures of unjustified ("isms" of) domination.From my perspective, the book is bold and daring. It advocates positions (e.g., regarding spirituality) typically eschewed by feminist and ecofeminist philosophers. It takes positions (e.g., on moral vegetarianism) that are at odds with much mainstream ecofeminist literature on nonhuman animals (particularly ecofeminist animal rights literature). It defends unfamiliar or unpopular philosophical positions (e.g., on the moral considerability of nonhuman animals and nature, on the nature of social justice, on ethics as "care-sensitive," and on theory as theory-in-process). It provides an account of ecofeminist philosophy that is grounded in good science, though not in canonical ideals of objectivity and rationality. It uses cross-cultural empirical, historical, social, and cultural data to motivate and test the theoretical claims of ecofeminist philosophy. And it supports the need for and role of emotional intelligence (including the ability to care) in ethics, ethical-decision making, and the creation of life-affirming, nonviolent communities and social systems.Given the nature of the issues I address and the positions I advocate in Ecofeminist Philosophy, it is to be expected that critics will raise questions, offer criticisms, and encourage further reflection on my part about my conception and defense of ecofeminist philosophy. That is precisely what the three critics who have written commentaries on my book for this special Symposium of Ethics & the Environment—philosophers Chris Cuomo, Trish Glazebrook, and Jim Sterba—have done. It is a humbling and gratifying experience to have one's scholarship the focus of a special issue of a journal; it is even more so when the critics offer comments that are helpful and constructive. I am grateful for the time and philosophical energy all three critics have invested in writing their commentaries.In what follows, I comment on each essay separately. My hope is to provide each essay with the thoughtful attention it deserves, while offering clarifying remarks on what I attempted to do, and the version of ecofeminist philosophy I defend, in Ecofeminist Philosophy. [End Page 40] Trish Glazebrook's Essay It was a pleasure to read Professor Trish Glazebrook's essay. Glazebrook understands what I attempted to do in this book, while also providing useful, illuminating questions and suggestions for future work. I am grateful for her supportive sensitivity and scholarly attention to what I argued in Ecofeminist Philosophy and to ways I might improve my... (shrink)

Can happiness be achieved by means of human will and reason or does it depend on natural conditions which escape the control of man? Is it an expression of autonomy or of heteronomy? The Enlightenment gives manifold answers to this question. Sometimes -above all in England and France -happiness is defined in terms opf pleasure and thus heteronomy is stressed; in other cases -above all in Germany -happiness is conceived as perfection, hence it is rather autonomy that is emphasized. (...) For his part Kant neatly contrasts happiness with autonomy, both from the ethicalpractical standpoint and from the technical-practical one . Such a contrast, which still leaves room for happiness in Kant's view, is carried to extremes in the idealistic tradition that comes to drastically anti-eudemonic results, since the latter either completely rejects happiness as expressing heteronomy or deprives it of its sensitive constituents and embodies it into interior bliss. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetics and Humean Aesthetic Norms in the Novels of Jane AustenEva M. Dadlez (bio)IntroductionThe eighteenth century, Paul Oskar Kristeller tells us, in addition to crystallizing what we now call the fine arts, is also marked by an increased lay interest both in the arts and in criticism.1 Amateurs as well as philosophers ventured critical commentary on the arts. Talk concerning taste or beauty or the sublime was so much (...) a part of general discourse that even novelists of that era incorporated such subjects in their work. Henry Fielding "was able to construct a novel on the true and false sublime in art," according to Samuel Monk, "and to draw an analogy between the sublime in art and the sublime in character."2 So we shouldn't find it surprising that perspectives on aesthetics are sometimes presented in the novels of Jane Austen.3 This subject matter ranges from descriptions of skill in the execution and sensitivity in the appreciation of particular arts to general observations about beauty and taste and what is requisite for the apprehension of the former and the possession of the latter.Consider the following catalog of arts and beauties. Mansfield Park, Sense and Sensibility, and Northanger Abbey contain many references to the beauties of nature, both cultivated and wild. Taste in music is a topic in Persuasion, Mansfield Park, Pride and Prejudice, and Lady Susan. A taste for poetry and literature is the lot of the heroines of Persuasion, Northanger Abbey, Mansfield Park, and Sense and Sensibility. Taste and talent for drawing is exhibited by characters in Sense and Sensibility, Emma, and Northanger Abbey. Both Sense and Sensibility and Mansfield Park contain discussions of the merits of effective reading, that is, reading well aloud. Mansfield Park even comments on [End Page 46] acting ability, albeit rather disapprovingly. More general reflections on taste and beauty, as well as their connection to morality, are equally typical.It is possible to venture several different arguments about the philosophical perspective into which such observations best fit. Kantian analyses have already been ventured in the literature. Anne Crippen Ruderman calls our attention to the Kantian flavor of the connection Austen draws between a sensitivity to natural beauty and one's moral disposition, for instance, and David Kaufman compares Austen to Kant, though primarily in regard to ethics.4 Nonetheless, in this article I will argue that the strongest correlations and correspondences are in fact between Austen's and Hume's positions on aesthetics. Evidence in support of a Kantian analysis will first be canvassed and later compared with claims in favor of a Humean alternative.I will establish that the positions on taste and beauty and delicacy that are explicitly stated in or can be inferred from Austen's novels fit a Humean model—and fit it with a fair degree of precision. In doing so, I hope to demonstrate a correspondence strong enough to serve as the staging area for the further speculations that constitute the second thesis of this article. A great deal has already been said by philosophers about the capacity of literature to elicit moral reactions from the reader. Fictions can present ethical endorsements and invite us to adopt ethical perspectives by making it true in the world of the work that some course of action is right or some character is laudable. They can do this not by telling us that an act is right or a person meritorious but by showing us the rightness of the action and the commendability of the individual—by asking us to imagine traits that call forth our own approval and commendation. I will contend that aesthetic norms can be treated in much the same way as moral norms. That is, I will claim that the fiction of Jane Austen, in addition to evidencing the conscription of a Humean aesthetic, so engages and educates us that we are led imaginatively to adopt certain aesthetic perspectives in the course of its contemplation: not just by being told what is aesthetically pleasing or commendable, but by being made to feel pleasure and to experience commendation; not just by being told what constitutes discriminating taste, but by being led... (shrink)

In the last 30 years the bushmeat trade has led to the slaughter of nearly 90 percent of West Africa’s bonobos, perhaps our closest relatives, and has recently driven Miss Waldron’s red colobus monkey to extinction. Earth was once rich with primates, but every species—except one—is now extinct or endangered because of one primate—_Homo sapiens_. How have our economic and cultural practices pushed our cousins toward destruction? Would we care more about their fate if we knew something of their individual (...) lives and sufferings? Would we help them if we understood how our choices threaten their existence? This anthology helps to answer these questions. The first section of _Primate People _introduces forces that threaten nonhuman primates, such as the entertainment and “pet” industries, the bushmeat trade, habitat destruction, and logging. The second section exposes the exploitation of primates in research facilities, including the painful memories of an undercover agent, and suggests models of more enlightened scientific methods. The final section tells the stories of those who lobby for change, educate communities, and tenderly care for our displaced cousins in sanctuaries. Sometimes shocking and disturbing, sometimes poignant and encouraging, _Primate People _always draws the reader into the lives of nonhuman primates. Activists around the world reveal the antics and pleasures of monkeys, the tendencies and idiosyncrasies of chimpanzees, and the sufferings and fears of macaques. Charming, difficult, sensitive—these testimonies demonstrate that nonhuman primates and human beings are, indeed, closely related. Woven into the anthology’s lucid narratives are the stories of how we harm and create the conditions that endanger primates, and what we can and _must _do to prevent their ongoing suffering and fast-approaching extinction. (shrink)

The aim of the work is to trace personal various poetic images of Maria Pawlikowska- Jasnorzewska connected with the motive of the garden on the example of selected poems from early to the wartime ones. The article is an attempt to read the lyric sensitivity of the writer in the description of the world of garden plants, to discover her painting, philosophical and religious inclinations. Individual fragments of the work are devoted to the following jjnages: the garden of love and (...) pleasure, the modernistic fantastic garden, the exotic garden, Tatra garden as well as the imagined or reminded places that are the mirror of the poet’s soul. The interpretation of the poems is accompanied by the study on the evolution of the style, imagination as well as the poet’s religious thought. The latter part of the work includes conviction of the appearance of many artistic inspirations in the literary output of M. Pawlikowska-Jasnorzewska comprising the romantic and modernistic literature together with influences of symbolism, impressionism, naturalism as well as Hinduism and Japanese painting which apart from Biblical tradition compose a peculiar poetic collage. (shrink)

In this paper the scholastic question 'On the Subject of Virtues' is taken as starting point for a discussion of the vision of man that supports Thomas Aquinas' moral doctrine. According to Thomas not the will, but the sensualitas itself must be the subject of moral virtues. For a virtuous action the right decision and the right intention in the will do not suffice, there must also exist „a perfect disposition in the sensitive appetite to follow the judgement of (...) reason”. If the principle of all virtues is the will, their perfection and completion is in the emotional life which makes someone act with pleasure and spontaneously. Thomas' ethical doctrine is confronted with the sharp criticism of William of Ockham. According to Ockham only dispositions of the will can be moral virtues. It is even questionable whether the sensitive faculties may acquire any habits, and certainly those habits are never intrinsically good, but only good „denominatione extrinseca”. In Ockham's view it is superfluous to postulate habitus in the irrational soul besides the corporeal qualities (which we may acquire through drugs or physical training). Ockham's vision about man is dichotomic. Morality is situated exclusively on the level of reason and will. The body with its sensitive functions is the realm of the passionate life, the indifferent material that must be ordered by the virtuous man. The ethical life is understood as a struggle, requiring will power and firmness. In this context, the difference between temperance and continence disappears. In Thomas' view the sensitive appetite is much more than a biological function, because it can be integrated in a rational desire. The relation between nature and morality is understood als 'participation'. When this metaphysics of participation is abandoned we find a rigoristic voluntarism, as is evident in Ockham. (shrink)

In debates about nature conservation, aesthetic appreciation is typically understood in terms of valuing nature as an amenity, something that we value for the pleasure it provides. In this paper I argue that this position, what I call the hedonistic model, rests on a misunderstanding of aesthetic appreciation. To support this claim I put forward an alternative model based on disinterestedness, and I defend disinterestedness against mistaken interpretations of it. Properly understood, disinterestedness defines a standpoint which precludes self-interest and (...) utility, and it does not entail a passive subject abstracted from who they are. This standpoint is compatible with a 'situated aesthetic' in which appreciation of aesthetic qualities is grounded in an embedded subject who is sensitive to the context and narrative of the object. The alternative model provides a conception of aesthetic value which distinguishes it from amenity value, and it also defines a non-instrumental approach that offers the opportunity for enhanced appreciation and attention to nature's value. (shrink)

After having developed his theory of being, the causes and theology, Avicenna studies in chapter 7 of book IX of Philosophia prima the end of human beings. In this paper I analyze Avicenna’s considerations from a metaphysical perspective, and the importance that metaphysics has in the education of human desire. This education must be developed on metaphysical grounds because human being’s most proper desire does not match that of our sensitive desires. This kind of desire is not immediate to (...) our sensory experience, but is known through the arguments placed at the end of the Metaphysics. Thus, metaphysics as an essential feature of the education of human desire might allow us to distinguish different kinds of men. This attitude leads to the classification between ordinary souls and holy souls, i.e. those which enjoy the pleasure of knowledge and those which not. (shrink)