This chapter explores the suggestion that early attachment underpins the human capacity for empathy, and that empathy, in turn, is a condition of moral competence. We are disposed by nature to seek intimacy with our human conspecifics: the securely attached child learns that, whatever perils the world may hold, his well-being is shielded within the private sphere of personal intimacy. But why should secure attachment also favour—as it does—recognition of moral obligations towards those with whom we have no special standing (...) and share no personal destiny—recognition that the claims of persons as such merit our attention and regard? One answer to this question looks beyond the fact of secure attachment to a further psychological capacity, our capacity for empathy: secure attachment promotes susceptibility to empathy, and an appropriate susceptibility to empathy is a condition of basic moral competence. The chapter proposes that the deeper and more persisting significance of empathy to morality can be understood from a developmental perspective. Looking to mentalization-based attachment theory allows us to understand how empathic mirroring enters into our earliest intimate, interactions with other persons, securing our default commitment to recognizing their reality as bound up with our own. In this way, empathy constitutes one of the natural foundations on which the more complex architecture of moral experience is constructed. Attachment theory helps us to understand the indispensable role empathy plays at the beginning of the circuitous road to virtue. (shrink)

Alison Denham examines the ways in which our engagement with literary art, and metaphorical discourse in particular, informs our moral beliefs. She considers to what extent moral and metaphorical discourses are capable of truth or falsehood, warrant or justification, and how it is that we understand these discourses. This vital new study offers a fresh view of the nature of the moral and the metaphorical, and the relations between art and morality.

Abstract This chapter addresses the meta-ethical and psychological implications of Murdoch’s epistemic internalism—her claim that moral responsiveness is a condition of reliable and accurate moral evaluations. Part 1 examines Murdoch’s view that moral judgments feature a quasi-experiential phenomenology analogous to that of certain perceptual ones. Focussing on the phenomenology of our perception-based judgments of certain aspectual properties (e.g., pictorial and musical ones) it argues that such judgments support both Murdoch’s analogy and the internalism she takes it to imply. In Part (...) 2 this chapter considers Murdoch’s internalism as a psychological thesis, assessing it in view of several empirical studies of psychopathic subjects. It argues that the psychopath’s distinctive complex of cognitive and motivational deficits supports Murdoch’s conviction that moral judgment and moral motivation are interdependent. Just as Murdoch believed, many of our ordinary, non-pathological moral beliefs seem to be the natural progeny of our responsiveness to other persons, and so inherit the intrinsic power that others have to move us. (shrink)

This chapter explores the cognitive and moral significance of the kind of imaginative experience poetry offers. It identifies two forms of imaginative experience that are especially important to poetry: ‘experiencing-as’ and ‘experience-taking’. Experiencing-as is ‘inherently first-personal, embodied, and phenomenologically characterized’ while in experience-taking one ‘takes the perspective of another, simulating some aspect or aspects of his psychology as if they were his own’. Through a sensitive and probing reading of Paul Celan’s Psalm, the chapter shows the role these two forms (...) of experience play in producing the unique form of ethical and epistemic value poetry can bear. The chapter’s argument for this has important implications for our understanding of the poetic imagination and nature of our experience of meaning in poetic contexts. (shrink)

Aesthetic transfiguration, as described by Nietzsche, is the capacity of art to alchemize the meaningless sufferings of natural existence into the aesthetically magnificent struggle that is human ‘life’. Like Nietzsche, Schopenhauer assessed ‘art from the perspective of life’. As Schopenhauer is standardly read, however, his conception of aesthetic experience has little in common with that offered by Nietzsche. Against the standard reading, this chapter argues that Nietzsche’s psychology of aesthetic experience—and in particular his idea that aesthetic transfiguration invests human experience (...) with positive value—is essentially an elaboration of insights owed to Schopenhauer. (shrink)

'PERHAPS WHAT is inexpressible (what I find mysterious and am not able to express)', wrote Wittgenstein, 'is the background against which whatever I could express has its meaning'. Wittgenstein's remark is a useful reminder to all who attempt to write about the nature and the value of art, for there our powers of expression often seem inadequate to the phenomena we aim to describe. In such cases it is natural to direct attention to the 'background' of aesthetic experience itself. In (...) consequence, many philosophical elucidations of art works will make good sense only to whose who are already engaged with them on their own terms—engaged with their distinctive character and forms. That this is so is perhaps most evident when the philosopher's target is the art of music. Roger Scruton's latest contribution to philosophical aesthetics, The Aesthetics of MusIc, is guided by a deep appreciation of the background of musical experience and he often allows music to speak for itself, through musical example and illustration. This study is exceptionally, if not uniquely, informed by a wide and thorough acquaintance with its subject matter, and it is commendably replete with references to, andmusic examples illustrating specific compositions. (shrink)

The nature and consequences of readers’ affective engagement with literature has, in recent years, captured the attention of experimental psychologists and philosophers alike. Psychological studies have focused principally on the causal mechanisms explaining our affective interactions with fictions, prescinding from questions concerning their rational justifiability. Transportation Theory, for instance, has sought to map out the mechanisms the reader tracks the narrative experientially, mirroring its descriptions through first-personal perceptual imaginings, affective and motor responses and even evaluative beliefs. Analytical philosophers, by contrast, (...) have largely focussed on the problems fiction poses for traditional theories of rationality (as in the ‘Paradox of Fiction), challenging fiction’s wider epistemic value. The result has been a theoretical impasse in which the power of fiction to affectively ‘transport’ a reader is at once often lauded (by psychologists) as a privileged route to interpersonal understanding, and condemned (by philosophers) as an abdication of the authority of reason. This chapter surveys some of the central claims on both sides, tracing the source of the debate to competing conceptions of rationality. (shrink)

Is the tonal ordering of music, and the order of European triadic tonality in particular, the developed manifestation of an essential musical structure—a structure naturally suited to our human capacity to organize sounds musically? Historically and geographically, triadic tonality is a highly local phenomenon, limited to music beginning in the mid-seventeenth century and, until the nineteenth century, almost wholly confined to the Western European musical tradition. Some theorists accordingly regard tonality as a dispensable aesthetic convention—and one which, moreover, has had (...) its day. For many listeners, however, works within this tradition possess a distinctive ability to embody musical movement and expression. This paper examines Roger Scruton's defense of tonality as developed in the European common practice period. I examine his reasons for supposing that tonality is an ineliminable feature of sounds heard and understood as music. Those reasons, I conclude, are inconclusive; on their own they do not show that tonality either will or should persist as an authoritative musical order. Triadic tonality has, at best, an uncertain future. (shrink)

Progressive family policy regimes typically aim to promote and protect women’s opportunities to participate in the workforce. These policies offer significant benefits to affluent, two-parent households. A disproportionate number of low-income and impoverished families, however, are headed by single mothers. How responsive are such policies to the objectives of these mothers and the needs of their children? This chapter argues that one-size-fits-all family policy regimes often fail the most vulnerable household and contribute to intergenerational poverty in two ways: by denying (...) at-risk children adequate parenting, and by undermining their mothers’ legitimate interest in nurturing and caring for their own children. The capabilities of these mothers and the well-being of their children are better served by policies which recognise maternal caregiving as a productive and valuable occupation meriting equal respect and social support. (shrink)

The classical tragedies relate conflicts, choices and dilemmas that have meaningful parallels in our own experience. Many of the normative dimensions of tragedy, however, rely critically on the causal and motivational efficacy of divine forces. In particular, these narratives present supernatural interventions invading their characters’ practical deliberations and undermining their claims to autonomous agency. Does this dynamic find any analogy in a contemporary, secular conception of moral agency? It does, but it is an analogy that challenges certain standard philosophical accounts (...) of agentive self-governance. (shrink)

(No abstract is available for this citation).

This unique collection of essays focuses on various aspects of Plato's Philosophy of Art, not only in The Republic , but in the Phaedrus, Symposium, Laws and related dialogues. The range of issues addressed includes the contest between philosophy and poetry, the moral status of music, the love of beauty, censorship, motivated emotions.

Hailed by Margaret Thatcher as the founder of modern conservatism, Keith Joseph is commonly ranked among the most influential politicians of the late-20th century. A complex and enigmatic figure Joseph was almost unique among Mrs Thatcher's senior ministers in refusing to write his own memoirs. Challenging both the "mad monk" view held by his critics and his status of mythical hero to his admirers, the authors present a picture of Joseph as a thinker and decision-maker. the authors tell of Joseph's (...) formative years before he entered Parliamnet in 1956: the powerful Jewish dynasty into which Josph was born; his time at Harrow; at Oxford; his war years in the Royal Artillery; and his Fellowship at All Souls. This volume charts the political career of Keith Joseph. The authors challenge Joseph's self-declared conversion to Conservatism in 1974 and the importance of his "education" of Margaret Thatcher. His own ambition, intellectual integrity and consistency are all examined and a different picture emerges of his role as the intellectual driving force behind Conservative Government policy in the 1980s. (shrink)

Hailed by Margaret Thatcher as the founder of modern conservatism, Keith Joseph is commonly ranked among the most influential politicians of the late-20th century. A complex and enigmatic figure Joseph was almost unique among Mrs Thatcher's senior ministers in refusing to write his own memoirs. Challenging both the "mad monk" view held by his critics and his status of mythical hero to his admirers, the authors present a picture of Joseph as a thinker and decision-maker. the authors tell of Joseph's (...) formative years before he entered Parliamnet in 1956: the powerful Jewish dynasty into which Josph was born; his time at Harrow; at Oxford; his war years in the Royal Artillery; and his Fellowship at All Souls. This volume charts the political career of Keith Joseph. The authors challenge Joseph's self-declared conversion to Conservatism in 1974 and the importance of his "education" of Margaret Thatcher. His own ambition, intellectual integrity and consistency are all examined and a different picture emerges of his role as the intellectual driving force behind Conservative Government policy in the 1980s. (shrink)

Hailed by Margaret Thatcher as the founder of modern conservatism, Keith Joseph is commonly ranked among the most influential politicians of the late-20th century. A complex and enigmatic figure Joseph was almost unique among Mrs Thatcher's senior ministers in refusing to write his own memoirs. Challenging both the "mad monk" view held by his critics and his status of mythical hero to his admirers, the authors present a picture of Joseph as a thinker and decision-maker. the authors tell of Joseph's (...) formative years before he entered Parliamnet in 1956: the powerful Jewish dynasty into which Josph was born; his time at Harrow; at Oxford; his war years in the Royal Artillery; and his Fellowship at All Souls. This volume charts the political career of Keith Joseph. The authors challenge Joseph's self-declared conversion to Conservatism in 1974 and the importance of his "education" of Margaret Thatcher. His own ambition, intellectual integrity and consistency are all examined and a different picture emerges of his role as the intellectual driving force behind Conservative Government policy in the 1980s. (shrink)

Patrick Lancaster Gardiner is best known and most widely esteemed for his work on the nature of historical explanation. By addressing the problem of the limits of objectivity in relation to a variety of philosophical issues, he presciently identified the source of a number of philosophical disputes well before they had properly developed. This was certainly the case in Gardiner's treatment of historical explanation, and it is true also of his later treatment of the claims of the personal versus the (...) impersonal in ethical life. (shrink)