This is the first modern, annotated and scholarly edition of Jean-Baptiste Du Bos’ _Critical Reflections on Poetry and Painting_, one of the seminal works of modern aesthetics in any language.

A review of deVries' and O'Shea's books, both titled "Wilfrid Sellars". By Jaroslav Peregrin.

William James is notorious for the large number of inconsistencies and at least apparent contradictions in his writings. Many readers conclude that he should be appreciated more for his profound but erratic insights than for any coherent philosophical perspective. Ellen Kappy Suckiel disagrees. She argues that James is far more careful and systematic than many readers realize. Her work on James is guided by the attempt to lay bare his coherent philosophical vision and the consistent philosophical methodology (...) underlying it. As a result of this approach, Suckiel's work on James is both sympathetic to his philosophical insights and carefully argued. In her first book, The Pragmatic Philosophy of William James (1982), Suckiel applies this approach to James's philosophy as a whole. The result is a work of remarkable clarity and insight that serves as a wonderful introduction to James's thought. In her more recent book, Suckiel applies this approach specifically to James's philosophy of religion, with similar felicitous results. Heaven's... (shrink)

ABSTRACT: Central to both James’s earlier psychology and his later philosophical views was a recurring distinction between percepts and concepts. The distinction evolved and remained fundamental to his thinking throughout his career as he sought to come to grips with its fundamental nature and significance. In this chapter, I focus initially on James’s early attempt to articulate the distinction in his 1885 article “The Function of Cognition.” This will highlight a key problem to which James continued to (...) return throughout his later philosophical work on the nature of our cognition, including in his famous “radical empiricist” metaphysics of “pure experience” around the turn of the century. We shall find that James grappled insightfully but ambivalently with the perceptual and conceptual dimensions of the “knowledge relation” or the “cognitive relation,” as he called it—or what, following Franz Brentano, philosophers would later call our object-directed thought or intentionality more generally. Some philosophers have once again returned to James’s work for crucial insights on this pivotal topic, while others continue to find certain aspects of his account to be problematic. What is beyond dispute is that James’s inquiries in this domain were both innovative and of lasting significance. (shrink)

Explores James’s concept of the individual in terms of physiology, psychology, philosophy, and religion.

_Explores James’s concept of the individual in terms of physiology, psychology, philosophy, and religion._.

Although William James claims be a "rabid individualist" and although his commentators agree that his individualism is central to his philosophical views, neither he nor they give an explicit account of that individualism. My goal in this dissertation is to provide such an account. ;In the first three chapters, I discuss the main contexts in which James's individualism arises: the political context, in which James contends that the contributions of individual geniuses are the catalysts of social change; (...) the psychological context, where James argues that psychology is properly the study of finite, individual minds; and the religious/metaphysical context, in which James claims that individuals are irreducible constituents of spiritual reality. ;In the fourth chapter, I present my integration thesis, which argues for a way of minimizing the ambiguities and inconsistencies that plague James's writings on individualism. This thesis claims that James experienced a gradual philosophical conversion in the last ten years of his life and that this conversion allowed him to integrate his earlier beliefs. In his later works, James reconciles active moralism and passive religion, softens his strong anti-intellectualism, and modifies his anti-institutionalism. ;These changes result in an integrated individualism that is also radical. James's individualism is more radical, for example, than that of Emerson or Kierkegaard. On the metaphysical level, Emerson holds individuality to be illusory, and Kierkegaard holds it to be derivative: only James defends its primacy. ;The final chapter consists of a further development of James's views. In it, I present structured wholeness, my theory for applying James's radical and integrated individualism to epiphanal experience. Human experience includes both feelings of wholeness and the structure of everyday, ordinary existence . Structured wholeness claims that the stoic rejection of epiphany and the romantic rejection of mundanity are both pathological. It insists, instead, on the volitional integration of epiphany and mundanity in a process of unlimited personal progress. (shrink)

James O. Young seeks to explain why we value music so highly. He draws on the latest psychological research to argue that music is expressive of emotion by resembling human expressive behaviour. The representation of emotion in music gives it the capacity to provide psychological insight--and it is this which explains a good deal of its value.

BackgroundDespite rapid growth of the scientific literature, no consensus guidelines have emerged to define the optimal criteria for editors to grade submitted manuscripts. The purpose of this project was to assess the peer reviewer metrics currently used in the surgical literature to evaluate original manuscript submissions.MethodsManuscript grading forms for 14 of the highest circulation general surgery-related journals were evaluated for content, including the type and number of quantitative and qualitative questions asked of peer reviewers. Reviewer grading forms for the seven (...) surgical journals with the higher impact factors were compared to the seven surgical journals with lower impact factors using Fisher’s exact tests.ResultsImpact factors of the studied journals ranged from 1.73 to 8.57, with a median impact factor of 4.26 in the higher group and 2.81 in the lower group. The content of the grading forms was found to vary considerably. Relatively few journals asked reviewers to grade specific components of a manuscript. Higher impact factor journal manuscript grading forms more frequently addressed statistical analysis, ethical considerations, and conflict of interest. In contrast, lower impact factor journals more commonly requested reviewers to make qualitative assessments of novelty/originality, scientific validity, and scientific importance.ConclusionSubstantial variation exists in the grading criteria used to evaluate original manuscripts submitted to the surgical literature for peer review, with differential emphasis placed on certain criteria correlated to journal impact factors. (shrink)

Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of aesthetically (...) successful works of art?” and “Is cultural appropriation in the arts morally objectionable?” Part of the highly regarded New Directions in Aesthetics series. (shrink)

Almost all of us would agree that the experience of art is deeply rewarding. Why this is the case remains a puzzle; nor does it explain why many of us find works of art much more important than other sources of pleasure. Art and Knowledge argues that the experience of art is so rewarding because it can be an important source of knowledge about ourselves and our relation to each other and to the world. The view that art is a (...) source of knowledge can be traced as far back as Aristotle and Horace. Artists as various as Tasso, Sidney, Henry James and Mendelssohn have believed that art contributes to knowledge. As attractive as this view may be, it has never been satisfactorily defended, either by artists or philosophers. Art and Knowledge reflects on the essence of art and argues that it ought to provide insight as well as pleasure. It argues that all the arts, including music, are importantly representational. This kind of representation is fundamentally different from that found in the sciences, but it can provide insights as important and profound as available from the sciences. Once we recognise that works of art can contribute to knowledge we can avoid thorough relativism about aesthetic value and we can be in a position to evaluate the avant-garde art of the past 100 years. Art and Knowledge is an exceptionally clear and interesting, as well as controversial, exploration of what art is and why it is valuable. It will be of interest to all philosophers of art, artists and art critics. (shrink)

The problems and the keys to their solutions -- Ontology of artworks -- Copyright and its limits -- Token appropriation -- Pattern appropriation -- Appropriation of artistic elements.

_The Ethics of Cultural Appropriation_ undertakes a comprehensive and systematic investigation of the moral and aesthetic questions that arise from the practice of cultural appropriation. Explores cultural appropriation in a wide variety of contexts, among them the arts and archaeology, museums, and religion Questions whether cultural appropriation is always morally objectionable Includes research that is equally informed by empirical knowledge and general normative theory Provides a coherent and authoritative perspective gained by the collaboration of philosophers and specialists in the field (...) who all participated in this unique research project. (shrink)

Paul Oskar Kristeller famously argued that the modern ‘ system of the arts ’ did not emerge until the mid-eighteenth century, in the work of Charles Batteux. On this view, the modern conception of the fine arts had no parallel in the ancient world, the middle-ages or the modern period prior to Batteux. This paper argues that Kristeller was wrong. The ancient conception of the imitative arts completely overlaps with Batteux’s fine arts : poetry, painting, music, sculpture, and dance. Writers (...) from the sixteenth century on adopted the ancient conception of the imitative arts and anticipated the views of Batteux by 200 years. Batteux simply popularized the rubric ‘fine arts ’. (shrink)

The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the 18th century. James O. Young presents the first complete English translation of the work, with full annotations and a comprehensive introduction, which illuminate Batteux's continuing philosophical interest.

A review of James O. Young’s Semantics of Aesthetic Judgements.

Public health ethics, like the field of public health it addresses, traditionally has focused more on practice and particular cases than on theory, with the result that some concepts, methods, and boundaries remain largely undefined. This paper attempts to provide a rough conceptual map of the terrain of public health ethics. We begin by briefly defining public health and identifying general features of the field that are particularly relevant for a discussion of public health ethics.Public health is primarily concerned with (...) the health of the entire population, rather than the health of individuals. Its features include an emphasis on the promotion of health and the prevention of disease and disability; the collection and use of epidemiological data, population surveillance, and other forms of empirical quantitative assessment; a recognition of the multidimensional nature of the determinants of health; and a focus on the complex interactions of many factors—biological, behavioral, social, and environmental—in developing effective interventions. (shrink)

Are aesthetic judgements simply expressions of personal preference? If two people disagree about the beauty of a painting are both judgements valid or can someone be mistaken about the aesthetic value of an artwork? This volume brings together some of the leading philosophers of art and language to debate the status of aesthetic judgements.

A review of James Young's "Radically Rethinking Copyright in the Arts: A Philosophical Approach" (Routledge 2020).

The Fine Arts Reduced to a Single Principle by Charles Batteux was arguably the most influential work on aesthetics published in the eighteenth century. It influenced every major aesthetician in the second half of the century, and is the work generally credited with establishing the modern system of the arts: poetry, painting, music, sculpture and dance. Batteux's book is also an invaluable aid to the interpretation of the arts of eighteenth century. And yet there has never been a complete or (...) reliable translation of The Fine Arts into English. Now James O. Young, a leading contemporary philosopher of art, has provided an eminently readable and accurate translation. It is fully annotated and comes with a comprehensive introduction that identifies the figures who influenced Batteux and the writers who were, in turn, influenced by him. This book will be of interest to everyone interested in the arts of the eighteenth century, French studies, the history of European ideas, and philosophy of art. (shrink)

DUMMETT HAS BEEN CONCERNED WITH SHOWING HOW ONE MIGHT GIVE\nAN ANTI-REALIST ACCOUNT OF RESTRICTED CLASSES OF SENTENCES.\nTHIS PAPER ARGUES THAT IT IS POSSIBLE TO GIVE AN\nANTI-REALIST ACCOUNT OF ALL CLASSES OF SENTENCES. THAT IS,\nIN THE CASE OF NO CLASSES OF SENTENCES DOES TRUTH TRANSCEND\nWHAT CAN BE WARRANTED. THE KEY TO GLOBAL ANTI-REALISM IS\nREPLACING DUMMETT'S EMPIRICISM WITH A COHERENTIST ACCOUNT\nOF WARRANT. THE AUTHOR POINTS OUT THAT COLIN McGINN'S\nARGUMENT AGAINST GLOBAL ANTI-REALISM FAILS.

A bewildering array of accounts of the ontology of musical works is available. Philosophers have held that works of music are sets of performances, abstract, eternal sound-event types, initiated types, compositional action types, compositional action tokens, ideas in a composer’s mind and continuants that perdure. This paper maintains that questions in the ontology of music are, in Rudolf Carnap’s sense of the term, pseudo-problems. That is, there is no alethic basis for choosing between rival musical ontologies. While we have no (...) alethic basis for choosing any ontology of music, pragmatic reasons can be given for favoring certain ontologies of musical works over others. (shrink)

Recent critics of the coherence theory of truth (notably Ralph Walker) have alleged that the theory is incoherent, since its defence presupposes the correctness of the contrary correspondence theory of truth. Coherentists must specify the system of propositions with which true propositons cohere (the specified system). Generally, coherentists claim that the specified system is a system composed of propositions believed by a community. Critics of coherentism maintain that the coherentist’s assertions about which system is the specified system must be true, (...) not because they cohere with a system of beliefs, but because of facts about what a community believes. I argue that coherentists can admit that there are facts about what systems of beliefs communities accept, without being committed to the claim that these facts are the truth conditions of sentences about what communities accept. (shrink)

"Why should we care about having true beliefs? And why do demonstrably false beliefs persist and spread despite consequences for the people who hold them? Philosophers of science Cailin O’Connor and James Weatherall argue that social factors, rather than individual psychology, are what’s essential to understanding the spread and persistence of false belief. It might seem that there’s an obvious reason that true beliefs matter: false beliefs will hurt you. But if that’s right, then why is it irrelevant to (...) many people whether they believe true things or not? In an age riven by "fake news," "alternative facts," and disputes over the validity of everything from climate change to the size of inauguration crowds, the authors argue that social factors, not individual psychology, are what’s essential to understanding the persistence of false belief and that we must know how those social forces work in order to fight misinformation effectively."–Publisher’s description. (shrink)