An anthology of writings by and about Rudolf Steiner qua economist that documents his search for a deeper understanding of modern economic life. This book throws light on many of the problems that face us today, problems that we cannot solve unless we take hold of the economic life in a conscious, human way and resist the temptation to defer to market forces alone. Though well-known as a seer, the idea of Rudolf Steiner as an economist may seem surprising. Seers (...) do not usually have much concrete to say about economic life, beyond laments about its evils and injunctions that it be guided by some moral dimension. Rudolf Steiner, however, gave many lectures and wrote many articles about modern economic life, which he saw as the arena in which humanity has to find a new relationship to the spirituality that formerly came from above or outside -- from churches and external principles. Today the human being has to find morality within, which one cannot fully do unless one takes hold of the economic realm in a conscious, human way. Whether through concrete references to the meaning and working of money, or in attempting to give a fuller understanding of work or of the significance of market economics in our time, Steiner shows himself to be well versed in the subject. This publication presents a selection of his articles in a context of essays by Christopher Houghton Budd. (shrink)

This volume brings together eminent theologians, philosophers and political theorists to discuss such questions as how religious understandings have shaped the moral landscape of contemporary culture; the possible contributions of theology and theologically informed moral argument to contemporary public life; the problem of religious and moral discourse in a pluralistic society; and the proper relationship between religion and culture.

My response consists essentially of an attempt to throw light on Peacocke's basic proposal as to how musical expressiveness should be understood by a comparison and contrast with a somewhat similar suggestion of mine.

The paper begins with an overview of various well-known accounts of the musical expression of emotion that have been proposed in recent years. But rather than proceeding to assess the merits and faults of these accounts the paper examines whether a radically new theory by Christopher Peacocke is superior to all of them. The theory, which certainly has a number of attractive features, is based on the idea of metaphorical-as perception. The notion of metaphorical-as perception needs to be elucidated (...) and the examination of Peacocke’s theory takes place by playing it off against a rival theory that is based on a different kind of perception, imaginative-as perception. The paper argues that, as the basis of an account of the musical expression of emotion, imaginative-as perception has all the advantages and none of the apparent defects of metaphorical-as perception. (shrink)

Our lives are such that moral wrongdoing is sometimes inescapable for us. We have moral responsibilities to persons which may conflict and which it is wrong to violate even when they do conflict. Christopher W. Gowans argues that we must accept this conclusion if we are to make sense of our moral experience and the way in which persons are valuable to us. In defending this position, he critically examines the recent moral dilemmas debate. He maintains that what is (...) important in this debate is not whether there are irresolvable moral conflicts, but whether there are moral conflicts in which wrongdoing is unavoidable. Though it would be incoherent to conclude moral deliberation by deciding to perform incompatible actions, he argues that there is nothing incoherent in supposing that we have conflicting moral responsibilities. In this way, he shows that it is possible to capture the intuitions of those who have defended the idea of moral dilemmas while meeting the objections of those who have rejected this idea. Gowans carefully evaluates utilitarian and Kantian analyses of moral dilemmas. He argues that these approaches eliminate genuine moral conflict only by displacing persons as direct objects of moral concern. As an alternative, he develops a more concrete account in which moral responsibilities to persons are central. The book also includes discussions of Melville's Billy Budd, methodology in moral philosophy, moral pluralism, moral tragedy, and "dirty hands" in politics. (shrink)

In 1965 Peter Winch published ‘The Universalisability of Moral Judgements’. I feel that the argument in this paper has never been successfully refuted, and that it remains relevant to many contemporary debates in moral philosophy. Winch argued against the widespread assumption that a moral judgement, if true, ought to be universalisable for all people in relevantly similar situations. He considers the example of Captain Vere in Melville’s ‘Billy Budd’: Vere managed to condemn a man he considered innocent, while Winch (...) concludes that in the same situation he could not have done it. Many contemporary moral realists would demand that at least one of them was incorrect, probably because of misperceiving the situation . Instead, says Winch, there is a sense in which one action legitimately ‘struck’ Vere, but not Winch, as correct, and that this is the end of the ‘dispute’ between them. However, this requires a robust defence against counter-charges of relativism. Part of the problem with Winch’s article, I argue, is his ambiguous use of the concept of ‘moral rightness’, but I remedy this, and defend Winch against two further sympathetic criticisms. (shrink)

David Hume's relatively short essay 'Of the Standard of Taste' deals with some of the most difficult issues in aesthetic theory. Apart from giving a few pregnant remarks, near the end of his discussion, on the role of morality in aesthetic evaluation, Hume tries to reconcile the idea that tastes are subjective (in the sense of not being answerable to the facts) with the idea that some objects of taste are better than others. 'Tastes', in this context, are the pleasures (...) or displeasures that a person can take in the beauties of poems, paintings, and other artistic compositions (though Hume also wants to stress the continuities between tastes, so understood, and the bodily sense of taste). The position at which Hume arrives in the essay (despite some dialectical unclarity) is that some people – the 'true judges'– determine by their 'joint verdict' which works are meritorious. This solution continues to exercise a fascination, as does Hume's complicated route to it. Author Recommends: Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. This paper places 'Of the Standard of Taste' in an especially rich context, and asks why Hume concentrates on true judges instead of the improvement of one's own taste. Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon Press, 1984), 177–208. This chapter, embedded in an exposition of Mothersill's 'First Thesis' (the denial that there are principles of taste) and 'Second Thesis' (the affirmation that some judgments of taste are genuine judgments), gives a detailed running commentary on Hume's essay. A shorter self-contained version of the chapter appeared as 'Hume and the Paradox of Taste' in Aesthetics: A Critical Anthology , 2nd ed., eds. George Dickie, Richard Sclafani, and Ronald Roblin (New York, NY: St. Martin's Press, 1989, 269–86). Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. An importance recent article, Levinson's piece argues that the 'real' difficulty with Hume's essay has gone unnoticed: why should I care about what Hume's true judges think? Christopher Williams, 'Some Questions in Hume's Aesthetics', Philosophy Compass 2/2 (2007). This article provides a brief overview of the topics discussed under weeks 3–5 in the sample syllabus below. It is intended to provide a roadmap for the particular set of readings listed there. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. This is a stimulating paper in moral philosophy that treats Hume's essay on taste as a model for a serious subjectivism. Wiggins then presents his own brand of subjectivism as an alternative to Hume's. Online Materials: Hume's Aesthetics (Ted Gracyk): http://plato.stanford.edu/entries/hume-aesthetics/ Sample Syllabus: Recommended background reading on Hume's historical context: Peter Kivy, The Seventh Sense: Francis Hutcheson and Eighteenth-Century British Aesthetics , 2nd ed. (Oxford: Oxford University Press, 2003), especially Part III. Recommended background reading on the general topic of taste: David A. Whewell, 'Taste', Blackwell Companion to Aesthetics (Oxford: Blackwell, 1992), 415–18. Dabney Townsend and Carolyn Korsmeyer, 'Taste', Encyclopedia of Aesthetics , ed. Michael Kelly (New York, NY and Oxford: Oxford University Press, 1998), 4:355–62. Ted Cohen, 'The Philosophy of Taste: Thoughts on the Idea', Blackwell Guide to Aesthetics , ed. Peter Kivy (Oxford: Blackwell, 2004), 167–73. Week 1: Hume on beauty, art, and aesthetic judgment in the Treatise of Human Nature and the Enquiry Concerning the Principles of Morals The following references are usable for any complete edition of the Treatise or Enquiry Treatise , 2.1.8 ('Of Beauty and Deformity') Treatise , 2.2.5 ('Of Our Esteem for the Rich and Powerful') Treatise , 2.2.8 ('Of Malice and Envy'), final three paragraphs Treatise , 2.2.11 ('Of the Amorous Passion, or Love Betwixt the Sexes') Treatise , 3.1.2 ('Moral Distinctions Deriv'd from a Moral Sense') Treatise , 3.3.1 ('Of the Origin of the Natural Virtues') Treatise , 3.3.5 ('Some Farther Reflexions Concerning the Natural Virtues') Enquiry , Appendix 1 ('Of moral sentiment') Week 2: Hume's essays Essays Moral, Political, and Literary , ed. Eugene Miller (Indianapolis, IN: LibertyClassics, 1985) is the most commonly used edition today. 'Of the Delicacy of Taste and Passion' 'Of Eloquence' 'Of the Rise and Progress of the Arts and Sciences' 'Of Simplicity and Refinement in Writing' 'Of Tragedy' 'Of the Standard of Taste' Week 3: Circularity–Virtuous or Vicious? Peter Kivy, 'Hume's Standard of Taste: Breaking the Circle', British Journal of Aesthetics (1967): 57–66. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. Week 4: Rules of Art Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon, 1984), 177–208. James Shelley, 'Hume's Double Standard of Taste', Journal of Aesthetics and Art Criticism (1994): 437–45. Nick Zangwill, 'Hume, Taste, and Teleology', The Metaphysics of Beauty (Ithaca, NY: Cornell University Press, 2001), 149–65. Week 5: The True Judge Malcolm Budd, 'Hume and Kant', 'Hume's Standard of Taste', 'Hume and Human Nature', Values of Art (London: Allen Lane, 1995), 16–24 . Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. Week 6: Moralism in Aesthetic Judgment: Hume and Beyond Kendall Walton, 'Morals in Fiction and Fictional Morality', Proceedings of the Aristotelian Society (1994): 27–50. Richard Moran, 'The Expression of Feeling in Imagination', Philosophical Review (1994): 75–106. Tamar Szabo-Gendler, 'The Puzzle of Imaginative Resistance', Journal of Philosophy (2000): 55–81. Focus Questions 1. How does Hume distinguish between matters of 'fact' and 'sentiment'? 2. What is a 'rule of art', and are there any rules? 3. Can a bad critic be 'silenced'? 4. What are the characteristics of good critics? 5. Should we expect good critics to agree on the merits of a work, and should I care about becoming a good critic myself? 6. Is it possible to distinguish variations in taste for which we should expect a standard and variations for which it is 'vain' to have such an expectation? 7. How is the excellence of a work related to the exercise of taste? 8. If a work of literature has a moral outlook that differs from our own, should we consider the work defective on literary grounds? (shrink)

Genealogy of the profession -- Place and identity -- Being informed about informing -- What's the right thing to do? -- In a democracy -- The information society -- Optimistic synthesis.

In lieu of an abstract, here is a brief excerpt of the content:77 KEMP SMITH, HUME AND THE PARALLELISM BETWEEN REASON AND MORALITY In a letter to a physician written in 1734 Hume expressed a dissatisfaction with the current state of philosophy and criticism, a dissatisfaction which he said had led him to strike out on his own and "seek out some new Medium, by which Truth might be establisht." He then went on to claim success: "After much Study, & (...) Reflection on this, at last, when I was about 18 Years of Age, there seem'd to be open'd up to me a new Scene of Thought, which transported me beyond Measure, & made me, with an Ardor natural to young men, throw up every other Pleasure or Business to apply entirely to it..." The wording suggests that the new Scene of Thought was a clear revelation, but nowhere does Hume tell us what the revelation was. (A clue, perhaps, is to be found in the "Abstract," where Hume says that if anything entitles him to the name of an inventor, "it is the use he makes of 2 the principle of the association of ideas.") Kemp Smith is convinced, however, that he knows what the new Scene of Thought was. According to Kemp Smith, Hume had already discovered that morality rests on feeling alone and depends in no way on insight or evidence, and the new discovery was simply the sudden realization that belief is equally independent of these considerations. I will argue in this paper that the great difficulty in this interpretation is that in those sections of the Treatise and the second Enquiry in which Hume expounds what could be called his moral epistemology he is concerned with pointing out what he considers to be important differences between reason and taste and between understanding and morality. I am not, however, questioning the validity of Kemp Smith's naturalistic interpretation, if it is broadly construed. 78 A curiosity of Kemp Smith's exposition is his citing of passages from Hume, which at first glance anyway seem to weaken, rather than strengthen, his case for the parallelism of moral and factual judgments. I will give two examples, the first being a quotation from the Green and Grose edition of the Enquiry. That Faculty, by which we discern Truth and Falsehood, and that by which we perceive Vice and Virtue had long been confounded with each other, and all Morality was suppos'd to be built on eternal and immutable Relations, which, to every intelligent Mind, were equally invariable as any Proposition concerning Quantity or Number. But a late Philosopher [Mr. Hutcheson, added as a note] has taught us, by the most convincing Arguments, that Morality is nothing in the abstract Nature of Things, but is entirely relative to the Sentiment or mental Taste of each particular [i.e. species] of Being; in the same Manner as the distinctions of sweet and bitter, hot and cold, arise from the particular feeling of each Sense or Organ. Moral Perceptions, therefore, ought not to be class 'd with the Operations of the Understanding, but with the Tastes or Sentiments. On the next page of this book Kemp Smith refers to this passage as part of the evidence for his claim that "the view here taken of our moral judgments of approval and disapproval can be extended to our beliefs regarding matters of fact and existence, and that 'logic', morals and 'criticism' may thus be brought 4 within the scope of the same general principles." The reference to "external and immutable Relations" may have led Kemp Smith to believe that Hume's thesis in this paragraph is the contrast between demonstrative and other kinds of judgment, but the last sentence is a decisive refutation of that interpretation. Hume frequently uses the term "understanding" to refer to causal reasoning, though in this sentence he seems to be using the term in 79 the more inclusive sense that would include demonstration and relations of ideas as well. But I know of no instances in which "understanding" is restricted to what Hume calls science, i.e., demonstration. Kemp Smith also quotes from the last section of Appendix I to the second Enquiry. This passage, appearing in the Selby-Bigge... (shrink)

In an age where issues like climate change and the unintended consequences of technological innovation are high on the ethical and political agenda, questions about the nature and extent of our responsibilities to future generations have never been more important, yet simultaneously so difficult to answer. This book takes a unique approach to the problem by drawing on diverse traditions of thinking about care (including developmental psychology, phenomenology and feminist ethics) to explore the nature and meaning of our relationship with (...) the future. Demonstrating that many influential perspectives on intergenerational ethics, including positions advanced by John Rawls, Brian Barry, and Ulrich Beck are undermined by problems relating to uncertainty, it shows that an approach based on care ethics can confront the uncertain future successfully and give a viable account of the nature and scope of future-oriented responsibilities. (shrink)

Fiction and truth : ancient stories about Pythagoras -- In search of the historical Pythagoras -- The Pythagorean secret society -- Thinkers influenced by Pythagoras and his pupils.

This landmark work traces the heritage of thought, from the beginnings of modern science in the seventeenth century, until today, that has influenced the profession of library and information science.

If the unexamined life is not worth living, then we should cast the light of reason upon it. That is an old idea. It has lately been given a new direction by hope that the theory of rational choice can shed a suitable light.

Suppose we believe that God created the world. Then surely we want it to be the case that he intended, in some sense at least, to create THIS world. Moreover, most theists want to hold that God didn't just guess or hope that the world would take one course or another; rather, he KNEW precisely what was going to take place in the world he planned to create. In particular, of each person P, God knew that P was to exist. (...) Call this the "standard" conception. Most theists find the standard conception appealing. Unfortunately, the view seems to conflict with the equally appealing idea — call it "temporal actualism" — that there are no "future" individuals beyond those that already exist in the present moment. For, on this view, for any historical person P, prior to creation, there was no such person as P and hence nothing about P for God to know. Hence, in particular, God couldn't have known that P was to exist. This is of course not a new problem. But past solutions to it are highly problematic. In this paper, after canvassing previous approaches, I will propose a solution that seems to preserve both temporal actualism and a suitably robust form of the standard conception while avoiding the pitfalls of the past. (shrink)

The Acquaintance Principle maintains that aesthetic knowledge must be acquired through first-hand experience of the object of knowledge and cannot be transmitted from person to person. This implies that aesthetic knowledge of an object cannot be acquired either from an accurate description of the non- aesthetic features of the object or from reliable testimony of its aesthetic character. The question I address is whether there is any sound argument in support of the Principle. I give scant consideration to the possibility (...) of deriving knowledge from a non- aesthetic description. If this were to be a real possibility, it would certainly disprove the Acquaintance Principle, but its impossibility would not establish it. Furthermore, if the way knowledge were to be derived from a non- aesthetic description were through its enabling a person to imagine the object, a defender of the Acquaintance Principle might simply deem imagining to be a form of first-hand experience. I focus on the possibility of acquiring aesthetic knowledge through reliable testimony because here there is a style of argument that, if correct, would rule out the possibility of knowledge of an item's aesthetic properties being transmitted to someone who lacks the requisite first-hand experience, and the manoeuvre of including imagining under the head of first-hand experience is not available. An argument of this kind is, I believe, the only possible way of establishing the Acquaintance Principle. I try to show that this style of argument fails and that the Acquaintance Principle should be rejected. (shrink)

Crises and shortcomings of various sorts have prompted calls, especially from powerful corporate elites and organizations, for greater managerial expertise and training within the churches. This article examines a few select examples of growing reliance upon managerial techniques in church life and practice in recent years as a prelude to considering whether more areas of pastoral organization should be transformed by ideologies and techniques derived from for-profit corporations. Using examples drawn primarily from contemporary Catholicism in the United States, this article (...) aims to contribute to ecumenical discussions in ecclesiology, ethics and economics. (shrink)

While universalist theories have come under increasing attack from relativist and post-modern critics, such as Walzer, MacIntyre and Rorty, Kantian constructivism can be seen as a saviour of universalist ethics. Kantian constructivists accept the criticism that past universalist theories were foundational and philosophically comprehensive and thus contestable, but dispute that universalist principles are unattainable. The question then arises if Kantian constructivism can deliver a non-foundational justification of universal principles. Rawls, the first Kantian constructivist, has seemingly retreated from the universalist ambitions (...) of Kantian constructivism. However, others have taken up the project of Kantian constructivism. One of them is O’Neill, who argues that she can succeed where Rawls failed and provide a truly universal non-foundational constructivism. Her requirements for such a constructivism are a constructive justification of the procedure of construction and the use of only abstract, non-ideal starting points. I will argue that O’Neill fails on both accounts. Instead of justifying the principle of practical reason constructively she gives an instrumental and therefore conditional justification. Instead of relying on purely abstract starting points her account builds on an underlying value assumption. This indicates inherent contradictions within constructivism, and might force defenders of universalism to look elsewhere to answer the relativist and post-modern critic. (shrink)

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of (...) nature, approaching the subject from a variety of angles. As well as developing Budd's own original ideas, the book provides a comprehensive treatment of Kant's classic aesthetics of nature, and an encyclopaedic critical survey of recent literature on the subject. (shrink)

Auth: University College London, Distributed by Viking.

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Just as nature offers aesthetic experiences beyond the reach of art, so the aesthetics of nature raises issues not contained within the philosophy of art. -/- Malcolm Budd presents four interlinked essays addressing all the main problems about the aesthetics of nature. These (...) include: how the aesthetic appreciation of nature should be understood; the character of an aesthetic response to nature; what kinds of aesthetic experience nature affords and what kinds of aesthetic judgement it is amenable to; the aesthetic significance of intrusions by humanity into nature; whether aesthetic judgements about nature can be objectively true; the doctrine of positive aesthetics with respect to nature; the aesthetic significance of knowledge of nature and in particular whether scientific knowledge is necessary for serious aesthetic appreciation of nature; and the correct model for the appropriate aesthetic appreciation of nature. -/- The Aesthetic Appreciation of Nature also includes a comprehensive exposition and examination of the thoughts of the greatest philosopher to make a substantial contribution to the subject, Immanuel Kant, and an encyclopaedic critical survey of much of the most significant recent literature. Scholars and students of aesthetics will find valuable resources here, and much to think about. (shrink)

I INTRODUCTION WITTGENSTEIN'S CONCEPTION OF THE PHILOSOPHY OF PSYCHOLOGY What did Wittgenstein understand by the philosophy of psychology? ...

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of (...) nature, approaching the subject from a variety of angles. As well as developing Budd's own original ideas, the book provides a comprehensive treatment of Kant's classic aesthetics of nature, and an encyclopaedic critical survey of recent literature on the subject. (shrink)