Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

Ethics in business is the most urgent problem facing America today. Now two of the best-selling authors of our time, Kenneth Blanchard and Norman Vincent Peale, join forces to meet this crisis head-on in this vitally important new book. The Power of Ethical Management proves you don't have to cheat to win. It shows today's managers how to bring integrity back to the workplace. It gives hard-hitting, practical, ethical strategies that build profits, productivity, and long-term success. From a straightforward (...) three-step Ethics Check that helps you evaluate any action or decision, to the "Five P's" of ethical behavior that will clarify your purpose and your goals, The Power of Ethical Management gives you an immensely useful set of tools. These can be put to work right away to enhance the performance of your business and to enrich the quality of your life. The Power of Ethical Management is no theoretical treatise Peale and Blanchard speak from their own enormous and unique experience, They reveal the nuts and bolts, practical strategies for ethical decisions that will show you why integrity pays. "So Vince Lombardi was wrong. Winning is not the only thing as headlines and hearings from Wall Street to Washington confirm. Now comes a better game plan from the powerful one-two punch of Ken Blanchard and Norman Vincent Peale in a quickreading new book, The Power of Ethical Management. Peale and Blanchard may be the best thing that has happened to business ethics since Mike Wallace invented 60 Minutes. -- JOHN MACK CARTIER Editor-in-Chief Good Housekeeping. (shrink)

Drawing on the writings of the Jewish thinker, Abraham Joshua Heschel, I defend a partial response to the problem of divine hiddenness. A Jewish approach to divine love includes the thought that God desires meaningful relationship not only with individual persons, but also with communities of persons. In combination with John Schellenberg’s account of divine love, the admission of God’s desire for such relationships makes possible that a person may fail to believe that God exists not because of any individual (...) failing, but because the individual is a member of a larger community that itself is culpable. (shrink)

In the Hebrew Scriptures, there are familiar consequences for disobedience to God—destruction of holy sites, slavery, exile, and death. But there is one consequence that is less familiar and of special interest in this chapter. Disobedience to God sometimes results in stark reversals in God’s very relationship and experiential availability to God’s own people. Such people may even remove God’s very presence. This is a curious form of punishment that threatens the very spiritual identity of the victims of the reversal. (...) This chapter explores divine reversal in the Hebrew Scriptures (and its continuation in the New Testament). Insofar as the self-identified people of God commit positive injustices against others, and even insofar as they are culpable for failing to prevent such injustices from occurring, devotees of the Hebrew Scriptures—so, devout Jews and Christians alike—ought to take seriously the possibility that God will side with those who suffer the injustices and even, in a sense, sanctify their life, practices, and identity. Divine reversals pose problems for Jewish and Christian ethics, which must grapple with the possibility that God might seem to adopt inconsistent moral positions across time—or at least inconsistent moral postures. (shrink)

At some time between 1907 and 1912, probably very much nearer the earlier date, Bradley produced the first draft of an article on Christian morality. He did this in response to criticism that his moral ideas were anti-Christian. This charge was based mainly on the content of two articles that he published during 1894 in the International Journal of Ethics , one called ‘Some Remarks on Punishment’ and the other ‘The Limits of Individual and National Self-Sacrifice’. In these Bradley had (...) maintained that the conventional ‘Christian’ belief in the sacredness of life undermined any sensible approach to punishment and any clear understanding of the moral importance of self-assertion . It encouraged a squeamishness about retribution and ‘social surgery’. It devalued proper human ends and interests, and the rights and duties founded on them. There was needed ‘a correction of our moral view, and a return to a non-Christian and perhaps a Hellenic ideal’, one that would recognize the unlimited right of the moral organism to dispose of its members and to use force internationally in defence of right. Bradley pulled no punches and had this to say about the self-styled ‘Christian’ party. (shrink)

I propose a way of understanding empathy on which it does not necessarily involve any-thing like thinking oneself into another’s shoes, or any imagining at all. Briefly, the empa-thizer uses an aspect of her own mental state as a sample, expressed by means of a phenomenal concept, to understand the other person. This account does a better job of explaining the connection between empathetic experiences and the objects of empathy than most traditional ones do. And it helps to clarify the (...) relations among different varieties of empathy and empathy-like experiences, including empathy with fictional characters. -/- . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.3 (2001) 401-423 [Access article in PDF] Petrarch and the Genealogy of Asceticism W. Scott Blanchard The morality of thought lies in a procedure that is neither entrenched nor detached. --Theodor Adorno Perhaps no author within or outside of the canon of Western literature wrote as extensively on the topic of solitude as did Francesco Petrarch. While many of our modern associations (...) with the term may find some of their origins traceable as far back as Petrarch's career, the term "solitude" carried with it much different associations in his century than it does for us today, influenced as we are by the Romantic tradition and especially by Wordsworth's absorption with the idea of solitude as an ideal state for self-conscious reflection on the individual's personal history and its meaning. No less than three of Petrarch's major prose works--the De otio religioso, the De vita solitaria, and the Secretum--confront the topic of solitude directly, and we can also point to many letters, poems, and portions of his treatises that either directly or indirectly reflect Petrarch's virtual obsession with solitude. In Petrarch we are confronted with an author who was at once the most politically connected intellectual of his century--we are even tempted to call him a "public intellectual"--and yet who constantly invoked his desire for solitude, for an escape from the many distractions and seductions that the cities and courts of his society offered. For Petrarch these were invariably places where desire lurked and power held sway, so that the life of solitude was often invoked as an alternative--a counter-cultural locus, perhaps--where freedom from temptation and subjection was imagined as an escape from the negotium of worldly life. There is much in Petrarch's writings on the solitary life that is wishful and that we might characterize as merely compensatory in a life that was otherwise quite active and engaged, but there is also a [End Page 401] strain of thought in these works that indicates a certain intransigence beneath Petrarch's overdetermined attachment to the idea, if not the practice, of withdrawal and detachment. An inquiry into Petrarch's idealization of the solitary life may even yield a somewhat reactionary aspect of his complex mind, a conservative strain in an author who was in almost every other way the literary herald of a humanism that was at the center of the cultural avant-garde of the Trecento. Is the Petrarch that in so many accounts of his character is construed as the "first modern man" actually something else, a reluctant ascetic holdover from the Middle Ages? How did Petrarch use his unique understanding of the life of solitude, of ascesis, as a pose from which to construct his sense of himself as an author and intellectual? Or are we simply confronted in the figure of a worldly and an ascetic Petrarch with yet another set of contradictions so appropriate to the "immensely complex" author whose poetic signature was the oxymoron? 1"Asceticism" and "solitude" are of course not synonymous terms, but any examination of a number of Petrarch's works as they fall within what might be called a genealogy of asceticism must recognize from the start that Petrarch's brand of asceticism was somewhat unique, especially insofar as it was deeply influenced by ancient Stoicism as well as by his reading in authors from the early Christian era. The most useful expression for our purposes may be the medieval concept of the "contemplative life," since much of the analysis in what follows will focus on how Petrarch often used his self-proclaimed pose of detachment and withdrawal as a technique for carrying on what were otherwise quite engaged dialogues with those worldly formations of power and authority that are normally conceived of as belonging to the "active" sphere of human existence. 2 For despite Petrarch's participation in or association with a number of political and civic ventures during his long and productive career, he likely never would have freely chosen... (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective. Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1, p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays, p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

Leading scholars offer new readings of Degas1 representations of the family, prostitution, city life and leisure in which looking at women is shown to be a complex and ambiguous process. One major topic of the book is the encounter between feminism and art history. Having put images of women1 on the agenda of cultural analysis, feminist interventions in the theory and analysis of representation have created a diverse and intricate field of interpretation which now supersedes that formulation. These essays challenge (...) art history to confront issues of spectatorship, the interface of class and gender, identification and the politics of vision. This illustrated collection is thus a major contribution to debates on representation and sexuality. (shrink)

The twelve essays by Kendall Walton in this volume address a broad range of issues concerning the arts. Walton introduces an innovative account of aesthetic value, and explores relations between aesthetic value and values of other kinds. His classic 'Categories of Art' is included, as is 'Transparent Pictures', his controversial account of what is special about photographs. A new essay investigates the fact that still pictures are still, although some of them depict motion. New postscripts have been added to (...) several of the reprinted essays. (shrink)

In fifteen essays-one new, two newly revised and expanded, three with new postscripts-Kendall L. Walton wrestles with philosophical issues concerning music, metaphor, empathy, existence, fiction, and expressiveness in the arts. These subjects are intertwined in striking and surprising ways. By exploring connections among them, appealing sometimes to notions of imagining oneself in shoes different from one's own, Walton creates a wide-ranging mosaic of innovative insights.

Realist theories about fictional entities must explain the fact that, in ordinary contexts people deny, apparently in all seriousness, that there are such things as the Big Bad Wolf and Santa Claus. The usual explanation treats these denials as involving restricted quantification: The speaker is said to be denying only that the Big Bad Wolf and Santa Claus are to be found among real or actual things, not that there are no such things at all. This is unconvincing. The denials (...) may just as naturally be phrased as “The Big Bad Wolf and Santa Claus don't exist”, and claims of nonexistence seem not to admit of interpretations corresponding to statements of restricted quantification. Ordinary denials of the existence of fictional entities constitute a severe difficulty for realist theories. (shrink)

Kendal Mobley replies to Christopher Catherwood's article ‘Nationalism, ethnicity and tolerance: some historical, political and biblical perspectives’, published in Transformation, Vol 14, no. 1, January 1997, p. 10.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.4 (2002) 328-344 [Access article in PDF] Spaces of Invention:Dissension, Freedom, and Thought in Foucault Kendall R. Phillips Over the past two decades, invention has become an increasingly difficult concept to discuss. In an age when the free, rational actor has become not only de-centered but viewed as both impossible and undesirable by some social theorists, the traditional conception of invention, especially rhetorical invention, becomes (...) more tenuous. While some continue to promote a rational deliberative model of the human subject—Habermas is a prime example of this school of thought—the harsh and unrelenting critiques of poststructural and postmodern thinkers have cast these recovery efforts in a nostalgic and often negative light. Chief among these critics of the modern, humanist conception of human action is Michel Foucault. Within Foucault's perspective our utterances are governed by underlying rules of discourse formations, our actions are proscribed and authorized by relations of power, and our very conception of our self is circumscribed by technologies of subjectivity. Contained within these intertwined relations of knowledge, power, and subjectivity, the human subject takes on a very different meaning and even the concept of "human subject" is itself a product of these intertwined relations; a product that may, in time, disappear under new relations of discourse and governance.Despite the apparent centrality of a creative human subject to the study of rhetoric, Foucault has taken his place within the study of rhetoric. Of course, neither this incorporation of Foucault nor the observation of its peculiarity is particularly new. The incorporation of Foucault into rhetoric took its most dramatic turn in 1989 with Raymie McKerrow's "Critical Rhetoric" essay and the implications of this union of Foucault and rhetoric were forcefully raised by Barbara Biesecker in "Michel Foucault and the Question of Rhetoric" (1992). These two important essays made the relationship between Foucault and rhetoric most pressing: McKerrow by offering [End Page 328] a practical agenda for a Foucaultian rhetorical perspective and Biesecker by opening a space for reflection on this type of agenda. In the intervening decade, however, the incorporation of Foucault into rhetoric has outstripped the reflection on this incorporation and Foucault now sits as comfortably in the bibliographies of rhetorical scholars as Burke or McKeon or Perelman.The purpose of the present essay is to revisit this relationship between Foucault and rhetoric. I pursue this end not in order to critique McKerrow's project or to outstrip Biesecker's reflections, but in order to press the importance of their earlier arguments. The project of a Foucaultian rhetoric should be taken seriously, seriously enough to keep the peculiarity of this union in the forefront of our minds as we pursue it. My present effort furthers this end by seeking within Foucault a space for invention and, in so doing, asks the question: how might invention be rendered within a Foucaultian framework?My contention is that a space for invention exists within Foucault's studies of knowledge, power, and subjectivity and that this space can be demonstrated by considering the counterpoints to his tripartite understanding of the human condition. The limiting/enabling relations of knowledge/power/subjectivity are counterpointed by three terms that describe the conditions for invention: dissension, freedom, and thought. Before turning to the conditions for these spaces of invention and the unique shape of invention that emerges from them, I will briefly consider previous discussions of Foucault. Power, resistance, and invention Rhetoricians, to be clear, are not the first to be concerned with the apparent foreclosing of the possibility of invention within Foucault. Focusing mainly on dominating relations of power/knowledge/subjectivity, Foucault seems to leave little ground for the creation of new ways of acting, speaking, or being. However, what I call a concern for invention has generally not been expressed as such; rather, in rhetoric and in other fields, criticism of Foucault has been largely couched in terms of resistance. Edward Said (1986), for instance, contends that Foucault's work is "not finally as contestatory, or as oppositional as on the surface it seems to be" (152... (shrink)

Under the influence of a reading style that Avital Ronell has called “narcoanalysis,” this article performs a reading of addiction and humility through David Foster Wallace's novel Infinite Jest. Exploring both addiction and humility through the vector of habit, I argue that both habits indicate the non-self-sufficiency of a subject exposed to affection from outside. But while I position addiction alongside humility, both as habits, I also argue that humility parasitizes the totalizing logic of addictive habit. Neither identical to nor (...) simply the opposite of addiction, humility exploits addiction's structure of uncontrollable relationality. Even addiction depends on the affectability or rhetoricity of a subject always already exposed in language. Humility holds this rhetoricity open. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:SPACE-TIME AND THE COMMUNITY OF BEINGS: SOME COSMOLOGICAL SPECULATIONS INTRODUCTION XERT EINSTEIN, in his essay "Relativity and the Problem of Space," makes several interesting comments on the implications of relativity theory for the Newtonian concepts of absolute space and time. Among these are the following: Since the special theory of relativity revealed the physical equivalence of all inertial systems, it proved the untenability of the hypothesis of an aether (...) at rest. It was therefore necessary to renounce the idea that the electromagnetic field is to be regarded as a state of a material carrier. The field then becomes an irreducible element of physical description, irreducible in the same sense as the concept of matter in the theory of Newton.1 On the basis of the general theory of relativity..., space, as opposed to" what fills space," which is dependent on the coorrdinates, has no separate existence.2 There is no such thing as empty space, i.e., a space without field. Space-time does not claim existence on its own but only as a structural quality of the field. Thus Descartes was not so far from the truth when he believed he must exclude the existence of an empty space. The notion indeed appears absurd, as long as physical reality is seen exclusively in ponderable bodies. It requires the idea of the field as the representative of reality, in combination with the general principle of relativity, to show the true kernel of Descartes' idea; there exists no space " empty of field." 3 1 Albert Einstein, Relativity: The Special and the General Theory (New York, 1961), pp. 149-150. 2 Ibid., p. 155. s Ibid., pp. 155-156. 480 SPACE-TIME AND THE COMMUNITY OF BEING 481 Space-time is not necessarily something to which one can ascribe a separate existence, independently of the actual objects of physical reality. Physical objects are not in space, but these objects are spatially extended. In this way, the concept "empty space " loses its meaning.4 These statements raise some interesting questions for the philosopher working within the Judaeo-Christian metaphysical and cosmological tradition. Einstein's concept of the spacetime continuum constituted by the field (or by the plurality of fields seen as interrelated) amounts in effect to a reduction of space-time to relation, to that which is constituted by a universal relational network. One may ask whether this concept is, as many seem to believe, a demolition of the classical and Christian view of the world, or whether, on the contrary, it amounts to a rediscovery of that view from the perspective of the vocabulary of contemporary physics. To ask the question in a slightly different way: Does relativity have anything to do with relativism and hence with the anti-ontological thrust of the latter? This question inevitably involves us in the more general question how the physical structure of the cosmos does or does not reflect the ontological structure of being-i.e., how is the cosmos as known by physics related to the world-order as the intelligible object of a philosophical cosmology? How are the various levels of cosmic order, from inorganic matter to the human level, related to one another? It will be the contention of the present essay that the relativistic concept of the cosmos not only is not destructive of the classical and Christian one, but converges with it, because the latter is grounded in the concept of being as being, and being in turn must be understood as the universal concept and reality which has reality by virtue of the community of beings, i.e., by virtue of relation. These concepts will be further clarified in the course of the discussion. Let it be clearly understood, however, that what follows does not pretend to constitute a rigorous logical derivation of a cosmological system but is 4 Ibid.," Note to the Fifteenth Edition," p. vi. 482 GEORGE A. KENDALL rather a series of speculations, of brief glimpses of areas of convergence which have drawn attention to themselves in the course of the struggle for ontological and cosmological truth. As such, they are presented as a step along the way in the search for understanding, not as... (shrink)

An ageing population and increased life expectancy are a characteristic of the Western world. Nevertheless, as Roger Fontaine writes, “although we should be glad about this fact, it should also be stressed that old age reveals profound discrepancies between individuals. In fact, we should not speak of ‘old age’ but ‘old ages’. Specialists make a distinction between normal old age, successful old age, and pathological old age.”Catherine Guchet points out that, at the end of the twentieth century, two images of (...) old age coexist, utilitarian in conception: that of ‘flamboyant’ old age and that of ‘dependent’ old age. The latter is associated with a loss of autonomy and dignity, especially for subjects affected by senile dementia, described as ‘unconscious’. We shall focus on these more problematic forms of old age. (shrink)

In this article, we focus on the attribution of moral responsibility for the actions of autonomous weapons systems (AWS). To do so, we suggest that the responsibility gap can be closed if human agents can take meaningful moral responsibility for the actions of AWS. This is a moral responsibility attributed to individuals in a justified and fair way and which is accepted by individuals as an assessment of their own moral character. We argue that, given the unpredictability of AWS, meaningful (...) moral responsibly can only be discharged by human agents who are willing to take a moral gambit: they decide to design/develop/deploy AWS despite the uncertainty about the effects an AWS may produce, hoping that unintended and unwanted or unforeseen outcomes may never occurs, but also accepting to be held responsible if such outcomes will occur. We argue that, while a moral gambit is permissible for the use of non-lethal AWS, this is not the case for the actions of lethal autonomous weapon systems. (shrink)

It is a very great honor to address my friends and colleagues as president of the American Society for Aesthetics, an organization that plays a unique role in a field that is, at once, a major traditional branch of philosophy and also central to disciplines often regarded as remote from philosophy, as well as depending crucially on their contributions.

In this report we focus on the definition of autonomous weapons systems (AWS). We provide a comparative analysis of existing official definitions of AWS as provided by States and international organisations, like ICRC and NATO. The analysis highlights that the definitions draw focus on different aspects of AWS and hence lead to different approaches to address the ethical and legal problems of these weapons systems. This approach is detrimental both in terms of fostering an understanding of AWS and in facilitating (...) agreement around conditions of deployment and regulations of their use and, indeed, whether AWS are to be used at all. We draw from the comparative analysis to identify essential aspects of AWS and then offer a definition that provides a value-neutral ground to address the relevant ethical and legal problems. In particular, we identify four key aspects—autonomy; adapting capabilities of AWS; human control; and purpose of use—as the essential factors to define AWS and which are key when considering the related ethical and legal implications. (shrink)