We created Justice: The Game, an educational, role-immersion game designed to be used in philosophy courses. We seek to describe Justice in sufficent detail so that it is understandable to readers not already familiar with role-immersion pedagogy. We hope some instructors will be sufficiently interested in using the game. In addition to describing the game we also evaluate it, thereby highlighting the pedagogical potential of role-immersion games designed to teach political philosophy. We analyze the game by drawing on our observations (...) as designers and playtesters of Justice, along with feedback from students obtained in focus-groups conducted shortly after playtesting ended. We present evidence that Justice, compared to conventional instructional methods alone, plausibly enhances student learning of philosophical skills and content by requiring them to practice those skills and put their content-area knowledge to use in a highly-motivating and engaging context. (shrink)

W. Matthews Grant's "Dual Sources Account" aims at explaining how God causes all creaturely actions while leaving them free in a robust libertarian sense. It includes an account of predestination that is supposed to allow for the possibility that some created persons ultimately spend eternity in hell. I argue here that the resources Grant provides for understanding why God might permit created persons to end up in hell are, for two different reasons, insufficient. I then provide possible solutions to (...) these two problems, compatible with Grant's account overall, that help show why God might allow hell. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

Lucas Matthews and I substantially revised my SEP entry on Heritability. This version includes discussion of the missing heritability problem and other issues that arise from the use of Genome Wide Association Studies by Behavioral Geneticists.

There has been much interest in conspiracy theories (CTs) amongst philosophers in recent years. The aim of this paper will be to apply some of the philosophical research to issues in political theory. I will first provide an overview of some of the philosophical discussions about CTs. While acknowledging that particularism is currently the dominant position in the literature, I will contend that the ‘undue scepticism problem’, a modified version of an argument put forward by Brian Keeley, is an important (...) general objection to many CTs. This in turn leads to some substantial conclusions for liberal political philosophy, as the undue scepticism problem sets up a strong argument against non-liberal alternatives to liberal thought. I shall argue that we are justified in having far more doubt about the reliability of official sources in non-liberal societies, and it is legitimate to be more sceptical about claims designed to bolster non-liberal politics. Moreover, because scepticism is often more warranted in non-liberal societies, this may provide the possibility for the state to be stable, even if it is highly tyrannical or ineffective. These considerations are not intended to be decisive, but raise unresolved questions about the viability of non-liberal politics. (shrink)

In this introduction we set out some salient themes that will help structure understanding of a complex set of intersecting issues discussed in this special issue on the work of Marc Lewis: conceptual foundations of the disease model, tolerating the disease model given socio-political environments, and A third wave: refining conceptualization of addiction in the light of Lewis’s model.

On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are ignorant (...) of their causes and thus confabulate in explaining them; our attempts to offer explanations change our preferences; and the preferences we form after explanation are lower in quality. I suggest that by distinguishing introspective awareness of mental processes from introspective awareness of mental states, we can safeguard a worthwhile concept of aesthetic experience. In addition, we should recognize that theoretical, rather than introspective, understanding of our mental processes may play a valuable role in aesthetic appreciation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Against Definition. Eric Matthews. -/- Keywords: definition, mental illness, ideology -/- Varelius rightly says, in the very first sentence of his article, that 'The nature of mental disorder is a controversial issue.' But I do not think he recognizes just how deeply controversial it is. He hopes to be able to find a way of resolving the controversy by his chosen method, based on a consideration of (...) 'the goals that we have in classifying certain persons as mentally disordered.' However, not only does the adoption of that method presuppose that the controversy is resoluble, it is also somewhat circular. For to be able to set out the goals that we have in classifying some people as mentally disordered, we already have to know which persons we so classify, and so what is meant by calling them 'mentally disordered.' There are several appeals to alleged 'intuitions' and one to a 'paradigm case' in Varelius's article; but, if we had such intuitions, they would be all we needed to define the concept of mental disorder, and there would be no need for the further reference to our goals in demarcating this class of human conditions.I want to argue that any alleged 'intuitions' we might have in regard to mental disorder are philosophically useless, and that the controversy about the nature of mental disorder is intrinsically irresoluble. Any claimed intuition can always be met by a rival intuition that is irreconcilable with the first. It is this, indeed, that makes the dispute about mental disorder essentially philosophical, rather than scientific, in character. Philosophical positions have to be based on, and defended by, rational argument, but there necessarily comes a point in any philosophical dispute at which no rational argument can settle the matter one way or the other. Varelius derives his methodology of considering goals of demarcation from some work done using this method on the concept of science. But people have different goals for demarcating 'science' from 'non-science' or 'pseudo-science.' The demarcation is not made, as Varelius suggests, on the basis of such criteria as testability of hypotheses or clarity of concepts; or rather, the application of these criteria themselves is determined by the goals of demarcation. The debate about what is to count as a 'science' is irresoluble in part because what we classify as such has evaluative and practical consequences. To be a 'science,' in our culture, is to be a valued activity, to have a status to be aspired to. This makes arguments about what it is to be scientific what I would like to call 'ideological' in character. Similar considerations apply to the dispute about the nature of mental disorder. Human societies have always distinguished madness from reason, disturbed or disordered behavior, thoughts, and emotions from those that are not disordered. But the purpose of making the distinction, and thus the character of the distinction made, has varied from society to society and from one historical period to another. The historian Roy Porter, in his short work Madness: A Brief History (2002) describes some of the different images of madness which have prevailed at different times in Western culture—as a divine punishment for hubris, as [End Page 53] a source of poetic inspiration, as the inevitable result of moral excess, as diabolical possession, and so on. The modern idea of mental disorder as mental illness is only one possible way of classifying together certain sorts of deviations from normality. Varelius's method of arriving at a definition of mental illness involves 'considering the goals that we have in classifying certain persons as mentally disordered.' But we can ask who are the 'we' in question, and whether 'we' have only one set of goals in classifying people in this way. The history referred to in the preceding paragraph suggests that 'we' means those members of society who do not regard themselves as disordered—the 'normal' people whose behavior can be readily understood by other normal people. Classifying someone as mentally disordered is distinguishing them as 'not one of us,' and this can serve various purposes, for instance, treating them as objects of entertainment in a human zoo, as in Bedlam; or treating them as moral. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 12.3 (2005) 205-207 [Access article in PDF] The Relevance of Phenomenology Eric Matthews Keywords phenomenology, introspective psychology, Merleau-Ponty, melancholia Martin wyllie's paper raises very impor-tant issues about the relevance of phe-nomenology to psychiatry, but the language in which he presents phenomenology unfortunately makes it sound (contrary to his own intentions) too much like empirical introspective psychology. The aim of this commentary is to improve (...) the presentation of phenomenology, drawing particularly on the work of Maurice Merleau-Ponty, to develop Wylie's position and to bring out better the relevance of this approach to our understanding of mental disorder in general and of melancholia/depression in particular.I am essentially in sympathy with Martin Wyllie's account of the phenomenology of what he prefers to call melancholia (and indeed have discussed it with him on numerous occasions). His present paper, as well as containing many valuable insights on that topic, also raises important questions about the relevance of phenomenology to the theory and practice of psychiatry, and it is on those questions that I aim to concentrate in this commentary, in the hope of developing further what Martin has begun. To do this, it is necessary first of all to set out a more thorough account of what is meant, in this context, by phenomenology.Phenomenology is often presented as if it were a kind of empirical introspective psychology, and Martin's choice of language unfortunately sometimes (certainly not always) gives the impression that he shares that understanding of the term. For instance, he says that a phenomenological description of "lived time" tells us " 'what it is like' to experience 'lived time'" (2005, 173); and in other places uses causal terms about the relation between different aspects of lived experience, for example, that are more appropriate to an empirical, scientific, study. This is certainly one accepted use of phenomenology, but it is not what was meant by Husserl and Merleau-Ponty, the two philosophers whom he clearly has most in mind in his paper; and, more important perhaps, it is not the sort of phenomenology likely to shed the most light on the psychiatry of melancholia.In my commentary, therefore, I try to set out as clearly and briefly as I can an alternative and more appropriate account of relevant aspects of phenomenology, in the form with which I am most familiar, that which it takes in the writings of Maurice Merleau-Ponty. For Merleau-Ponty, phenomenology was, just as Husserl, its founder, had described it, "the study of essences" (Merleau-Ponty 2002, vii). That is, it was not an empirical study of the contingent contents of any individual's experience, but an investigation of the universal structures of human experience as such. But at the same time (and here we see a distinctive approach of Merleau-Ponty's own, derived from his reading of Heidegger and the [End Page 205] later Husserl), "phenomenology is also a philosophy which puts essences back into existence" (2002, vii). Human experience is not, for him, that of a "transcendental subject", standing outside the world and simply observing it: human being is, in the phrase he derived from Heidegger, "being-in-the-world". That is, we exist within the world, actively engaging with it, and our experience of it directly "opens on to" the world which we experience.The world is thus "objective" in the sense that it is always already there—we do not create it, we inhabit it, and the world we inhabit necessarily extends beyond our experience of it. But the world we inhabit necessarily has a "subjective" meaning for us, just because we inhabit it and actively engage with it. To take a simple example, we necessarily see some items in the world as food because we experience hunger. These subjective meanings are just as much part of the world as we experience it as the measurable properties of objects in which science is interested. They give sense to the idea that the world is our world, that "subjective" and "objective" are not polar opposites, but are necessarily entangled in our... (shrink)

In this essay, then, I would like to address what I believe are the most compelling epistemic arguments against the notion that literature (and art more broadly) can function as an instrument of education and a source of knowledge.

We have argued elsewhere that moral responsibility over time depends in part upon the having of psychological connections which facilitate forms of self-control. In this chapter we explore the importance of mental time travel - our ordinary ability to mentally travel to temporal locations outside the present, involving both memory of our personal past and the ability to imagine ourselves in the future - to our agential capacities for planning and control. We suggest that in many individuals with dissociative disorders, (...) forms of amnesia, or other frontal lobe damage, our capacity for mental time travel is impaired, resulting in commensurate losses to agency autonomy, and a forensic condition essential for holding persons responsible: in legal terms, the capacity for mens rea. (shrink)

The organization of the genome into topologically associated domains (TADs) appears to be a fundamental process occurring across a wide range of eukaryote organisms, and it likely plays an important role in providing an architectural foundation for gene regulation. Initial studies emphasized the remarkable parallels between TAD organization in organisms as diverse as Drosophila and mammals. However, whereas CCCTC‐binding factor (CTCF)/cohesin loop extrusion is emerging as a key mechanism for the formation of mammalian topological domains, the genome organization in Drosophila (...) appears to depend primarily on the partitioning of chromatin state domains. Recent work suggesting a fundamental conserved role of chromatin state in building domain architecture is discussed and insights into genome organization from recent studies in Drosophila are considered. (shrink)

The contrast between the reception of Anselms argument in the prior acceptance of univocal or analogical accounts of being. 1 P. A. Daniels argued that the prerequisites for Bonaventureontologicals argument among the first scholastics of the thirteenth century depended upon their allegiance to Augustinian or Aristotelian traditions. 3 Anton Pegis did the same when he insisted that recovery of the Anselmian argument in its original form involved stripping away the Aristotelian framework in terms of which the Proslogion has been read (...) since Thomas. 4. (shrink)

This article explores several views on the relation of humour, especially tendentious humour, to morality, including comic amoralism, comic ethicism, comic immoralism, and moderate comic moralism. The essay concludes by defending moderate comic moralism.

“Forget Taste” rejects the classical notion of taste as a viable concept for the exercise of critical evaluation and proposes an alternative approach to critical evaluation based crucially on the idea of the constitutive purpose of the artwork. The goal of this paper is to advance an approach—which I call the purpose-driven approach—to the critical evaluation of artworks that develops from and refines the views of art evaluation presented in my previous work. This approach, in virtue of its focus on (...) the constitutive purposes of artworks, regards the artwork as typically singular. For that reason, it follows that this approach is pluralistic in contrast to the hedonic conception of the taste model popularized in the eighteenth century and which still recurs today, if sometimes only subconsciously, and that reduces critical evaluation to feelings of pleasure. I argue that the hedonic taste model, which is noncognitive and reductive, should be abandoned in favor of one that is cognitivist and pluralistic, namely, the purpose-driven approach. (shrink)

Few today can escape exposure to mass art. Nevertheless, despite the fact that mass art provides the primary source of aesthetic experience for the majority of people, mass art is a topic that has been neglected by analytic philosophers of art. The Philosophy of Mass Art addresses that lacuna. It shows why philosophers have previously resisted and/or misunderstood mass art and it develops new frameworks for understanding mass art in relation to the emotions, morality, and ideology.

The Critique of the Power of Judgment is the third of Kant's great critiques following the Critique of Pure Reason and the Critique of Practical Reason. This translation of Kant's masterpiece follows the principles and high standards of all other volumes in The Cambridge Edition of the Works of Immanuel Kant. This volume, first published in 2000, includes: the indispensable first draft of Kant's introduction to the work; an English edition notes to the many differences between the first and second (...) editions of the work; and relevant passages in Kant's anthropology lectures where he elaborated on his aesthetic views. All in all this edition offers the serious student of Kant a dramatically richer, more complete and more accurate translation. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2017 Heft: 214 Seiten: 5-8.

Name der Zeitschrift: Semiotica Jahrgang: 2017 Heft: 214 Seiten: 193-198.

Research on personality psychology is making important contributions to psychological science and applied psychology. This second edition of The Cambridge Handbook of Personality Psychology offers a one-stop resource for scientific personality psychology. It summarizes cutting-edge personality research in all its forms, including genetics, psychometrics, social-cognitive psychology, and real-world expressions, with informative and lively chapters that also highlight some areas of controversy. The team of renowned international authors, led by two esteemed editors, ensures a wide range of theoretical perspectives. Each research (...) area is discussed in terms of scientific foundations, main theories and findings, and future directions for research. The handbook also features advances in technology, such as molecular genetics and functional neuroimaging, as well as contemporary statistical approaches. An invaluable aid to understanding the central role played by personality in psychology, it will appeal to students, researchers, and practitioners in psychology, behavioral neuroscience, and the social sciences. (shrink)

“A Liberal Account of Addiction‘ is a major contribution to the discussion of addiction, its treatment, and the social and policy issues which arise from it. Questioning as it does many generally accepted assumptions about addictive behavior, particularly the use of hard drugs, it will provoke even those who do not agree with it to rethink their positions. Many of its suggestions are relevant also, in my opinion, to thinking about other areas of psychiatric interest. Nevertheless, I want to argue (...) that its authors have perhaps not freed themselves sufficiently from some common assumptions, in particular about the nature of mental disorder, and that their argument might benefit from such liberation. The central assumption that I have in mind is that understanding human actions is nothing but understanding the brain activity that accompanies them. If so, then a pattern of behavior can count as a ’mental disorder’ in any clinically or legally relevant sense only if it is the result of a brain disease, causing a breakdown in normal brain functioning. Starting from this assumption, the authors seek to show, by means of evidence from neuroscience, that addiction to drugs does not have a unique ’neural substrate,’ distinct from that of any other kind of pleasure-seeking behavior. When we have a pleasurable experience of any kind, as they point out, dopamine is normally released within the brain. This, they say, activates the ’reward’ pathways, making the person more likely to repeat the behavior that gives rise to the pleasurable experience in questionÑwhether it is eating, sex, or injecting heroin. Addiction, they argue, is therefore just a tendency to repeat an intensely pleasurable experience, whatever the nature of that experience might be. The particular chemistry of the substance involved in this particular form of pleasure is, they argue, irrelevantÑall that matters is that the experience it gives someone is pleasant. Addiction, they. (shrink)

Forty years ago Norman Malcolm presented a now-famous paper at the Eastern Division meetings of the American Philosophical Association in Burlington, Vermont. MalcolmKnowledge of Other Minds.” The paper focused on the Argument from Analogy for Other Minds, which, of course, Malcolm roundly criticized. After making a number of preliminary points, Malcolm stated.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 437-438 [Access article in PDF] Michael V. Wedin. Aristotle's Theory of Substance: The Categories and Metaphysics Zeta. Oxford Aristotle Studies. New York: Oxford University Press, 2000. Pp. xiii + 482. Cloth, $55.00. Michael Wedin has written the equivalent for Aristotle of what biblical scholars would call a "harmony of the gospels." It is a wonderfully rich and argumentatively dense reconstruction of (...) Aristotle's two most important treatises on substance, the Categories and Metaphysics Zeta, works that many of our most able Aristotle scholars have declared irreconcilable.The first chapter, on "the plan" of the Categories, includes a sensible account of the role in that work of the "onymies," as Wedin calls homonymy, synonymy, and paronymy. The second chapter, which focuses on "nonsubstantial individuals" in the Categories, gives the most philosophically sophisticated reconstruction known to me of how Aristotle might have conceived this white in Socrates to be a nonrecurrent particular. Having myself contributed to the glut of recent scholarship on nonsubstantial individuals in the Categories, I have personal, as well as professional, reasons to praise the rigor and insight of this chapter.In Chapter 3 Wedin tries to pin down the ontological commitment of Aristotle's Categories. Since, if there were no primary substances there would not be anything else, the fundamental ontological commitment of the Categories is a commitment to primary substances. Individual nonsubstances exist just in case there are primary substances in which they inhere. As for species and genera of substances and species and genera of the nonsubstantial individuals that inhere in them, Wedin finds Aristotle curiously indifferent to their existence.Chapter 4, a transitional chapter, takes up a range of possible views on the relation between the Categories and Metaphysics Zeta. Incompatibilism is argued against, yet the arguments for compatibilism in recent commentaries are found to be insufficient. In the next chapter Wedin moves on to his own statement of, and justification for, compatibilism.The key to Wedin's compatibilist interpretation is the distinction he draws between being a substance and being the "substance-of" something. Zeta can then be seen to be supplementing, rather than revising, let alone contradicting, the Categories, if Zeta can be understood to be about the substance-of the primary substances of the Categories (157-8).Aristotle proposes in Z3 three candidates for what the substance of, say, Socrates, is, namely, his matter, his form, and the compound of the two. Aristotle settles on form and discusses form as essence in Z4 and Z5, which discussion Wedin takes up in his own [End Page 437] Chapter 6. Then in Chapter 7 Wedin takes on the enigmatic claim of Z6, "In the case of things that are primary and spoken of per se, it is clear that the thing and the essence of the thing are the same" (1032a4-6).Wedin makes Chapter 8, which is primarily a treatment of Z10 and Z11, a discussion of Aristotle on "compositional plasticity," that is, on whether, say, the form of human being might be realized in something other than flesh and bones. "[O]ne could grant," Wedin writes, that to be a human being is just to be a member of a determinate biological species and so to have a very specific material nature, and yet insist that the form of such creatures be realizable in quite different sorts of matter. Creatures so constituted would not be human beings but they would be entities with similar functional capacities and states... From the point of view of philosophy of mind, for example, what matters are the psychological capacities, functions, and states characteristic of persons. Just what these are is determined by a form—the form that happens to be realized in human matter. (340-41) In Chapter 9 Wedin turns to Z13, which, as he acknowledges, has often been thought to be the most confounding chapter in Zeta. Wedin draws on Z16 to help resolve the aporia with which Z13 ends (roughly this... (shrink)

Augustine is both one of the great dogmatic thinkers in our Western tradition and also one of the most Socratic. How can that be? I suggest that Augustine is given to puzzling over questions of the form “How is it possible that p?”– for example, “How is it possible to measure time when no length of time is ever present to be measured?” Moreover, he asks questions of this form even when he is in no doubt that p is the (...) case. (Thus he is in no doubt that we can measure periods of time even though, strictly speaking, no period of time is ever present.) I suggest further that we can learn something about good teaching from studying Augustine's Socratic‐style inquiry. (shrink)

This article defends the content approach to aesthetic experience. It begins by sketching this approach to aesthetic experience. It then rehearses certain recent criticisms of the view by Alan Goldman and attempts to rebut them. One of those criticisms raises a long-standing concern about the author's account that has recently been called the “qua” problem. The article concludes by putting this issue to rest.