The picture of classical antiquity most of us learned in school is framed in certain ways -- glossing over misogyny while omitting the seeds of feminist resistance. Many of today's harmful practices, like school dress codes, exploitation of the environment, and rape culture, have their roots in the ancient world. But in Antigone Rising, classicist Helen Morales reminds us that the myths have subversive power because they are told -- and read -- in different ways. Through these stories, whether it's (...) Antigone's courageous stand against tyranny or the indestructible Caeneus, who inspires trans and gender queer people today, Morales uncovers hidden truths about solidarity, empowerment, and catharsis. Antigone Rising offers a fresh understanding of the stories we take for granted, showing how we can reclaim them to challenge the status quo, spark resistance, and rail against unjust regimes. (shrink)

The Reading Augustine series presents short, engaging books offering personal readings of St. Augustine of Hippo's contributions to western philosophical, literary, and religious life. This two-volume work provides a new understanding of Western subjectivity as theorized in the Augustinian Rule. A theopolitical synthesis of Antiquity, the Rule is a humble, yet extremely influential example of subjectivity production. In these volumes, Jodra argues that the Classical and Late-Ancient communitarian practices along the Mediterranean provide historical proof of a worldview in which the (...) self and the other are not disjunctive components, but mutually inclusive forces. The Augustinian Rule is a culmination of this process and also the beginning of something new: The paradigm of the monastic self as protagonist of the new, medieval worldview. Three main theoretical challenges leading to, and present in the Rule are tackled: What are the sources of our modern understanding of subjectivity? Can Ancient sources provide an alternative genealogy that resists the individualistic turn of Modernity? And can the commons be saved without suppressing individuality? Jodra seeks to prove that the synthesis-which is also an appropriation-of Greek and Judaic sources carried out by the first Christians allowed for two contrasting models of subjectivity, the self-less and the other-less, to 'take turns' to dominate our understanding of human nature. The Greek world provided the political dimension and the Jewish world established the key theological principles of a Mediterranean synthesis which took place in Rome. Coherently and progressively, Jodra emphasizes the theopolitical nature of our worldview even today, and claim that the subject of the primitive Church is its most visible incarnation. These volumes therefore restore the unity of the Hellenistic and Judaic world as found by the first Christians, proving that the self and the other are two essential pieces in the construction of our world. (shrink)

This two-volume work provides a new understanding of Western subjectivity as theorized in the Augustinian Rule. A theopolitical synthesis of Antiquity, the Rule is a humble, yet extremely influential example of subjectivity production. In these volumes, Jodra argues that the Classical and Late-Ancient communitarian practices along the Mediterranean provide historical proof of a worldview in which the self and the other are not disjunctive components, but mutually inclusive forces. The Augustinian Rule is a culmination of this process and also the (...) beginning of something new: The paradigm of the monastic self as protagonist of the new, medieval worldview. Three main theoretical challenges leading to, and present in the Rule are tackled: What are the sources of our modern understanding of subjectivity? Can Ancient sources provide an alternative genealogy that resists the individualistic turn of Modernity? And can the commons be saved without suppressing individuality? Jodra seeks to prove that the synthesis-which is also an appropriation-of Greek and Judaic sources carried out by the first Christians allowed for two contrasting models of subjectivity, the self-less and the other-less, to 'take turns' to dominate our understanding of human nature. The Greek world provided the political dimension and the Jewish world established the key theological principles of a Mediterranean synthesis which took place in Rome. Coherently and progressively, Jodra emphasizes the theopolitical nature of our worldview even today, and claim that the subject of the primitive Church is its most visible incarnation. These volumes therefore restore the unity of the Hellenistic and Judaic world as found by the first Christians, proving that the self and the other are two essential pieces in the construction of our world. (shrink)

After the United States invaded Puerto Rico in 1898, the new unincorporated territory sought to define its future. Seeking to shape the next generation and generate popular support for colonial rule, U.S. officials looked to education as a key venue for promoting the benefits of Americanization. At the same time, public schools became a site where Puerto Rican teachers, parents, and students could formulate and advance their own projects for building citizenship. In _Negotiating Empire_, Solsiree del Moral demonstrates how (...) these colonial intermediaries aimed for regeneration and progress through education. Rather than seeing U.S. empire in Puerto Rico during this period as a contest between two sharply polarized groups, del Moral views their interaction as a process of negotiation. Although educators and families rejected some tenets of Americanization, such as English-language instruction, they also redefined and appropriated others to their benefit to increase literacy and skills required for better occupations and social mobility. Pushing their citizenship-building vision through the schools, Puerto Ricans negotiated a different school project—one that was reformist yet radical, modern yet traditional, colonial yet nationalist. (shrink)

El proceso de la civilización conlleva la domesticación de las funciones naturales, en especial de las excrementicias, y la exclusión del lenguaje que sirve para nombrarlas. Cuando la élite ilustrada está logrando estos objetivos, surge la Canción cantable de García Tejada, largo poema en torno a los excrementos. Con base en tres teóricos, nos proponemos estudiar las dos dimensiones de la risa en esta obra. Por un lado, la cara crítica, que parodia y desmitifica los discursos serios de la época (...) y su artificioso lenguaje. Por otro lado, la faz regeneradora, que recrea elementos de la cultura popular para luchar por un mundo libre e igualitario. En la conclusión, relacionamos el poema con la tradición de la sátira menipea, lo que subraya la importancia y originalidad de este olvidado poeta. (shrink)

El largometraje La llorona (Jayro Bustamante, 2019) persigue contribuir a la restitución de una deuda histórica con el pueblo indígena guatemalteco; una deuda no satisfecha plenamente con los acuerdos de paz de 1996. El pasado espectral viene encarnado en Alma, la sirvienta maya kaqchikel que entra a trabajar en la casa del general Monteverde, responsable del genocidio de las comunidades indígenas cuando era presidente del país centroamericano. Al invertir la idea del haunting, o tormento, son el torturador y su familia (...) lxs que se ven acosados por sus acciones pasadas, que hasta ahora habían quedado impunes, no solo a nivel jurídico, sino también a nivel moral. La figura metafórica de “La Llorona”, que llora desconsolada más allá de la muerte porque sus hijos han sido asesinados frente a ella, desencadena el terror que vivirá la familia protagonista, obligada a enfrentarse al pasado en el contexto del juicio popular contra Monteverde. La lujosa mansión del expresidente, una casa tomada, rodeada de manifestantes clamando por sus desaparecidxs, se volverá un espacio asfixiante capaz de atentar contra sus habitantes como respuesta a las demandas de justicia. Este artículo se interroga sobre tres aspectos fundamentales de la película. En primer lugar, cómo se elabora audiovisualmente el contra-archivo del juicio de Ríos Montt en 2013, de quien Monteverde es trasunto en la ficción. En segundo lugar, de qué manera se movilizan las politics of haunting negociando un discurso que transciende el género de terror y entronca con el de denuncia social. Y finalmente, cuáles son los procedimientos que utiliza el filme para presentar la resistencia indígena y la decolonialidad como opciones para construir el presente democrático en Guatemala. (shrink)

La figura popular del mendigo se define por su alegría, comicidad y autoexclusión social. En el siglo xix, surgió una nueva visión, de carácter realista, en torno a este personaje. El objetivo del presente artículo es rescatar la obra poética del colombiano Joaquín Pablo Posada, ya prácticamente olvidada, para estudiar cómo conforma la figura del mendigo en un tiempo de transición. Los resultados señalan la existencia de un imaginario híbrido y de carácter joco-serio. Por un lado, se mantienen los (...) rasgos tradicionales, que incluyen al mendigo dentro de la tendencia festiva; por otro lado, se introduce una denuncia moderna sobre los padecimientos físicos y morales del mendigo, lo que cuestiona el discurso de las élites burguesas, sin salirse de su esquema central. En las conclusiones, se compara la complejidad del personaje de Posada frente a otros sujetos poéticos construidos durante los siglos xix y xx, que suelen adherirse a una sola faceta de esta figura. (shrink)

I argue that Eudaimonism was not Ancient Greek common sense. After dividing Eudaimonism into Psychological and Normative varieties, I present evidence from Greek literature that the Ancient Greeks did not commonsensically accept Eudaimonism. I then review, and critique, evidence that has been offered for the opposite claim that Eudaimonism was Ancient Greek common sense. This claim is often called on to explain why Ancient Greek philosophers embraced Eudaimonism; the idea is that they did so because it (...) was the ethical common sense of their day. But, according to the case I make in this paper, this explanation cannot stand. Those looking to explain the Eudaimonistic character of Ancient Greek ethical thought must turn to other explanations. (shrink)

It is a popular view thatpractical deliberation excludes foreknowledge of one's choice. Wolfgang Spohn and Isaac Levi have argued that not even a purely probabilistic self-predictionis available to thedeliberator, if one takes subjective probabilities to be conceptually linked to betting rates. It makes no sense to have a betting rate for an option, for one's willingness to bet on the option depends on the net gain from the bet, in combination with the option's antecedent utility, rather than on the (...) offered odds. And even apart from this consideration, assigning probabilities to the options among which one is choosing is futile since such probabilities could be of no possible use in choice. The paper subjects these arguments to critical examination and suggests that, appearances notwithstanding, practical deliberation need not crowd outself-prediction. (shrink)

Maria Morales’s striking and thought-provoking argument in Perfect Equality is that John Stuart Mill’s egalitarianism unifies his practical philosophy and that this element of his thought has been neglected in recent revisionary scholarship. Placing Mill’s arguments for the substantive value of “perfect equality” in The Subjection of Women at the center of her analysis, Morales develops a distinctive interpretation of Mill as an egalitarian liberal. Morales also aims to counter many recent communitarian critiques of liberalism as founded upon a conception (...) of the self as atomistic and individualistic. Like other Mill scholars, Morales sees Mill’s liberalism as an appealing alternative to the dominant Rawlsian theory, and she offers Mill’s approach as a response to “the still popular view that liberalism is structurally incompatible with a rich conception of the human good, particularly with a substantive commitment to equality”. Mill’s theory is not “doggedly individualistic,” and it rejects the model of liberal social life as atomistic and abstract. The well-constituted communities of the title are based upon “sympathetic, cooperative, and egalitarian values”. (shrink)

ResumenEl enfoque posracionalista surge desde la crítica constructivista a la forma en que el cognitivismo tradicional conceptualiza la relación entre sujeto y realidad. Tomando como principal unidad de análisis el estudio de la identidad personal como fenómeno bio-psicológico, el modelo de Vittorio Guidano se ha convertido en la formulación más popular de este enfoque. Lamentablemente, la abrupta partida de su fundador parece haber dejado una serie de cuestiones conceptuales abiertas a la base del modelo. El presente artículo identifica los (...) aspectos fundamentales de la epistemología posracionalista de Guidano y luego de explorar su obra tardía, propone que es posible identificar dos momentos fundamentales en el enfoque: (i) Un primer momento (que denominamos Guidano 1 y que concentra la mayoría de la literatura en el tema) que es la expresión de una marcada influencia constructivista que implica la idea de que el principio organizador del funcionamiento de los sistemas humanos es la sobrevivencia. (ii) Un segundo momento (que llamamos Guidano 2 y que no ha sido exhaustivamente explorado en la literatura actual) que puede ser identificado como el producto de un giro hacia la filosofía fenomenológico-existencial. Acá, la identidad de un organismo no solo está orientada a la sobrevivencia, sino que, sobre todo, al sentido de la existencia misma. Se concluye clarificando el tipo de fenomenología que guiaría la práctica clínica de Guidano 2.Palabras clave: cognitivismo; constructivismo; fenomenología; posracionalismo. (shrink)

En este artículo se analizan, desde la antropología social, representaciones del orden social manifestadas por el fenómeno de las mandas y exvotos en el culto a santo Domingo Vidal, santo popular patrono del municipio de Chimá (Colombia). La metodología incluyó la observación participante en el sitio del culto y la descripción del Libro de mandas en el que escriben los devotos; los escritos son vistos como textos que transmiten y reproducen formas de cultura y de organización social. Para el (...) análisis se acude a los conceptos de Religión como sistema cultural y de Religión común para enfatizar su carácter adaptativo a las circunstancias locales. Las primeras conclusiones sugieren que la relación de los devotos con el santo responde a las condiciones sociales particulares de la comunidad en la que ocurre el culto y que esas prácticas las reproducen y mantienen. (shrink)

This book is the first detailed study of the plays of Sophocles through examination of a single ethical principle--the traditional Greek popular moral code of "helping friends and harming enemies." Five of the extant plays are discussed in detail from both a dramatic and an ethical standpoint, and the author concludes that ethical themes are not only integral to each drama, but are subjected to an implicit critique through the tragic consequences to which they give rise. Greek (...) scholars and students of Greek drama and Greek thought will welcome this book, which is presented in such a way as to be accessible to specialists and nonspecialists alike. No knowledge of Greek is required. (shrink)

Introduction. Why did Cynicism emerge throughout the Greek world when it did? Survey of relevant literature; criticism of previous suggestions and assumptions. Cynic individualism represents a radical internalization of widespread ideals of individual excellence. Cynic asceticism is a paradoxical response to the perceived problems of wealth and poverty in the fourth century B.C.E.: to escape poverty one must embrace it. Outline of chapters. ;Chapter one: Praise of poverty and work. Popular attitudes to work and wealth precede the Cynic (...) praise of po&d12;nov and the paradoxical claim that the Cynic beggar is "rich." Work is morally beneficial as well as economically necessary. Praise of the Greek poor in various authors: the poor are honest, just, and do the most productive work; the rich are often hubristic and exploitative. The critique of wealth from a variety of perspectives: wealth is the "mother-city of all evils," particularly class-struggle; in a democracy, wealth is dangerous given the power of the people; the limited nature of Greek production ensured that the rich could spend their money only on public services or invidious luxuries---benefits possibly dubious to some. The Cynics appear in cities with democratic traditions during times of heightened class-tension, as strident critics of wealth and the wealthy. ;Chapter two: Praise of poverty and war. Poverty trains individuals and nations to martial excellence---strength, courage, temperance, patriotism; therefore, the poor are the best soldiers, as many wars seem to demonstrate. Political theorists of the fourth century recommend that the fighting nobility embrace a voluntary poverty to maintain their preeminence. The Cynics' claim to "kingship" and their boast that asceticism makes them "invincible" vis-a vis Fortune exaggerates the traditional and more recent philosophical link between poverty and the ideal soldier's virtues. ;Chapter three: Praise of poverty and philosophical wisdom. The dichotomy between absolute and contingent Being introduced into philosophical discourse by Parmenides tends to isolate the Greek thinker as an unconventional, even solitary creature whose knowledge and goals are somehow superior to the norm. The ethical implications of this split between the philosopher and the external world become most apparent in two fourth-century versions of philosophic poverty, the Platonic and the Cynic. For both, the temporal and external cannot be really known or possessed and therefore should not be desired. As a result, the ideal sage eschews material wealth as a hindrance from the higher "wealth" of wisdom, which consists in contemplation of timeless Forms or immersion in the present moment. (shrink)

With Imagining Karma, Gananath Obeyesekere embarks on the very first comparison of rebirth concepts across a wide range of cultures. Exploring in rich detail the beliefs of small-scale societies of West Africa, Melanesia, traditional Siberia, Canada, and the northwest coast of North America, Obeyesekere compares their ideas with those of the ancient and modern Indic civilizations and with the Greek rebirth theories of Pythagoras, Empedocles, Pindar, and Plato. His groundbreaking and authoritative discussion decenters the popular notion that India (...) was the origin and locus of ideas of rebirth. As Obeyesekere compares responses to the most fundamental questions of human existence, he challenges readers to reexamine accepted ideas about death, cosmology, morality, and eschatology. Obeyesekere's comprehensive inquiry shows that diverse societies have come through independent invention or borrowing to believe in reincarnation as an integral part of their larger cosmological systems. The author brings together into a coherent methodological framework the thought of such diverse thinkers as Weber, Wittgenstein, and Nietzsche. In a contemporary intellectual context that celebrates difference and cultural relativism, this book makes a case for disciplined comparison, a humane view of human nature, and a theoretical understanding of "family resemblances" and differences across great cultural divides. (shrink)

This provocative work provides a radical reassessment of the emergence and nature of Christian sexual morality, the dominant moral paradigm in Western society since late antiquity. While many scholars, including Michel Foucault, have found the basis of early Christian sexual restrictions in Greek ethics and political philosophy, Kathy L. Gaca demonstrates on compelling new grounds that it is misguided to regard Greek ethics and political theory—with their proposed reforms of eroticism, the family, and civic order—as the foundation (...) of Christian sexual austerity. Rather, in this thoroughly informed and wide-ranging study, Gaca shows that early Christian goals to eradicate fornication were derived from the sexual rules and poetic norms of the Septuagint, or Greek Bible, and that early Christian writers adapted these rules and norms in ways that reveal fascinating insights into the distinctive and largely non-philosophical character of Christian sexual morality. Writing with an authoritative command of both Greek philosophy and early Christian writings, Gaca investigates Plato, the Stoics, the Pythagoreans, Philo of Alexandria, the apostle Paul, and the patristic Christians Clement of Alexandria, Tatian, and Epiphanes, freshly elucidating their ideas on sexual reform with precision, depth, and originality. Early Christian writers, she demonstrates, transformed all that they borrowed from Greek ethics and political philosophy to launch innovative programs against fornication that were inimical to Greek cultural mores, popular and philosophical alike. The Septuagint's mandate to worship the Lord alone among all gods led to a Christian program to revolutionize Gentile sexual practices, only for early Christians to find this virtually impossible to carry out without going to extremes of sexual renunciation. Knowledgeable and wide-ranging, this work of intellectual history and ethics cogently demonstrates why early Christian sexual restrictions took such repressive ascetic forms, and casts sobering light on what Christian sexual morality has meant for religious pluralism in Western culture, especially among women as its bearers. (shrink)

A lively and accessible introduction to the Greek and Roman origins of our political ideas In The Birth of Politics, Melissa Lane introduces the reader to the foundations of Western political thought, from the Greeks, who invented democracy, to the Romans, who created a republic and then transformed it into an empire. Tracing the origins of our political concepts from Socrates to Plutarch to Cicero, Lane reminds us that the birth of politics was a story as much of individuals (...) as ideas. Scouring the speeches of lawyers alongside the speculations of philosophers, and the reflections of ex-slaves next to the popular comedies and tragedies of the Greek and Roman stages, this book brings ancient ideas to life in unexpected ways. Lane shows how the Greeks and Romans defined politics with distinctive concepts, vocabulary, and practices—all of which continue to influence politics and political aspirations around the world today. She focuses on eight political ideas from the Greco-Roman world that are especially influential today: justice, virtue, constitution, democracy, citizenship, cosmopolitanism, republic, and sovereignty. Lane also describes how the ancient formulations of these ideas often challenge widely held modern assumptions—for example, that it is possible to have political equality despite great economic inequality, or that political regimes can be indifferent to the moral character of their citizens. A stimulating introduction to the origins of our political ideas and ideals, The Birth of Politics demonstrates how much we still have to learn from the political genius of the Greeks and Romans. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Music, Mind, and Morality:Arousing the Body PoliticPhilip Alperson (bio) and Noël Carroll (bio)I. IntroductionIf like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is not said in (...) order to eschew analytic philosophy. It is simply a reminder that sometimes we need to stand back and check to reassure ourselves that the tail is not wagging the dog.One example of where this danger looms is in the philosophy of art. In the eighteenth century the Modern System of the Arts was born.1 It included the practices that we think nowadays are the appropriate inhabitants of art schools and art centers and the legitimate beneficiaries of programs like the National Endowment for the Arts in the United States. These arts included poetry, painting, sculpture, music, dance, and sometimes gardening. These are what we might call the arts with a "capital A."This is a different way of understanding the notion of the arts and the nomenclature from which they derive in Latin and Greek. For Socrates, Aristotle, and Plato, arts were simply any skilled practice. Poetry, for Aristotle at least, was an art, but so were navigation, medicine, and statecraft. And there were, of course, the martial arts. What happens with the emergence of the Modern System of the Arts—otherwise known as the Fine Arts, or the Beaux Arts, or, for us, the Arts with a capital A—is that a subset of the arts in the Greco-Roman sense were selected out and christened as a class unto itself, [End Page 1] different from the other "small a" arts. Whereas once upon a time chemists and painters might have been grouped together in the same guild in virtue of the fact that both types of workers ground substances, such as pigment; with the advent of the Modern System of the Arts, chemists and painters became first and foremost categorically different.However, the consolidation of the class of Arts with a capital A demanded a theoretical answer to the question of what criterion an art form had to meet in order to gain membership in the Modern System of the Arts. The first suggestion was that a candidate practice had to possess the capacity to imitate the beautiful in nature. This was not a definition that had legs. For when absolute or pure instrumental music—or, as Peter Kivy calls it, music alone2 —took center stage as the most important form of music as well as the Art with a capital A to which all the other arts putatively aspired, the criteria for entry into the Modern System of the Arts had to be reconceived. Since music alone could not creditably be described as the imitation of the beautiful in nature (or, for that matter, the imitation of anything else), a new license for practicing Art with a capital A had to be found. And this has become one of the animating tasks of the analytic philosophy of art.But the analytic philosophy of art comes with a certain bias toward discharging this task. It is committed to finding an essentialist answer to resolving the question of what warrants citizenship in the republic of Art (with a capital A). That is, what makes something an Artistic practice or, for that matter, a work of Art such that it is different from other things? What separates the Arts and the artworks from everything else?Perhaps not surprisingly, one of the most popular and recurring proposals here is that the Arts are what are primarily intended to promote aesthetic experience where that has formerly been characterized as disinterested pleasure but, more recently, as experience valued for its own sake. Experience valued for its own sake, of course, is virtually by definition conceptually independent from any other end, whereas the practices that do not belong to the Modern System of the Arts are primarily devoted to securing other ends—useful or utilitarian ends, knowledge... (shrink)

This paper contributes to the Business Ethics literature by unpacking the multimodal construction of moral narratives in popular culture and its portrayals of organizations and organizational roles. Understanding such portrayals and their construction is crucial to Business Ethics scholarship because they shape organizational imaginaries, influencing understandings and expectations of the ethical/moral responsibilities of organizations and the actors within them. In particular, we study the construction of moral narratives within a reality TV show that focuses on immigration and border control (...) at an airport. We find that the immigration officers are depicted as rational and heroic figures whilst the travellers are presented as emotional and potentially dangerous characters. Our analysis highlights how this is achieved via five multimodal editing dimensions—the structure of interactional scenes, the ability to address the camera, the narrator’s comments, the visual and music effects—that are key in constructing clearly defined personae. We show how, through the intersubjective construction of clear-cut characters, the show downplays the moral complexity of its content. Portraying immigration officers as heroic, while presenting travellers as potentially dangerous, allows for a silencing of any ethical questioning of immigration officers’ organizational practices. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Significance of Music for the Moral and Spiritual Cultivation of VirtueDavid CarrIs There any Virtue in Music?Given its time-honored place, along with other arts, in many if not most past and present school curricula it would seem that at least some forms of music have been widely credited with educational value. Beyond the general association of music with high culture and, notwithstanding the evident discipline involved in learning (...) to play musical instruments, however, it is less clear what sort of value this might be. Despite the considerable ethical complexity of much art and the vexed nature of any relationship between the moral and the aesthetic, one may clearly regard very many works of literature, much representational painting, and even some dances as having some moral educational significance. That said, it may be less clear how other arts or art genres—such as music or abstract painting—could be said to have much significant moral import or content (as well as being unreasonably procrustean to insist that they should). Indeed, recalling the well-known point of Richard Peters about the inherently normative character of the concept of education—that it would be hard to regard a man as educated [End Page 103] who had not in some sense been made 'better'1 —one way of posing the present question might be to ask whether, regardless of its potential for pleasure, there is much if any real virtue in music?Plato and Scruton on Music and MoralsThere is, to be sure, a long tradition of reflection on the moral implications of music, and questions about the effects of music on moral development and character are of course raised in several Platonic dialogues. Thus, in one part of the Republic, Plato explores in some detail what he takes to be the effects on character of the various Greek musical modes, arguing for the moral superiority of those that foster courage and self-discipline over those that promote sensuality and self-abandon.2 Such claims also seem mostly consistent with a general Platonic aesthetics that precludes any role for the arts beyond service to a strict morality of individual self-control and social order. There are also, however, other sections of the Republic in which Plato envisages another softer role for music (broadly construed to include also literature and poetry) as a counterbalance to an excess of physical education, which can produce "savagery and hardness."3 Still, to whatever extent Plato might here be trying to have his case and eat it, his explicit claim that only the Dorian and Phrygian modes are suitable for moral consumption are probably more consistent with the broad drift of Platonic aesthetics. Generally, Plato's view appears to be that music—in the narrower rather than broader (Greek) sense—is a kind of ordered affect-charged auditory experience, that some forms of musical order are more conducive to the harmony or balance of the soul than others, and that a healthy human soul or character should in some way reflect the harmony of appropriate or approved forms of music.Although the logical and/or psychological status of such bygone claims is far from easy to evaluate, something of the spirit of Platonic thought on music and virtue seems discernible in more recent writings on the philosophy of music. Thus, Roger Scruton's case for the musical and moral superiority of serious classical works over much latter day popular music would appear to rest mainly on considerations relating to the greater structural order, organization, and complexity of the former over the latter.4 Like Plato, Scruton would seem to regard musical form, order, and organization as directly linked to emotional discipline, so that whereas the classics may be expected to cultivate ordered passion and sensibility, the unmelodic, discordant, and rhythmically unsubtle sounds of much modern popular music can only be expected to engender crude, disorganized, and uncontrolled feelings. Scruton makes much of the decline of dance under the influence of such contemporary musical anarchy, as precisely exhibited in the abandonment of conventions governing the control, for individually and [End Page 104] socially significant purposes, of physical gesture and bodily movement. Hence, although Scruton... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Significance of Music for the Moral and Spiritual Cultivation of VirtueDavid CarrIs There any Virtue in Music?Given its time-honored place, along with other arts, in many if not most past and present school curricula it would seem that at least some forms of music have been widely credited with educational value. Beyond the general association of music with high culture and, notwithstanding the evident discipline involved in learning (...) to play musical instruments, however, it is less clear what sort of value this might be. Despite the considerable ethical complexity of much art and the vexed nature of any relationship between the moral and the aesthetic, one may clearly regard very many works of literature, much representational painting, and even some dances as having some moral educational significance. That said, it may be less clear how other arts or art genres—such as music or abstract painting—could be said to have much significant moral import or content (as well as being unreasonably procrustean to insist that they should). Indeed, recalling the well-known point of Richard Peters about the inherently normative character of the concept of education—that it would be hard to regard a man as educated [End Page 103] who had not in some sense been made 'better'1 —one way of posing the present question might be to ask whether, regardless of its potential for pleasure, there is much if any real virtue in music?Plato and Scruton on Music and MoralsThere is, to be sure, a long tradition of reflection on the moral implications of music, and questions about the effects of music on moral development and character are of course raised in several Platonic dialogues. Thus, in one part of the Republic, Plato explores in some detail what he takes to be the effects on character of the various Greek musical modes, arguing for the moral superiority of those that foster courage and self-discipline over those that promote sensuality and self-abandon.2 Such claims also seem mostly consistent with a general Platonic aesthetics that precludes any role for the arts beyond service to a strict morality of individual self-control and social order. There are also, however, other sections of the Republic in which Plato envisages another softer role for music (broadly construed to include also literature and poetry) as a counterbalance to an excess of physical education, which can produce "savagery and hardness."3 Still, to whatever extent Plato might here be trying to have his case and eat it, his explicit claim that only the Dorian and Phrygian modes are suitable for moral consumption are probably more consistent with the broad drift of Platonic aesthetics. Generally, Plato's view appears to be that music—in the narrower rather than broader (Greek) sense—is a kind of ordered affect-charged auditory experience, that some forms of musical order are more conducive to the harmony or balance of the soul than others, and that a healthy human soul or character should in some way reflect the harmony of appropriate or approved forms of music.Although the logical and/or psychological status of such bygone claims is far from easy to evaluate, something of the spirit of Platonic thought on music and virtue seems discernible in more recent writings on the philosophy of music. Thus, Roger Scruton's case for the musical and moral superiority of serious classical works over much latter day popular music would appear to rest mainly on considerations relating to the greater structural order, organization, and complexity of the former over the latter.4 Like Plato, Scruton would seem to regard musical form, order, and organization as directly linked to emotional discipline, so that whereas the classics may be expected to cultivate ordered passion and sensibility, the unmelodic, discordant, and rhythmically unsubtle sounds of much modern popular music can only be expected to engender crude, disorganized, and uncontrolled feelings. Scruton makes much of the decline of dance under the influence of such contemporary musical anarchy, as precisely exhibited in the abandonment of conventions governing the control, for individually and [End Page 104] socially significant purposes, of physical gesture and bodily movement. Hence, although Scruton... (shrink)

This article questions a number of widely held views of the role of values in psychotherapy. It begins with a discussion of the now largely discredited view that psychotherapy can be value free. It also broadens this challenge to question the popular idea that values form an inescapable part of the therapeutic encounter. While this view is correct in outline, it is necessary to reject the underlying conception of values as largely arbitrary preferences that the client and the therapist (...) bring to the encounter, as this fails to do justice to the inherently ethical nature of psychotherapy. It argues that we should recover the Greek notion of therapy as essentially concerned with the character of a person. In other words, the goal of therapy is virtue. (shrink)

The chief concepts involved are those of piety and impiety, and after a thorough analysis of the philosophical texts Mikalson offers a refined definition of ...

This paper is concerned with the ethics of popularizing moral philosophy. In particular, it addresses the question of whether ethicists engaged in public debates should restrict themselves to acting as impartial informants or moderators rather than advocates of their own moral opinions. I dismiss the idea that being an impartial servant to moral debates is the default or even the only defensible way to publicly exercise ethical expertise and thus, to popularize moral philosophy. Using a case example from the public (...) debate about the human use of nonhuman animals, I highlight the benefits and risks of endorsing an advocate’s and a teacher’s or moderator’s role, respectively. I argue for a general requirement of judgment transparency which entails that the publicly engaged philosopher ought to be clear and consistent about the type of role she takes on, her publicly advanced opinions generally ought to be her professional ones and that she ought to flag her private opinions. I finally show that, despite general concerns about conflicts of interest, exercising ethical expertise and engaging in advocacy, i.e., acting as if one were a moral expert, are not incompatible modes of public engagement for the moral philosopher. (shrink)

Morality is one of the fundamental structures of any society, enabling complex groups to form, negotiate their internal differences and persist through time. In the first book-length study of Roman popular morality, Dr Morgan argues that we can recover much of the moral thinking of people across the Empire. Her study draws on proverbs, fables, exemplary stories and gnomic quotations, to explore how morality worked as a system for Roman society as a whole and in individual (...) lives. She examines the range of ideas and practices and their relative importance, as well as questions of authority and the relationship with high philosophy and the ethical vocabulary of documents and inscriptions. The Roman Empire incorporated numerous overlapping groups, whose ideas varied according to social status, geography, gender and many other factors. Nevertheless it could and did hold together as an ethical community, which was a significant factor in its socio-political success. (shrink)

Presented in the popular Cambridge Texts format are three early Platonic dialogues in a new English translation by Tom Griffith that combines elegance, accuracy, freshness and fluency. Together they offer strikingly varied examples of Plato's critical encounter with the culture and politics of fifth and fourth century Athens. Nowhere does he engage more sharply and vigorously with the presuppositions of democracy. The Gorgias is a long and impassioned confrontation between Socrates and a succession of increasingly heated interlocutors about political (...) rhetoric as an instrument of political power. The short Menexenus contains a pastiche of celebratory public oratory, illustrating its self-delusions. In the Protagoras, another important contribution to moral and political philosophy in its own right, Socrates takes on leading intellectuals (the 'sophists') of the later fifth century BC and their pretensions to knowledge. The dialogues are introduced and annotated by Malcolm Schofield, a leading authority on ancient Greek political philosophy. (shrink)

THE MORAL SYSTEM OF SHAKESPEARE INTRODUCTION WHAT IS IMPLIED IN "THE MORAL SYSTEM OF SHAKESPEARE " The title of this work, The Moral System of Shakespeare,..

In Between Facts and Norms, Jürgen Habermas points out an ambiguity in the Kantian concept of autonomy that would lead to an antagonism between human rights and popular sovereignty. He charges Kant of introducing this concept from the private point of view of the individual subject who judges morally and of elucidating it from the point of view of the discursive and democratic political formation of the will. Against this reading, Ingeborg Maus argues that Kant develops human rights and (...) popular sovereignty in the closest reciprocal complementarity. Nonetheless, she agrees with Habermas’s critique of the monological character of the Kantian principle of morality and reaffirms the ambiguity of the concept of autonomy. The aim of this article is to to shed light on Kant’s conceptions of Enlightenment and “public use of reason” developed in his political writings, in order to suggest that far from devaluating the political formation of the will, Kant establishes it as a fundamental step towards the realization of morality and, therefore, of the autonomy of the will. First, I will argue that in explaining the principle of autonomy with the idea of self-legislation of the will, Kant does not introduce ambiguity in this concept. On the contrary, it establishes a common normative structure between the domains of moral and right. Finally, I will return to the Doctrine of Right to argue that for Kant, interaction and communication between citizens is not lateral to the legitimation of right, since the members of the political community must consent and be convinced by reason. (shrink)

Lawrence's volume provides a detailed discussion and analyses of the moral awareness of major characters in Greek tragedy, focusing particularly on the characters' recognition of moral issues and crises, their ability to reflect on them, and their consciousness of doing so.

This study analyses how online participants of celebrity gossip position themselves in relation to their audience through forms of moral argumentation and thereby contribute to social hierarchies. In this study, forms of moral argumentation are seen as enthymemes, that is, claim-reason units based on moral norms as premises. The material consists of a total of 900 asynchronous online comments in English and 900 in Finnish. In addition to rhetorical argumentation analysis, the study investigates the dependency of moral argumentation on three (...) contextual variables: gendered violence as the topic of discussion, as the shared culture of participants and a media institution as the moderator of online discourse. Four forms of moral argumentation were found in the material: 1) theoretical, 2) practical, 3) categorical and 4) digital enthymeme. Theoretical, practical and categorical enthymemes are rhetorical in a traditional sense because they include the hierarchical idea of moral norms as the shared, more or less authoritarian, basis of a community. Digital enthymemes, conversely, are texts without clear borders or any notion of moral norms. Such arguments characterized especially user-generated, English-language discussions concerning female celebrities’ fights. This indicates that the digital enthymeme is particularly prevalent where there is a lack of obvious hierarchies in the context of argumentation. As this study argues, however, the seemingly non-hierarchical and individualistic participation through digital enthymemes is a mere illusion, for these enthymemes are based on crowd behaviour supportive of sexist and class-bound domination. (shrink)

In a recent paper devoted to my topic, music and morality, my fellow philosopher of music Peter Kivy makes a helpful tripartite distinction among ways in which music could be said to have moral force. The first is by embodying and conveying moral insight; Kivy labels that epistemic moral force. The second is by having a positive moral effect on behavior; Kivy labels that behavioral moral force. And the third is by impacting positively on character so as to make (...) someone a better human being; Kivy labels that character-building moral force. (shrink)