A polemical account of Australian philosophy up to 2003, emphasising its unique aspects (such as commitment to realism) and the connections between philosophers' views and their lives. Topics include early idealism, the dominance of John Anderson in Sydney, the Orr case, Catholic scholasticism, Melbourne Wittgensteinianism, philosophy of science, the Sydney disturbances of the 1970s, Francofeminism, environmental philosophy, the philosophy of law and Mabo, ethics and Peter Singer. Realist theories especially praised are David Armstrong's on universals, David Stove's on logical probability (...) and the ethical realism of Rai Gaita and Catholic philosophers. In addition to strict philosophy, the book treats non-religious moral traditions to train virtue, such as Freemasonry, civics education and the Greek and Roman classics. (shrink)

In this paper, I will argue that Radfords real question is not the conceptual one, as it is usually taken, but the causal one, and show that Waltons account, which treats Radfords puzzle as the conceptual question, is not a satisfactory solution to it. I will also argue that contrary to what Walton claims, the causal question is not only important, but also closely related to the conceptual and normative questions. What matters is not that Walton has not solved Radfords (...) puzzle per se, but that he has not recognized the importance of this puzzle. While doing this, I will suggest a revision to the cognitive theory of emotion. (shrink)

The capacity of a work of fictional literature to elicit emotional responses is part of what is valuable about it, and having emotional responses is part of appreciating it. These claims are not very controversial; perhaps they are even common sense. But philosophy rushes in where common sense fears to tread, raising questions and looking for explanations.Are the emotions we have in appreciating fictional works of art, what I call art emotions, of the same sort as those which occur in (...) ‘real life’? Which emotions are appropriate to the work, and why: what justifies having one emotion rather than another? And why should we think emotionally responding to fiction is desirable, something which should be respected and encouraged, rather than looked at as a little weird or a waste of time? (shrink)

The problem of fiction and emotion is the problem of how we can be moved by the contemplation of fictional events and the plight of fictional characters when we know that the former have not occurred and the latter do not exist. I will give a general sketch of the philosophical treatment of the issue in the present day, and then turn to the eighteenth century for a solution as effective as the best that are presently on offer. The solution (...) is to be found in the account of ideal presence given by Henry Home, Lord Kames. (shrink)