“İntihar Üzerine” (Ek 1) ve “Ruhun Ölümsüzlüğü Üzerine” (Ek 2) denemeleri, David Hume’un din bağlamında dogmatik inanışları, uslamlamaları en keskin bir biçimde eleştirdiği yazılarıdır. Görgül felsefesinin temel doğruları ve izlediği kuşkucu yöntem uyarınca ortaya koyduğu sonuçlar, bu denemelerin hem yayınlandıkları dönemde hem de sonrasında pek çok olumsuz eleştiriyle karşılaşmasına yol açmıştır. İnsanın doğasına ilişkin her türlü konuyu soruşturma niyetliliği ile yola çıkan Hume, dogmatik dinin ve uygulamalarının köklendiği inanışları ve uslamlamalarını da aynı niyetle irdelemiştir. Özellikle döneminde yaşanan toplumsal sorunların bu (...) dogmalara duyulan kuşkusuz inançlardan köklendiğini göstermeye çalıştığı bu iki denemenin, yine aynı dogmalara dayanarak eleştirilmesi, basımının engellenmesi ve metinlere müdahale edilmesi ise ironiktir. Bu çalışmada, Hume’un her iki denemedeki savlarının bir çözümlemesi değil, denemelerde ele alınan sorunun ne kadar gerçek olduğu, bu iki denemenin yayınlanma süreci örnek gösterilerek incelenecektir. (shrink)

Political theory has been described as an `enterprise of discovery' that carries within it the danger of utopianism. This article explores one aspect of that danger: the question of the paradoxical or circular nature of much political thinking. This seems to be both a necessary and an impossible feature of such theorizing. Political theory itself seems to require an idea of utopia that is, by definition, impossible to achieve.

Is tragedy, as Nietzsche declared, dead? In recent years many philosophers have reconsidered tragedy's relation to philosophy. While tragedy is deemed to contain important lessons for philosophy, there is a consensus that it remains a thing of the past. This article calls this consensus into question, arguing that it reifies tragedy, keeping tragedy at arm's length. With the interest of identifying the necessity of tragedy to philosophy, it draws from Quentin Skinner to put forward an alternative approach to genre as (...) living form. This approach alters our understanding of the philosopher at the heart of philosophy's dialogue with tragedy, Immanuel Kant. Moreover, it shows that tragedy is closer to contemporary philosophy than we might think. (shrink)

According to one version of objectivism about value, ethical and other evaluative claims have a fixed truth-value independently of who makes them or the society in which they happen to live (c.f. Davidson 2004, 42). Subjectivists about value deny this claim. According to subjectivism so understood, ethical and other evaluative claims have no fixed truth-value, either because their truth-value is dependent on who makes them, or because they have no truth-value at all.

This paper discusses Kant’s assessment of the religious idea of grace in relation to autonomous ethical practice. Following Kant’s own explanation of his methods and goals in interpreting religious ideas, my focus is on the ethical import of inherited religious concepts for human beings, rather than on literal theological dogmas concerning supernatural matters. I focus on how Kant’s inquiry into the ethical significance of the idea of grace is intertwined with another less recognized concept, that of favor. The latter concept (...) plays a crucial role in understanding Kant’s analyses, because it establishes a criterion by which to adjudicate historically-formed ideas of grace. Insofar as grace is understood in ways that assimilate it to endeavors to win favor, it works against our capacity to follow the moral law. On the constructive side, insofar as the concept of grace is understood to support ethical practice based on the moral law, it can be a vehicle for what Kant calls rational religion. This two-sided analysis of grace is a key component of the project of the Religion and other related writings, wherein Kant offers both critical and constructive investigations of historically-formed religious ideas found in scripture, ecclesiastical institutions and other sources. (shrink)

It is argued that instrumentalizing the value of art does an injustice to artistic appreciation and provides a hostage to fortune. Whilst aestheticism offers an intellectual bulwark against such an approach, it focuses on what is distinctive of art at the expense of broader artistic values. It is argued that artistic appreciation and creativity involve not just skills but excellences of character. The nature of particular artistic or appreciative virtues and vices are briefly explored, such as snobbery, aestheticism and creativity, (...) in order to motivate a virtue theoretic approach. Artistic virtues are intrinsically valuable excellences of character that enable us to create or appreciate all sorts of things from everyday recipes to the finest achievements of humankind. Such an approach offers a new way to resist the age old temptation to instrumentalize the values of art. (shrink)

The (im)moral character of art works often affects how we respond to them. But should it affect our evaluation of them as art? The article surveys the contemporary debate whilst outlining further lines of argument and enquiry. The main arguments in favour of aestheticism, the claim that there is no internal relation between artistic value and moral character, are considered. Nonetheless the connection between art's instructional aspirations and artistic value, as well as the ways in which works solicit responses from (...) us, underwrite the claim that a work's moral character can be directly relevant to a work's value as art. Various competing accounts of how the relationship goes, ethicism, moderate moralism and immoralism, are considered. The article goes on to elaborate novel considerations in favour of a suitably qualified cognitive immoralism and suggests avenues of further enquiry with respect to the moral character of art works. (shrink)

In this paper I argue that there is good reason to believe that we can be influenced by fictions in ways that matter morally, and some of the time we will be unaware that we have been so influenced. These arguments fall short of proving a clear causal link between fictions and specific changes in the audience, but they do reveal rather interesting and complex features of the moral psychology of fiction. In particular, they reveal that some Platonic worries about (...) the dangers of art cannot be dismissed lightly. (shrink)

Those who have views about the relation between aesthetic and ethical value often also have views about the nature of art criticism. Yet no one has paid much attention to the compatibility of views in one debate with views in the other. This is worrying in light of a tension between two popular kinds of view: namely, between critical pluralism and any view in the art and ethics debate that presupposes an invariant relation between aesthetic value and ethical value. Specifically, (...) the tension with invariance arises insofar as critical pluralism accommodates the aesthetic value of interpretive richness, including the aesthetic value of ethically conflicted interpretive richness. Given this tension, a shift of focus is needed in the art and ethics debate; from specifying the criteria for the aesthetic relevance of a work's ethical qualities to defending the fundamental nature of the aesthetic-ethical value relation. (shrink)

I respond to Lennart Nordenfelt's analysis of dignity by questioning his attempt to establish an objective standard by which dignity can be determined. I approach this by considering the way in which claims to dignity may be contested and defended. This leads, in the cases of dignity of merit and dignity of moral status, to an apparent relativism. This relativism is checked by further consideration of dignity of identity, and in particular by consideration of the nature of the processes that (...) serve to humiliate people. It is suggested that acts of humiliation attack certain competences that human beings develop as embodied, social beings. Menschenwürde may then be articulated as an account of human nature, in terms of the human potential to develop a series of core competences. This account of human nature aspires to universality, and as such offers an objective ground to dignity. This paper is a product of the research project on Dignity and Older Europeans Programme, Contract No QLG6, 2001, 00888). (shrink)

This paper argues that there is no genuine puzzle of ‘imaginative resistance’. In part 1 of the paper I argue that the imaginability of fictional propositions is relative to a range of different factors including the ‘thickness’ of certain concepts, and certain pre-theoretical and theoretical commitments. I suggest that those holding realist moral commitments may be more susceptible to resistance and inability than those holding non-realist commitments, and that it is such realist commitments that ultimately motivate the problem. However, I (...) argue that the relativity of imaginability is not a particularly puzzling feature of imagination. In part 2, I claim that it is the so-called ‘alethic’ puzzle, concerning fictional truth, which generates a real puzzle about imaginative resistance. However, I argue that the alethic puzzle itself depends on certain realist assumptions about the nature of fictional truth which are implausible and should be rejected in favour of an interpretive view of fictional truth. Once this is done, I contend, it becomes evident that the supposed problem of imaginative resistance as it has hitherto been discussed in the literature is not puzzling at all. (shrink)

Within the debate on the epistemology of aesthetic appreciation, it has a long tradition, and is still very common, to endorse the sentimentalist view that our aesthetic evaluations are rationally grounded on, or even constituted by, certain of our emotional responses to the objects concerned. Such a view faces, however, the serious challenge to satisfactorily deal with the seeming possibility of faultless disagreement among emotionally based and epistemically appropriate verdicts. I will argue that the sentimentalist approach to aesthetic epistemology cannot (...) accept and accommodate this possibility without thereby undermining the assumed capacity of emotions to justify corresponding aesthetic evaluations – that is, without undermining the very sentimentalist idea at the core of its account. And I will also try to show that sentimentalists can hope to deny the possibility of faultless disagreement only by giving up the further view that aesthetic assessments are intersubjective – a view which is almost as traditional and widely held in aesthetics as sentimentalism, and which is indeed often enough combined with the latter. My ultimate conclusion is therefore that this popular combination of views should better be avoided: either sentimentalism or intersubjectivism has to make way. (shrink)

Professionalism is initially understood as a historical process, through which certain commercial services sought to improve their social status by separating themselves from mere crafts or trades. This process may be traced clearly with the aspiration of British portrait painters, in the eighteenth century, to acquire a social status akin to that of already established professionals, such as clerics and doctors. This may be understood, to a significant degree, as a process of gentrification. The values of the professional thereby lie (...) as much in the etiquette and other social skills with which they deal with their clients, than with any distinctive form of skill or value. Professionalisation as gentrification seemingly says little about the nature of modern professionalism. However, if this process is also construed as one in which the goals and achievements of the profession come to be subject to radical reflection, then something significant about professional values emerges. On this account, the profession is distinguished from craft or trade on the grounds that the goals of the profession, and the effectiveness of any attempt to realise them, are not transparent to the client. While a lay person will typically have the competence necessary to judge whether or not a craft worker has achieved their goal, that person will not necessarily be able to recognise the values that determine the success of a medical operation. It will be concluded that the values of a profession are articulated intrinsically to the profession, in terms of the contested understanding that the professionals themselves have of the meaning of the profession and the narratives within which its history is to be told. (shrink)

Mary Wollstonecraft's account of virtue discourse and formation, which deploys ancient and medieval ethical resources for modern purposes, challenges a prevalent narrative in Christian ethics today. Several prominent Christian virtue ethicists have left the false impression that serious reflection on the virtues depends on pre-modern traditions and the eschewal of modern resources. Troubled by skeptical quandaries and the difficulty of adjudicating conflicting claims about virtue, they are concerned with securing a pre-modern court of appeals. Many feminists worry that these appeals (...) unduly constrain because they naturalize what is contingent and fix what should be open to debate. Wollstonecraft does not share the skeptical concerns and so has no need for metaethical appeals. Adapting Edmund Burke's moral philosophy, her use of virtue discourse deploys his metaphor of “the wardrobe of the moral imagination” to more religious, radical, and democratic ends. This way of proceeding signals the possibility of a rapprochement between feminists of various stripes and those interested in deploying the discourse of the virtues for contemporary Christian ethics. (shrink)

We often speak about religious experience, and sometimes we speak about metaphysical experience. Yet we seldom hear about philosophical experience. Is philosophy purely a matter of theories and theses, or does it have an experiential aspect? In this article, I argue for the following three claims. First, there is something we might call philosophical experience, and there is nothing mystical about it. Second, philosophical experiences are expressed in something quite similar to what Kant called "aesthetic judgements." Third, philosophical experiences are (...) expressed by using words in what Wittgenstein called "secondary sense." Finally, I try to show the educational significance of pursing philosophical experiences. Through articulating them one might find one's ground, and through articulating them in a less private and more universal form one might raise oneself to universality. Thus, in expressing philosophical experiences one aspires to speak in a universal voice. (shrink)

Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...) psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework. (shrink)