If, as Richard Wollheim says, the Acquaintance Principle is ‘a well-entrenched principle in aesthetics,’ it would be surprising if there were not something true at which those who have asserted it have been aiming. I argue that the Acquaintance Principle cannot be true on any traditional epistemic interpretation, nor on any usability interpretation of the sort Robert Hopkins has recently suggested. I then argue for an interpretation of the principle that treats acquaintance as the end to which judgments of aesthetic (...) value are the means as opposed to the other way around. (shrink)

On most accounts present in the literature, the complex experience of shame has the injury to self-esteem as its main component. A major objection to this idea is that it fails to differentiate between shame and disappointment in oneself. I argue that previous attempts to respond to the objection are unsatisfactory. I argue further that the distinction should refer to the different ways the subject's self-esteem is formed. A necessary requirement for shame is that the standards and values by which (...) the subject judges himself are borrowed from a canon of values the subject accepts as a given. The proper focus of shame is the fact of conformity to that canon. Those agents who have a different conception of self-esteem and who freely set and alter their own values are prone to self-disappointment, but not to shame. (shrink)

I first show why Davidson was wrong to maintain that there is no such thing as metaphorical meaning, that which paraphrases strive to capture. I then sketch a conception of metaphors as utterances in contexts, and suggest how such utterances can acquire metaphorical meanings despite there being no semantic rules for the projection of such meanings. I next urge the essentiality of a metaphor's verbal formulation to its being the metaphor it is, and I conclude with some reflections on common (...) and uncommon metaphors, and on the difficulty of finding strings of words resistant to metaphorical construal. (shrink)

The goal of this paper is methodological. It offers a comprehensive mapping of the theoretical positions on the ethical criticism of art, correcting omissions and inadequacies in the conceptual framework adopted in the current debate. Three principles are recommended as general guidelines: ethical amenability, basic value pluralism, and relativity to ethical dimension. Hence a taxonomy distinguishing between different versions of autonomism, moralism, and immoralism is established, by reference to criteria that are different from what emerging in the current literature. The (...) mapping is then proved capable of (1) locating the various theories that have been proposed so far and clarifying such theories’ real commitments, (2) having the correct relationship with actual art making and art criticism practices, and (3) showing the real weight of the alleged counter-example to a moralist position of a work that succeeds artistically because of its immorality. (shrink)

Abstract: Kant declares the judgment of beauty to be neither ‘objective’ nor ‘merely subjective’. This essay takes up the question of what this might mean and whether it can be taken seriously. It is often supposed that Kant's denials of ‘objectivity’ to the judgment of beauty express a rejection of realism about beauty. I suggest that Kant's thought is not to be understood in these terms—that it does not properly belong in the arena of debates about the constituents of ‘reality’—motivating (...) the suggestion by first considering a pair of opposing views on the question of whether Kant can be understood to develop a real alternative to realism about beauty at all. (shrink)

According to what Robert Stecker dubs the “ethical-aesthetic interaction” thesis, the ethical defects of a literary work can diminish its aesthetic value. Both the thesis and the only prominent argumentative strategy employed to support it the affective response argument have been hotly debated; however, Stecker has recently argued that the failure of the ARA does not undermine the thesis, since the argument “fails to indentify the main reason [the thesis] holds, when it in fact does.” I critically examine Stecker’s objection (...) to the familiar versions of the affective response argument and the line of support for ethical-aesthetic interaction he proposes to install in their place. I conclude that neither is compelling; however, an important insight can be salvaged from his positive proposal, and I argue that the insight does, in fact, point toward a novel defense of the thesis. (shrink)

ABSTRACTNietzsche’s work is filled with references to taste. He frequently expresses his own judgements of taste and criticizes or praises individuals and groups on account of their taste. Some recent attempts to account for Nietzsche’s understanding of taste argue that Nietzsche understands affective response, when guided by good taste, as being appropriate to, or merited by, the intrinsic features of the object. This is in direct contrast to anti-realist accounts of Nietzsche’s taste, according to which his evaluative judgements have no (...) special epistemic status. In this article, I argue against objectivist or universalist readings of Nietzsche’s judgements of taste. However, in doing so I aim to show that affective responses do not thereby turn out to be arbitrary. Nietzsche suggests that by engaging with one’s affective responses, one can organizes them into a coherent and unified taste. This process of unification is central to Nietzsche’s understanding of value and self-creation. (shrink)

A philosopher’s case for the importance of good—if ethically questionable—humor. A good sense of humor is key to the good life, but a joke taken too far can get anyone into trouble. Where to draw the line is not as simple as it may seem. After all, even the most innocent quips between friends rely on deception, sarcasm, and stereotypes and often run the risk of disrespect, meanness, and harm. How do we face this dilemma without taking ourselves too seriously? (...) In Wisecracks, philosopher David Shoemaker examines this interplay between humor and morality and ultimately argues that even morally suspect humor is an essential part of ethical life. Shoemaker shows how improvised “wisecracks” between family and friends—unlike scripted stand-up, sketches, or serials—help us develop a critical human skill: the ability to carry on and find the funny in tragedy. In developing a new ethics of humor in defense of questionable gibes, Wisecracks offers a powerful case for humor as a healing presence in human life. (shrink)