Some theorists have argued recently that Berlinian value pluralism points not to liberalism, as Berlin supposed, but, in effect, to some form of communitarianism. To what extent is this true, and, to the extent that it is true, what kind of communitarianism fits best with the pluralist outlook? I argue that pluralists should acknowledge community as an important source of value and as a substantial value in itself, but they should also be prepared to question traditions and to respect values (...) other than community. In particular, pluralism points to personal autonomy as playing a special role when we must choose among incommensurable goods in conflict. Consequently, the pluralist outlook is at odds with conservative communitarianisms that tend to place existing traditions beyond question, and with radical variants of communitarianism, such as Marxism and classical anarchism, which look forward to future communities in which the need to cope with hard public choices has largely been eliminated. Rather, Berlinian pluralism fits best with a liberal or moderate kind of communitarianism that balances community with other goods, especially personal autonomy. (shrink)

Education has long been charged with the taskof forming and shaping subjectivity andidentity. However, the prevailing view ofeducation as a project of producing rationalautonomous subjects has been challenged bypostmodern and poststructuralist critiques ofsubstantial subjectivity. In a similar vein,Emmanuel Levinas inverts the traditionalconception of subjectivity, claiming that weare constituted as subjects only in respondingto the other. In other words, subjectivity isderivative of an existentially priorresponsibility to and for the other. Hisconception of ethical responsibility is thusalso a radical departure from the prevailingview (...) of what it means to be a responsible moralagent. In this paper, I use jazz improvisationas a metaphor to focus on three interrelatedaspects of ethical responsibility on Levinas'saccount: passivity, heteronomy, andinescapability. I then point toward some waysin which reframing responsibility andsubjectivity along this line might offer newpossibilities for conceiving subjectivity andmoral agency in education. (shrink)

Works of art can be difficult in several ways. One important way is by making us face up to unsettling truths. Such works typically receive praise. I maintain, however, that sometimes they deserve moral censure. The crux of my argument is that, just as we have a right to know the truth in certain contexts, so too we have a right not to know it. Provided our ignorance does not harm or seriously endanger others, the decision about whether to know (...) the truth ought to be left to us. Within this limit, therefore, difficult art is morally problematic if it intentionally targets those who have chosen not to know. To illustrate the problem, I discuss the literary writings of Søren Kierkegaard, which aim to deceive readers into seeing unpleasant truths about themselves that they seek to ignore. (shrink)

In the Proceedings that emerged from the Second International Workshop on the Assessment of Animal Welfare at Farm and Group Level, Sandoe, Christiansen, & Appleby challenged participants to ponder four fundamental questions:a. What is the baseline standard for morally acceptable animal welfare?b. What is a good animal life?c. What farming purposes are legitimate?d. What kinds of compromises are acceptable in a less-than-perfect world?Continued reflection on those questions warrants examination of the shape of our modern agricultural ethic. It also calls for (...) a reexamination of recent work by Nussbaum on extending the capabilities approach to animals and the interface of Nussbaum's work with Rollin's scholarship on telos . The resources of narrative ethics are summoned to navigate the above-mentioned questions and to explore how Nussbaum's approach and Rollin's notion of animals' natures relate to the main storyline associated with developments in agriculture. (shrink)

This paper addresses the subject of textual creativity by drawing on work done in classical literary theory and criticism, specifically new criticism, structuralism and early poststructuralism. The question of how readers and writers engage creatively with the text is closely related to educational concerns, though they are often thought of as separate disciplines. Modern literary theory in many ways collapses this distinction in its concern for how literariness is achieved and, specifically, how ‘literary quality’ is accomplished in the textual and (...) the social dimension. Taking literary and aesthetic creativity as a point of departure in the reading of five central authors in classical literary criticism, the paper identifies the processes of narrative imagination and emotional identification as central to the role that the textual dimension plays in the creative process of the author/reader—particularly in the way it provides a space for experimentation and self-reflexion through ‘storying’. (shrink)

Current theoretical account of judgment has a difficult time saying anything positive about the experience of judging and, when they do offer positive accounts, they seem to overlook much that we know about the capacity already in our daily lives. Following the work of Martin Heidegger and Hubert Dreyfus, this article provides a phenomenological consideration of the structure of judging that considers judgment not as an intellectual act, but as a comportment. The article proceeds in two parts. The first offers (...) a brief consideration of the assumptions of intellectualist accounts and shows why, ultimately, they may be unable to bring judging into focus. The second section offers a phenomenological account of judging. The argument of section two is that deliberate judgment is a continuation of the structure of judgment understood as comportment and, in turn, that intellectualist accounts come onto the scene too late. (shrink)

This introduction presents an overview of the articles in this special issue, within the framework of an argument for the conclusion that there are various roads leading from imagination to knowledge.

This paper focuses on Aristotelian phronesis and aims at highlighting its nature as an eye on particulars with general ends in sight. More specifically, it challenges the particularistic interpretation of phronesis and Aristotelian ethics in order to argue for a “qualified generalism.” After sketching a radical Particularistic Reading (PR), the paper defends an interpretation it calls the Priority of Particulars Reading (PPR). First, it shows how PPR effectively accounts for the Aristotelian priority assigned to practical perception while at the same (...) time counterbalancing that priority by means of two interpretive strategies. Then it offers further support to PPR by appealing to its own reading of Aristotle's phronesis. It aims to show that it is possible to defend a legitimate form of PPR without ending in holding PR, and that Aristotle's own theory and work ground the moderate reading. Finally, it draws some implications by analyzing educational practice. (shrink)

Art plays a significant role in Iris Murdoch’s moral philosophy, a major part of which may be interpreted as a proposal for the revision of religious belief. In this paper, I identify within Murdoch’s philosophical writings five distinct but related ways in which great art can assist moral/religious belief and practice: art can reveal to us “the world as we were never able so clearly to see it before”; this revelatory capacity provides us with evidence for the existence of the (...) Good, a metaphor for a transcendent reality of which God was also a symbol; art is a “hall of reflection” in which “everything under the sun can be examined and considered”; art provides us with an analogue for the way in which we should try to perceive our world; and art enables us to transcend our selfish concerns. I consider three possible objections: that Murdoch’s theory is not applicable to all forms of art; that the meaning of works of art is often ambiguous; and that there is disagreement about what constitutes a great work of art. I argue that none of these objections are decisive, and that all forms of art have at least the potential to furnish us with important tools for developing the insight required to live a moral/religious life. (shrink)

Martha Nussbaum defends the use of narratives, especially novels, in moral education. Reading novels not only stimulates the moral imagination, she claims, but also provides moral insights which cannot be conveyed in any other way. This paper questions several aspects of Nussbaum’s theory. First, by assuming a straightforward connection between reading fiction and moral behaviour, Nussbaum neglects a crucial distinction between emotional and real identification. Second, in stressing the importance of imagination, Nussbaum ignores love as a more genuine source of (...) altruism. Third, a system that censors literature in the name of moral education involves some risks which this paper will explore. Fourth, it is argued that Nussbaum’s preference for fiction above real-life experience is a little awkward. And finally, Nussbaum’s model for moral education turns out to be problematic not only in theory but also in practice. (shrink)

In many jurisdictions, an offender’s remorse is considered to be a relevant factor to take into account in mitigation at sentencing. The growing philosophical interest in the use of neurointerventions in criminal justice raises an important question about such remorse-based mitigation: to what extent should technologically facilitated remorse be honoured such that it is permitted the same penal significance as standard instances of remorse? To motivate this question, we begin by sketching a tripartite account of remorse that distinguishes cognitive, affective (...) and motivational elements of remorse. We then describe a number of neurointerventions that might plausibly be used to enhance abilities that are relevant to these different elements of remorse. Having described what we term the ‘moral value’ view of the justification of remorse-based mitigation, we then consider whether using neurointerventions to facilitate remorse would undermine its moral value, and thus make it inappropriate to honour such remorse in the criminal justice system. We respond to this question by claiming that the form of moral understanding that is incorporated into a genuinely remorseful response grounds remorse’s moral value. In view of this claim, we conclude by arguing that neurointerventions need not undermine remorse’s moral value on this approach, and that the remorse that such interventions might facilitate could also be authentic to the recipient of the neurointerventions that we discuss. (shrink)

Can we love and envy the same person at the same time? There is an overwhelming, cross-cultural and cross-disciplinary, consensus that love and envy are deeply incompatible. In this paper, I challenge this consensus, and focus in particular on the normative thesis that true love should be void of envy proper. I first propose an indirect argument. Because love and envy thrive in the same psychological conditions, it is not unlikely to feel envy toward the beloved. If we want ideals (...) that do not go against our psychological propensities, then we should not aim for a love that is wholly void of envy. I then propose a direct argument, in defense of two positive ideals. I argue that a certain kind of envy—emulative envy—can be beneficial to the loving relationship; in turn, a certain kind of love—wise love— which accepts the presence of envy, can be beneficial to our lives. Thus, that love and envy are so linked in our psychology is not something that we should merely tolerate, but wholeheartedly embrace. (shrink)

This article argues for four interrelated claims: Metaphilosophy is not one sub-discipline of philosophy, nor is it restricted to questions of methodology. Rather, metaphilosophical inquiry encompasses the general background conditions of philosophical practice. These background conditions are of various sorts, not only those routinely considered “philosophical” but also those considered biographical, historical, and sociological. Accordingly, we should be wary of the customary distinction between what is proper and merely contingent to philosophy. “What is philosophy?” is best understood as a practical (...) question concerning how members of different philosophical sub-communities identify what is pertinent to their respective activities and self-conceptions. Given –, understanding what philosophy is requires us to take more seriously the social-institutional dimension of contemporary philosophical practice. (shrink)

This paper argues that there is a dimension of human consciousness which allows for a pre-intentional and non-cognitive intuition of sensibility. A sensibility which allows for the vulnerability of the human other is by nature characterized by passivity and receptivity. Moreover, sensibility invokes the significance of relating to the human other in an affective way of being touched by his or her pain and suffering. This capacity of being distressed by the distress of another person opens up for ethical responsibility (...) and even in a fundamental sense is a presupposition for full-fledged clinical knowledge in medical care and health care. (shrink)

This article brings together two prominent topics in the literature over the past few decades—the ethical criticism of art and art interpretation. The article argues that debates about the ethical criticism of art have not acknowledged the fact that they are tacitly underpinned by a number of assumptions about art interpretation. I argue that the picture of interpretation that emerges from the analysis of these assumptions is best captured by moderate actual intentionalism. Reflection upon the nature of ethical criticism, I (...) argue, offers new reasons to prefer moderate actual intentionalism to hypothetical intentionalism. I conclude by arguing for the necessity of broadening our conception of ethical criticism. (shrink)

In a recent series of papers, Beck and Wagner have been arguing about the general role that thought experiments can play in the debate on personal identity, showing their disagreement about the famous criticisms that Wilkes’ launched against their use. In this article I come back to Wilkes’ criticisms to show that her position is deeply problematic. If we adopt instead the mental model account of thought experiments, we can accommodate Wilkes’ criticisms and justify the use of thought experiments in (...) the debate of personal identity. This will allow us to see why Beck and Wagner were both half right and half wrong in their discussion. (shrink)

ABSTRACTThe article contributes to current theoretical debates about the political significance of narrative imagination by drawing on Camus’s and Arendt’s existential aesthetic judging sensibility. It seeks to displace the prevalent tendency to probe literature for its moral-philosophical insights, and instead delves into the experiential reality of our engagement with literary works. It starts from Martha Nussbaum’s recognition of the literary ability to account for the fragility of human affairs, yet finds her reduction of narrative imagination to the role of furthering (...) moral lessons wanting politically. Against this background, the article reclaims Camus’s and Arendt’s dialogical-representative judging orientation and its insight into the narrative ability to respond to the intersubjective character of politics. As such, their aesthetic sensibility reveals the potential political significance of literary imagination in its capacity to open a public space where the contradictions of our situated existence can be confronted through politics between plural equals. (shrink)

The purpose of this paper is to defend a deflationary account of the ethical value of narrative representation. In sections 1 and 2 I demonstrate that there is a necessary relation between narrative representation and ethical value, but not between narrative representation and moral value. Ethical is conceived in terms of moral as opposed to amoral and moral in terms of moral as opposed to immoral and the essential value of narrative representation is restricted to the former. Recently, both theorists (...) involved in the ethical turn in criticism and analytic philosophers have erred in conflating these two distinct kinds of value. In sections 3 to 5 I defend my deflationary view against three attempts to elevate the ethical value of narrative representation to moral value: Martha Nussbaum’s theory of realist novels, Noël Carroll’s virtue wheels, and Geoffrey Galt Harpham’s closural moral order. (shrink)

It is a truth universally acknowledged that great works of literature have an impact on people's lives. Well known literary characters—Oedipus, Hamlet, Faustus, Don Quixote—acquire iconic or mythic status and their stories, in more or less detail, are revered and recalled often in contexts far beyond the strictly literary. At the level of national literatures, familiar characters and plots are assimilated into a wider cultural consciousness and help define national stereotypes and norms of behaviour. In the English speaking world, Shakespeare's (...) plays or the novels of Jane Austen, the Bronte sisters, Dickens, and Trollope, provide imaginative material that reverberates in people's lives every bit as much as do the great historical figures, like Julius Caesar, Elizabeth I, Horatio Nelson, or Winston Churchill. What is striking is how often fictional characters from the literary tradition—like the well-loved Elizabeth Bennett, Jane Eyre, Oliver Twist, Pip, Tess of the d'Ubervilles—enter readers' lives at a highly personal level. They become, as Martha Nussbaum puts it, our ‘friends’, and for many readers the lives of these characters become closely entwined with their own. Happy and unhappy incidents in the fictional worlds are held up against similar incidents in the real lives of readers and such readers take inspiration from the courage, ingenuity, or good fortune of their fictional heroines and heroes. Nowhere is it more true that life imitates art. (shrink)

Epistemologists generally think that genuine warrant that is available to anyone must be available to everyone who is exposed to the relevant causal inputs and is able and willing to properly exercise her rationality. The motivating idea behind this requirement is roughly that an objective view is one that is not bound to a particular perspective. In this paper I ask whether the aperspectivality of our warrants is a precondition for securing the objectivity of our claims. I draw upon a (...) Sellarsian account of perception in order to argue that it is not; rather, inquirers can have contingent properties and perspectives that give them access to forms of rational warrant and objective knowledge that others do not have. The universal accessibility of reasons, on my account, is not a precondition for the legitimacy of any actual warrant, but rather a regulative ideal governing inquiry and communication. (shrink)

Ethical choice and action in the built environment are complicated by the fact that moral agents often get stuck as they pursue their goals. A common way of getting stuck has its roots in human cognition: the failure of moral imagination, which shows most clearly when moral agents stand on either side of a sharp cultural divide, like the traditional divide between city and suburb. Being stuck is akin to bad moral luck: it is a situation beyond the control of (...) the moral agent for which that agent might nevertheless be held responsible. (shrink)

Many people report that reading first-person narratives of the experience of illness can be morally instructive or educative. But although they are ubiquitous and typically sincere, the precise nature of such educative experiences is puzzling—for those narratives typically lack the features that modern philosophers regard as constitutive of moral reason. I argue that such puzzlement should disappear, and the morally educative power of illness narratives explained, if one distinguishes two different styles of moral reason: an inferentialist style that generates the (...) puzzlement and an alternative exemplarist style that offers a compelling explanation of the morally educative power of pathographic literature. (shrink)

The issue of the allocation of resources in health care is here to stay. The goal of this study was to explore the views of physicians on several topics that have arisen in the debate on the allocation of scarce resources and to compare these with the views of policy makers. We asked physicians and policy makers to participate in an interview about their practices and opinions concerning factors playing a role in decision making for patients in different age groups. (...) Both physicians and policy makers recognised allocation decisions as part of their reality. One of the strong general opinions of both physicians and policy makers was the rejection of age discrimination. Making allocation decisions as such seemed to be regarded as a foreign entity to the practice of medicine. In spite of the reluctance to make allocation decisions, physicians sometimes do. This would seem to be only acceptable if it is justified in terms of the best interests of the patient from whom treatment is withheld. (shrink)

ABSTRACTThis article scrutinises one of the mainstream views of how one grows into responsible membership of society; the view based on Jürgen Habermas’, Lawrence Kohlberg’s and Jean Piaget’s theories. Habermas praises Kohlberg’s and Piaget’s psychological theories and uses them as empirical sources crucial for his theoretical work. We argue that this view should be revised in light of new empirical findings as Habermas’ Kohlberg’s and Piaget’s view is based on a false understanding of the development and functioning of human reason (...) and morality. We do not, however, defend a view that reduces normative questions to empirical facts. In contrast, we agree with Habermas that in an adequate theory, both philosophical and empirical dimensions have to be taken into account but argue that the empirical research results he has utilized are fallacious in light of current research findings. Finally, we discuss the relevance of our argument for educational theorisation. (shrink)

Can artworks be morally good or bad? Many philosophers have thought so. Does this moral goodness or badness bear on how good or bad a work isas art?This is very much a live debate.Autonomistsargue that moral value is not relevant to artistic value;interactionistsargue that it is. In this paper, I argue that the debate between interactionists and autonomists has been conducted unfairly: all parties to the debate have tacitly accepted a set of constraints which prejudices the issue against the interactionist. (...) I identify two demands which are routinely placed on arguments seeking to establish interaction and argue that they are, in fact, mutually conflicting.There are two upshots. First, in light of this, it is unsurprising that arguments for interaction have failed to meet with everybody’s satisfaction. The constraints are such that no argument can meet them. Second, recognizing this helps us uncover a new, promising, but hitherto overlooked strategy for establishing artistic-ethical interaction. (shrink)

It is a commonplace that contemplation of an imaginary particular may have cognitive and motivational effects that differ from those evoked by an abstract description of an otherwise similar state of affairs. In his Treatise on Human Nature, Hume ([1739] 1978) writes forcefully of this.

The current interest in and discussion of virtue ethics suggests that this approach to moral decisionmaking has several distinct advantages as applied to ethical issues in healthcare delivery. For the most part, calls to incorporate the virtues of the healthcare provider in discussions of these issues have sought to supplement rather than totally replace traditional ethical theories, such as the utilitarian focus on maximizing the best overall consequences and the Kantian concern to act on the duty of respect for persons. (...) Including virtue-based ethics in such discussions allows for a more eclectic view of what should be considered in resolving difficult moral problems. As many critics of the purely principle-based approach have noted, real moral dilemmas are usually quite messy and are not easily susceptible to satisfactory resolution solely on the basis of abstract moral theories or principles. (shrink)

The debate over encumbered versus unencumbered selves that characterized the dialogue between liberalism and republicanism did not end well. Neither side seemed enlightened by its encounter with the other, as it became increasingly difficult to pin down the differences between the sides, never more so than when Michael Sandel was violently agreeing with Richard Dagger. Drawing on the work of novelist and philosopher Iris Murdoch, this essay argues that Sandel could have made a much stronger argument for his view than (...) he did. Sandel need not have conceded or concluded that encumbered selves are unable to choose freely. Freedom is a more subtle and complicated concept that either Sandel or Dagger recognize. (shrink)

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...) the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

What role does translation play in philosophy of language? Recent development in the field has drawn parallels between theories of translation and theories of meaning, evident primarily in the work of Davidson and Quine. Communication has often been viewed as an act of translation or interpretation between speakers, particularly by Davidson in later writings. I think it is equally useful to view translation as an act of communication, and this approach is particularly valuable because it leads us to the conclusion (...) that meaning is created through dialectic processes. Although translation studies has recently emerged as a new and promising academic field, it usually separates philosophical analysis from literary criticism. Quine’s work is typical of the philosophical approach, which concerns itself with hypothetical translation situations. What is of importance in these cases is the general process of translation, separate from any specific language. Quine’s radical translation thought experiment involves an imagined language of which we had no “prior understanding.” Davidson considers this situation as well, but does not restrict himself to it. He is also interested in the actual problems of interpretation that occur between speakers, even if they are speakers of the same language. However, neither Quine nor Davidson deal with actual translation techniques for literary works, which are usually discussed only within the context of literary criticism. It is my contention that the philo-sophical significance of literary translation has for the most part been overlooked, and I hope to show that literary translation has something to contribute to the more general discussion of translation and meaning within philosophy of language. (shrink)

Just how care moves us is the subject of Katherine Gardiner’s thesis. Gardiner wants to know how care moves us – or in philosophical terms, how it motivates us. She describes caring as a morally ‘necessary’ activity, which means that we cannot escape responding to the care appeal. However, Gardiner uses the example of ‘Pim’, who cannot care and feels really bad about it - not because he is incapable of caring, but who just can’t. She reviews several versions of (...) care ethics that might persuade him to care, containing concepts like ‘engrossment’, ‘responsibility’, ‘solidarity’, ‘virtue’ and ‘reason’. According to Gardiner, none will do, because they are not compelling enough. She concludes that we need to understand how morality has effect, how it works. Christine Korsgaard’s concept of ‘normativity’ does just this. Korsgaard makes necessary links between making moral decisions and having an identity and being human and argues that acting contrary to any of these will make one “feel worse than death”. Caring for and about others is an important human activity and for some people is a crucial part of their practical identity. Without Korsgaard, we would have to reject Pim as a moral deviant (someone insensible to moral reason); with Korsgaard we can understand Pim’s pain, according to Gardiner. (shrink)

In the following pages, I make an argument on behalf of “wisdom education,” i.e., an approach to education that emphasizes the development of better thinking skills as well as socialization and the development of students’ sense-of-self. Wisdom education can best be facilitated through dialogical interactions that encourage critical reflection and modification of one’s presuppositions. This account presupposes that wisdom is given to dialectical forces. While the paper is primarily theoretical, it touches upon my work as a teachers’ educator, which almost (...) always utilizes dialogical pedagogies in the belief that these pedagogies are potent platforms for better learning and thinking and thus are more meaningful and transformative. (shrink)

Richard Rorty holds that the novel is the characteristic genre of democracy, because it helps people to develop and to stabilize two crucial capabilities the ideal inhabitants of democratic societies should possess: a keen sense for anti-foundationalism and a disposition for solidarity. He believes that novels help develop these capabilities by educating our capacity for criticism and our capacity for attentive-empathetic perception. This article argues in favor of this Rortyan idea, showing how anti-foundationalism and solidarity can be seen as important (...) instances of what I will call 'dispositions for democratic citizenship' and that art (and not only novels) and its reception, are valuable tools for advancing these dispositions. However, as the Rortyan public-private dichotomy assigns art’s function of criticism only to the private sphere, Rorty ignores its potential for stimulating democratic public deliberation and he misses the fact that art’s functions of criticism and of attentive-empathetic perception partially depend on each other if they are effectively to lead to increased solidarity and change social realities. Thus this article argues—taking these objections into account—to slightly modify, but nevertheless value Rorty’s idea that art and its reception are crucial resources for democratic citizenship and for the process of democratic deliberation. (shrink)

Relatar lo ocurrido como invención: una introducción a la filosofía de la ficción contemporánea ofrece al lector en castellano una magnífica oportunidad para familiarizarse con algunos aspectos centrales de la filosofía del lenguaje contemporánea y sus implicaciones para la teoría de la ficción. García-Carpintero recorre los argumentos fundamentales en favor y en contra de cada una de las posiciones relevantes, y nos propone finalmente un análisis alternativo de la norma de la ficción y una teoría neofregeana de los términos referenciales (...) que logra esquivar algunas objeciones tradicionales. Esta discusión incluye, no obstante, dos objeciones a su norma de la ficción: una se refiere a las formas de la conciencia que esa norma presupone y la otra a la naturaleza del interés que suscitan los proyectos imaginativos vinculados a las obras de ficción. (shrink)