Sometimes we make the choice to rely upon the trait of being on time over making the choice to rely upon the trait of driving safely. So Gerry can run the red light to respect Stephanie’s time, while striking Paul’s car and disrespecting his property and life in the process. It appears that there are single situations with two or more morally salient features where we can apply different and ordinarily positive traits to our moral choices and by selecting the (...) wrong moral choice, we can be seen to behave abominably. Notice that when utilizing the trait attribution error as our excuse, we can still see ourselves as positive moral agents or “good persons” in the situation where we have behaved abominably. The trait attribution error takes place when we defend failing to perform the correct moral action with the motive of why we applied a specific positive trait to the wrong moral choice. So the Nazi soldier gets to remain “a good moral person” in his own eyes – because he applied the normally positive trait of following a superior’s orders – while at the same time performing horrific moral actions. In this paper I want to explain and explore aspects of the benefits of the phenomenon I call “trait attribution error,” with the two primary candidates being how it helps us both to avoid blame for improper moral acts and to dodge our negative psychology. The trait attribution error creates a cycle of error, preventing us from becoming virtuous moral agents by enabling us to make the same mistakes. (shrink)

This dissertation explores the relationship between liberal/secular and religious educations. I begin by tracing what I believe to be the source of tension between liberal/secular and religious educations to two highly influential liberal theories that have affected civic education in particular. I begin with an analysis of John Dewey's naturalistic approach to metaphysics and religion, arguing that Dewey's attitude to religious traditions, when used as a basis for civic education, is insufficient. Specifically, I argue that in Dewey's conception, religious doctrines, (...) principles, ideals, beliefs, and ultimately religious traditions as a whole, are important only instrumentally. Furthermore, I conclude that the only possible outcome once one accepts a prior commitment to Dewey's metaphysics is that reflection and deliberation on the 'religious' will denude it of its distinctively religious character. My major conclusion is that such a view of religion and the religious is egregiously deficient when evaluated in light of the liberal principle of respect for religion and religious diversity. I then move to a critical examination of the second highly influential liberal theory, political liberalism. The conclusion that I highlight in my critique of Rawlsian political liberalism is that a civic education based on the political ideals of political liberalism can pretty much ignore religious conceptions without detriment to the development of young citizens' deliberative capacities. I strongly challenge this conclusion, because I see engagement with religious conceptions as valuable – even necessary – for good citizenship, and for enabling citizens of diverse societies to do justice to/for each other. In the second half of the dissertation, I propose a theoretical framework for this supplemental dimension which is based on virtue epistemology. I focus specifically on the recent work of James Montmarquet, particularly his notion of subjective justification, which I incorporate as an ideal basis for engagement which focuses on reason-giving and validates the role that religious traditions can play in moral and civic deliberation. (shrink)

The status of art in Plato's philosophy has always been a difficult problem. As a matter of fact, he even threw the poets out from his ideal state, a passage that has led some interpreters to assess that Plato did not develop a proper philosophy of art. Nevertheless, R. G. Collingwood, wrote an article titled “Plato's Philosophy of Art”. How can it be? What could lead one of the most important aesthetic scholars of the first half of the twentieth century (...) to make this thesis about Plato? To understand Collingwood's position at that time, I will review it in a new light: his own philosophy of art at that moment as it was propounded in Outlines of a Philosophy of Art, a work he published that same year. I will also examine how Collingwood's position changed when he returned to the same subject in 1938, on the publication of The Principles of Art. Finally, I will end this article defending the correctness of Collingwood's earlier interpretation of Plato's position on art. (shrink)

In this thesis, I propose and defend a theory according to which committing oneself to knowing the proposition expressed counts as an assertion of that proposition. A consequence of this view is the knowledge account of assertion, according to which one asserts that p correctly only if one knows that p. In support of this approach, I offer a strategy of identifying an assertion’s “normative consequences”, types of act that normally take place as a result of one’s making an assertion (...) incorrectly. I outline two such phenomena: retraction and disavowal of knowledge. In continuation, I put the theory to test and critically examine four sets of objections against it, arguing that it can convincingly defuse them. Finally, I discuss two related issues: I maintain that by performing “aesthetic assertions” one also normally performs a non-assertoric speech act of recommendation, and argue for the possibility of “non-linguistic assertions”, whose content is expressed by gestures in appropriate contexts. (shrink)

The aim of this thesis will be to give an elucidation of Nietzsche’s ideal of the post-moral autonomous individual: to give a picture of what Nietzsche takes such an individual to look like, and to show how this picture relates to some of Nietzsche’s most fundamental philosophical concerns. Overall, my argument will be that autonomy, or rather the degree of autonomy that a person possesses, is a function of the power of that person in relation to the other people and (...) forces, and of their ability to extend their will over long periods of time. Moreover, the achievement of the highest degrees of autonomy, and by extension the achievement of the greatest levels of power, requires imposing an ethic upon one’s actions and one’s self. There are several features that this ethic must have if it is adequately to perform its function: it must be self-chosen rather than simply picked up from one’s surroundings, it must act to give unity to the most diverse collection of collection of drives and affects possible for the person who holds it, and it must be well tailored to fit their specific natural constitution. In order to establish this I will focus on four main issues: the significance of the sovereign individual of GM II: 2, the role of ethics/values in Nietzsche’s ideal of autonomy, the relation between Nietzsche’s deflationary account of consciousness and his views of freedom, and the notion of unity at play in Nietzsche’s writings. I will also offer some thoughts on the coherence of Nietzsche’s ideal of autonomy with his thoughts on life-affirmation. (shrink)

Happiness ) materializes as the ultimate goal of man in Abū NaṣrMuḥammad b. Muḥammad b. Tarkhān al-Fārābīs Mabādi' Arā' Ahl Al-Madīna Al-Fāḍila. Buthappiness, i.e., happiness in this life and happiness in the afterlife, is onlyattainable by the virtuous citizen. The prevailing academic vision of Fārābī'sVirtuous City essentially can be placed into two categories: either it is an idealas found in Plato’s Republic or it is an actual city that has been founded or willbe established at some time in the future. (...) The difficulty with both of theseinterpretations is that they limit who can attain happiness. (shrink)

Virtual reality reunites art and technology which, since Greek culture, have gone their separate ways. In our attempt to elucidate the implications of the existence of virtual reality we have to try to avoid both its uncritical embracing and pessimistic rejection. Virtual reality is neither a holy grail nor “an assault on reality”. It is not a neutral technology and like all technologies, virtual reality discloses the world in its own way and as such it offers us a whole range (...) of new possibilities. We might expect that some of the greatest art in the next century will be based on the technology of virtual reality, and that at the same time this technology will be used for the most stultifying kitsch. (shrink)

While the lens based image can be seen as a simple manifestation of our ability to make records and to document, it is also a philosophical meditation on the specific power visuality, and its unique ability to shape ethical, moral and aesthetic perceptions.

Music can profoundly affect individuals and societies. Individuals use music to express themselves, their opinions, their worldview, their emotions, all channeled through the medium of sound. Societies use music to help give identity to their culture. Music has inspired people to take up arms for their country, or to revolt. It has gathered people of different backgrounds together under the banner of peace and of war. It has inspired people to march, it has driven them to yell, to scream, to (...) dance, to pray, to kiss and hold, to break down and cry. Music can help people sleep, can affect their dreams, or it can keep them awake, help them be alert. With the right intention and inflection music can influence people in any number of ways. Given this influence and power, it then follows that there should be an ethical responsibility to people when making or listening to music. What is the normative ethical role of music in society? How does one ethically participate in musical traditions? What does the opposite look like? In this paper, I will attempt to define the relation of music to society. With that relation in mind, I will then explain the responsibility that follows from participating in a musical tradition: music should be a morally enriching cultural experience. (shrink)

Justice requires that the significant differences between the way contemporary American law treats children and adults be grounded in some morally relevant difference between them. ;The Supreme Court has generally cited three commonly held beliefs about how children are different from adults: their vulnerability to harm, their lack of mature judgment, and the importance of the parental role in their lives. ;This dissertation argues that, granting the courts those differences, as well as principles of justice considered to be absolute in (...) adult contexts, decision-making in children's rights cases is rife with inconsistencies. ;The decisions are not consistent in cases involving children and adults who are physically incapacitated. They are not consistent in cases involving children and adults who are mentally incapacitated. Finally, on either of the legal system's interpretations of the parental role, many decisions in children's rights cases violate fundamental constitutional principles. ;The basis of the inconsistent decision-making is determined to be the presumption that children as a class are utterly "different," and that, therefore, their rights can be granted or withheld according to an entirely different standard. ;Finally, a solution to the problem of children's rights is located in the legal doctrine of suspect classes. (shrink)

The thesis is a critical examination of Danto's philosophy of art. It begins with his article 'The Artworld' where he proposes a special is of artistic identification to distinguish artworks. Danto's idea of the artworld is discussed, a historical and contextual theory of art, which arose from his attempt to explain the difference between Warhol's Brillo Boxes sculpture and an indiscernible stack of everyday Brillo boxes. It is argued that Danto unsuccessfully attempts to shore up his artworld concept with the (...) special is. The technique of comparing indiscernible counterparts, from Danto's book The Transfiguration of the Commonplace, is examined. It is argued that the technique is philosophically redundant, but it is a redundant premise which has been added to a valid inference (Danto's historical and contextual view of art: his artworld theory) therefore, this does not make the original inference invalid. Danto's treatment of metaphor, expression, and style is shown to result in four claims. First, artworks embody rhetorical ellipsis. Second, artworks share features of metaphor: they are intensional (with an s) in structure and cannot be paraphrased. Third, a work of art expresses what it is a metaphor for by the way it depicts its subject. Fourth, artworks embody style. The conclusion, has two parts. The first part gives a summary of the criticism of Danto's theory of art: (1) there are logical inconsistencies in his concept of the is of artistic identification and in his use of indiscernible counterparts, (2) his theory suffers by being over-inclusive and (3) he uses circular arguments. The second part is based on a response to the criticism: it provides a definition of art. This has three elements. First, an argument is proposed for a spectrum of artistic presence in which all human activity and artefacts can be placed. Second, there is an acceptance of Danto's view of art (or artistic presence) being both intentional (with a t) and intensional (with an s); however, by applying these concepts to a spectrum, the problem of over-inclusiveness is avoided. Finally, it is argued there can he no wholly non-circular account of art. (shrink)

There is a contemporary scepticism towards vision-based metaphors in management and organization studies that reflects a more general pattern across the social sciences. In short, there has been a shift away from ocularcentrism. This shift provides a useful basis for metatheoretical analysis of the philosophical discourse that informs organizational analysis. The article begins by briefly discussing the vision-generated, vision-centred interpretation of knowledge, truth, and reality that has characterized the western philosophical tradition. Taking late 18th-century rationalism as the high-point of ocularcentrism, (...) the article then presents a metatheoretical framework based on three trajectories that critiques of ocularcentrism have subsequently taken. The first exposes the limits of the metaphor by, paradoxically, taking it to its limits. The second trajectory seeks to displace the primordial position of the ocular metaphor and replace it with an alternative lexicon based on other human senses. Last, the third trajectory describes how the Enlightenment ocular characterization of the visual and mental worlds has effectively been inverted in the postmodern moment. (shrink)

Helen Frowe has recently offered what she calls a “practical” account of self-defense. Her account is supposed to be practical by being subjectivist about permissibility and objectivist about liability. I shall argue here that Frowe first makes up a problem that does not exist and then fails to solve it. To wit, her claim that objectivist accounts of permissibility cannot be action-guiding is wrong; and her own account of permissibility actually retains an objectivist (in the relevant sense) element. In addition, (...) her attempt to restrict subjectivism primarily to “urgent” situations like self-defense contradicts her own point of departure and is either incoherent or futile. Finally, the only actual whole-heartedly objectivist account she criticizes is an easy target; while those objectivist accounts one finds in certain Western European jurisdictions are immune to her criticisms. Those accounts are also clearly superior to hers in terms of action-guidingness. (shrink)

This dissertation focuses on the social philosophy of humor from the viewpoint of Erich Fromm’s critical humanistic thinking. The work consists of an introduction and four individual articles. The introduction discusses Fromm’s theories in relation to the phenomenon of humor to provide a basis for the articles. The central aim is to understand the dynamic nature of humor and how it is related to the problem of being a paradoxical creature, that is, a human being. It is claimed that humor (...) has to be analyzed and interpreted in a unique historical and cultural situation. The first article discusses Fromm’s concept of social character to offer a theoretical tool to understand how deeply humor is a social phenomenon. It is argued that the social character is a crucial component if we are to reach beyond jokes and laughter, and to grasp their deeper social significance. The second article furthers this thought by developing a critical standpoint on the phenomenon of laughing at oneself. It calls into question the prevailing optimism about the capability to ridicule oneself. Following Fromm, it is claimed that humor needs a serious backbone from which the perceived oddities are evaluated. The third article brings forth the debate of humor and freedom. In opposition to the widely shared idea that humor should be absolutely free, it is argued that humor cannot be separated from the sphere of humanity, and this basic fact sets the ground for the freedom of humor. Freedom has to be obtained within the limits of humanity. This leads to the notion that it is untenable to claim that we should be always able to laugh at everything. The fourth article elaborates the influence of social circumstances for humor, and the competitive nature of contemporary humor is taken under critical scrutiny. It is argued that humor and laughter reflect the current historical situation and, eventually, ourselves. Therefore, from a humanistic perspective, it is concerning how natural and popular humor competitions appear to be. As a whole, the dissertation is a philosophical study, and it aims more at philosophical understanding than to concrete empirical research settings. However, the conducted research is empirically inspired philosophy, and thus intimately connected to the living phenomena of humor and laughter. (shrink)

Professional higher education is expected to educate large numbers of students to become innovative professionals within a time frame of three or four years. A mission impossible? Not necessarily, according to Henriëtta Joosten who is a philosopher as well as a teacher. She uses the experimental, liberating, but also dangerous ideas of Friedrich Nietzsche to rethink contemporary higher professional education. What does it mean to teach students to strive for better in a professional world where horizons tend to disperse and (...) the possibility of long-term orientation is disappearing? Following Nietzsche, five key elements of striving for better are explored: uncertainty, excellence, critical thinking, truth seeking friendship, and learning through ups and downs. From these five perspectives, Joosten scrutinises existing educational discourses on professional higher education in search for openings to transform these discourses into new, more appropriate ones. Understanding excellence as rising above oneself, she argues for a learning environment in which all students are encouraged to excel. Such an environment allows for uncertainty and learning through ups and downs. Furthermore, teachers are prepared to risk their certainties in order to let a joined quest - that is, a quest of students and teacher - for better truths arise. Using the Nietzschean-inspired notions which have been developed in the study, Joosten describes two factual cases. One case relates to a course in close reading: first-year students jointly read philosophical and scientific texts. The second case involves a group of eleven senior students developing a course in project management. These descriptions and the recommendations serve as a catalyst for constructive debate on the question of how all students can be equipped for a dynamic professional world. (shrink)

This paper sets to answering the question of how Lacan’s 1959-60 Seminar on The Ethics of Psychoanalysis[1], with its recurring critique of the Platonic idea of a moral Sovereign Good, might contribute to and improve our understanding of the Nietzschean project to diagnose the moral metaphysics instigated by Plato in philosophy, and by Christianity in religion, as a history of untruth and nihilism––opposed to life––in preparation for its overcoming. I explore the possibility that Lacan’s Ethics might make such a contribution (...) by i) its tripartite ontology of the real, the symbolic and the imaginary serving as an additional frame of reference for examining the nature of the Good and our configurations of desire beneath it; and ii) by its more detailed elaboration of the archaic, polymorphous perversity at the instinctual base of the drives, what Lacan in his Ethics will call das Ding, the somewhat diabolical Freudian Thing. I also attempt to indicate how Nietzsche’s own ethics might make a contribution to those of the Lacanian, for the purposes of further combating what I will take to be the contemporary neurosis and nihilism of a ‘life’ against life––as indicated today for instance by such phenomena as the physical destruction of the environment, along with us as amongst its earthly inhabitants. (shrink)

In the context of cornerstone ideas of Western Culture, this paper focuses on the issue of why emotional arguments are studied and evaluated from the perspective of logic. Two other issues are briefly considered: whether logical and emotional arguments could/should be examined from the perspective of emotions.