An international team of scholars offer a broad engagement with the thought of Friedrich Nietzsche. They discuss the main topics of his philosophy, under the headings of values, epistemology and metaphysics, and will to power. Other sections are devoted to his life, his relations to other philosophers, and his individual works.

Is there any moral obligation to improve oneself, to foster and develop various capacities in oneself? From a broadly Kantian point of view, Self-Improvement defends the view that there is such an obligation and that it is an obligation that each person owes to him or herself. The defence addresses a range of arguments philosophers have mobilized against this idea, including the argument that it is impossible to owe anything to yourself, and the view that an obligation to improve onself (...) is overly 'moralistic'. Robert N. Johnson argues against Kantian universalization arguments for the duty of self-improvement, as well as arguments that bottom out in a supposed value humanity has. At the same time, he defends a position based on the notion that self- and other-respecting agents would, under the right circumstances, accept the principle of self-improvement and would leave it up to each to be the person to whom this duty is owed. (shrink)

It is frequently claimed that we can learn very little, if anything, about the aesthetic character of an artwork on the basis of testimony. Such disparaging assessments of the epistemic value of aesthetic testimony contrast markedly with our acceptance of testimony as an important source of knowledge in many other areas. There have, however, been a number of challenges to this orthodoxy of late; from those who seek to deny that such a contrast exists as well as attempts by those (...) who accept the distinction to provide an explanation and defence of the contrast. In Section I, I outline a little of the nature and history of the debate over aesthetic testimony. Section II, focuses on the opposing positions on aesthetic testimony, optimism and pessimism, and takes steps to clarify what exactly is at issue between them. In Section III, I survey considerations which have been adduced in favour of pessimism ranging from brute appeal to intuition to complex argumentation before turning in Section IV, to look at motivations for optimism. Finally, in Section V, I consider some alternative views which claim that, for a variety of reasons, it is a mistake to construe the debate over aesthetic testimony as concerned with the epistemic standing of aesthetic beliefs formed on the basis of testimony. (shrink)

According to fitting-attitudes accounts of value, the valuable is what there is sufficient reason to value. Such accounts face the famous wrong kind of reason problem. For example, if an evil demon threatens to kill you unless you value him, it may appear that you have sufficient reason to value the demon, although he is not valuable. One solution to this problem is to deny that the demon’s threat is a reason to value him. It is instead a reason to (...) want to value the demon, and to bring it about that you value him. However, many proponents of the wrong kind of reason problem find this solution unmotivated. This paper thus offers a new argument for this solution. The argument turns on the ‘transmission’ of reasons – the familiar fact that there is often reason for one action or attitude because there is reason for another. I observe that putative reasons of the wrong kind transmit in a very different way to other reasons. I then argue that this difference is best explained by the hypothesis that putative reasons of the wrong kind are not reasons for the attitude in question, but are instead reasons to want and bring about that attitude. (shrink)

An overview of the epistemology of perception, covering the nature of justification, immediate justification, the relationship between the metaphysics of perceptual experience and its rational role, the rational role of attention, and cognitive penetrability. The published version will contain a smaller bibliography, due to space constraints in the volume.

Introduced into the philosophical lexicon during the Eighteenth Century, the term ‘aesthetic’ has come to be used to designate, among other things, a kind of object, a kind of judgment, a kind of attitude, a kind of experience, and a kind of value. For the most part, aesthetic theories have divided over questions particular to one or another of these designations: whether artworks are necessarily aesthetic objects; how to square the allegedly perceptual basis of aesthetic judgments with the fact that (...) we give reasons in support of them; how best to capture the elusive contrast between an aesthetic attitude and a practical one; whether to define aesthetic experience according to its phenomenological or representational content; how best to understand the relation between aesthetic value and aesthetic experience. But questions of more general nature have lately arisen, and these have tended to have a skeptical cast: whether any use of ‘aesthetic’ may be explicated without appeal to some other; whether agreement respecting any use is sufficient to ground meaningful theoretical agreement or disagreement; whether the term ultimately answers to any legitimate philosophical purpose that justifies its inclusion in the lexicon. The skepticism expressed by such general questions did not begin to take hold until the later part of the 20th century, and this fact prompts the question whether (a) the concept of the aesthetic is inherently problematic and it is only recently that we have managed to see that it is, or (b) the concept is fine and it is only recently that we have become muddled enough to imagine otherwise. Adjudicating between these possibilities requires a vantage from which to take in both early and late theorizing on aesthetic matters. (shrink)

Terence Irwin presents a historical and critical study of the development of moral philosophy over two thousand years, from ancient Greece to the Reformation. Starting with the seminal ideas of Socrates, Plato, and Aristotle, he guides the reader through the centuries that follow, introducing each of the thinkers he discusses with generous quotations from their works. He offers not only careful interpretation but critical evaluation of what they have to offer philosophically. This is the first of three volumes which will (...) examine the history of ethics in the Socratic tradition, up to the late 20th century. (shrink)

Students of Thomas Aquinas have so far lacked a comprehensive study of his doctrine of the transcendentals. This volume fills this lacuna, showing the fundamental character of the notions of being, one, true and good for his thought. The book inquires into the beginnings of the doctrine in the thirteenth century and explains the relation of the transcendental way of thought to Aquinas's conception of metaphysics. It analyzes 'Being', 'One', 'True', 'Good' and 'Beautiful' individually and discusses their importance for the (...) philosophical knowledge of God. Medieval Philosophy and the Transcendentals: The Case of Thomas Aquinas is intended as a contribution to the question 'What is philosophy in the Middle Ages?' It argues that the doctrine of the transcendentals is essential for understanding medieval philosophy. (shrink)

Might it be that world itself, independently of what we know about it or how we represent it, is metaphysically indeterminate? This article tackles in turn a series of questions: In what sorts of cases might we posit metaphysical indeterminacy? What is it for a given case of indefiniteness to be 'metaphysical'? How does the phenomenon relate to 'ontic vagueness', the existence of 'vague objects', 'de re indeterminacy' and the like? How might the logic work? Are there reasons for postulating (...) this distinctive sort of indefiniteness? Conversely, are there reasons for denying that there is indefiniteness of this sort? (shrink)

I am pleased by the degree of agreement about reasons between the three of us, which is much greater than I might have guessed. I have no objection whatever to the project of giving the kind of psychological description of deliberation about reasons that Gibbard proposes. I agree that “weighing X in favor of A isn’t mysterious,” but I do confess to some doubt about how a psychological description of this process of weighing “explains, indirectly, X’s counting in favor of (...) A in such circumstances.” If there is any disagreement between Gibbard and me on this point, I think it is over the degree to which such an explanation is to be expected. (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)

This paper is a response to ‘Why Be Rational?’ by Niko Kolodny. Kolodny argues that we have no reason to satisfy the requirements of rationality. His argument assumes that these requirements have a logically narrow scope. To see what the question of scope turns on, this comment provides a semantics for ‘requirement’. It shows that requirements of rationality have a wide scope, at least under one sense of ‘requirement’. Consequently Kolodny's conclusion cannot be derived.

Allow me to rehearse a familiar scenario. We all know that which ends you have has something to do with what you ought to do. If Ronnie is keen on dancing but Bradley can’t stand it, then the fact that there will be dancing at the party tonight affects what Ronnie and Bradley ought to do in different ways. In short, (HI) you ought, if you have the end, to take the means. But now trouble looms: what if you have (...) dreadful, murderous ends? Ought you to take the means to them? Seemingly not. But fortunately, an assumption made by deontic logics1 comes to the rescue. Since ‘‘ought’’, according to this assumption, is a sentential operator, HI must really be ambiguous. It could be read either as (Narrow) You have the end ! O(you take the means) or as (Wide) O(you have the end ! you take the means). Now if Narrow is true, then you really ought to take the means to your murderous ends. But this doesn’t follow from Wide. All that follows from Wide is that you ought to either take the means to these ends or else give them up. Conclusions: (1) Since HI is on some reading true, but Narrow isn’t, Wide is true. (2) Wide accounts for the relationship between your ends and what you ought to do. This elegant scenario repeats itself in many other domains in which it seems like something can have a bearing on what some particular agent ought to do. Does what you know affect what you ought to do? Do your beliefs about what you ought to do affect what you ought to do? Do your promises affect what you ought to do? Do your beliefs affect what you ought to believe? On each of these counts, the intuitive answer is ‘‘yes’’. And so each of these questions leaves something for the moral philosopher or the epistemologist to investigate. On each count, it seems that what we all know, is that (Account) you ought, if p, to do A. But on each count, the Narrow-scope reading of the ‘‘ought’’ in this claim yields unintuitive consequences. So since Account is true, it must be true on the Wide-scope reading.. (shrink)

In recent work, Robert Hopkins has argued that aesthetic judgements are autonomous. When a subject finds herself diverging in judgement from a group of others who, while independently applying the same method, have come to some opposing conclusion, then for ordinary empirical matters this is often reason enough for her to suspend judgement, or even to adopt their view, but this happens much more rarely in the case of beauty. Moreover, the opposing view does not act as a defeater to (...) her belief to the same extent as it does in the empirical case. Hopkins argues that this phenomenon, properly understood, poses a distinctive problem for aesthetic cognitivism. Such a result might seem to support a non-cognitivism about aesthetic judgement, but Hopkins argues that one of the most promising such accounts, a particular form of aesthetic quasi-realism, cannot account in a satisfactory way for aesthetic autonomy either. In this paper, I argue that Hopkins's argument is crucially enthymematic. Supplying the relevant premise makes space for an independently motivated explanation of autonomy, which is open to cognitivists and non-cognitivists alike. (shrink)

Normativity involves two kinds of relation. On the one hand, there is the relation of being a reason for. This is a relation between a fact and an attitude. On the other hand, there are relations specified by requirements of rationality. These are relations among a person's attitudes, viewed in abstraction from the reasons for them. I ask how the normativity of rationality—the sense in which we ‘ought’ to comply with requirements of rationality—is related to the normativity of reasons—the sense (...) in which we ‘ought’ to have the attitudes what we have conclusive reason to have. The normativity of rationality is not straightforwardly that of reasons, I argue; there are no reasons to comply with rational requirements in general. First, this would lead to ‘bootstrapping’, because, contrary to the claims of John Broome, not all rational requirements have ‘wide scope’. Second, it is unclear what such reasons to be rational might be. Finally, we typically do not, and in many cases could not, treat rational requirements as reasons. Instead, I suggest, rationality is only apparently normative, and the normativity that it appears to have is that of reasons. According to this ‘Transparency Account’, rational requirements govern our responses to our beliefs about reasons. The normative ‘pressure’ that we feel, when rational requirements apply to us, derives from these beliefs: from the reasons that, as it seems to us, we have. (shrink)

“There’s no disputing about taste.” That’s got a nice ring to it, but it’s not quite the ring of truth. While there’s definitely something right about the aphorism – there’s a reason why it is, after all, an aphorism, and why its utterance tends to produce so much nodding of heads and muttering of “just so” and “yes, quite” – it’s surprisingly difficult to put one’s finger on just what the truth in the neighborhood is, exactly. One thing that’s pretty (...) clear is that what’s right about the aphorism, that there’s no disputing about taste, isn’t that there’s no disputing about taste. There’s heaps of disputing about taste. People engage in disputes about which movies, music, paintings, literature, meals, furniture, architectural styles, etc. are good, beautiful, tasty, fun, elegant, ugly, disgusting, etc. all the time. This is obvious to anyone who has watched dueling-movie-critics shows, read theater reviews, or negotiated with a group or partner about which movie or restaurant to go to, or which sofa or painting to put in the living room. It takes great care and good aim to fling a brick without hitting somebody who’s engaged in a dispute about taste. (shrink)

This major collection of essays stands at the border of aesthetics and ethics and deals with charged issues of practical import: art and morality, the ethics of taste, and censorship. As such its potential interest is by no means confined to professional philosophers; it should also appeal to art historians and critics, literary theorists, and students of film. Prominent philosophers in both aesthetics and ethics tackle a wide array of issues. Some of the questions explored in the volume include: Can (...) art be morally enlightening and, if so, how? If a work of art is morally better does that make it better as art? Is morally deficient art to be shunned, or even censored? Do subjects of artworks have rights as to how they are represented? Do artists have duties as artists and duties as human beings, and if so, to whom? How much tension is there between the demands of art and the demands of life? (shrink)

Joseph Raz presents a penetrating exploration of the interdependence of value, reason, and the will. These essays illuminate a wide range of questions concerning fundamental aspects of human thought and action. Engaging Reason is a summation of many years of original, compelling, and influential work by a major contemporary philosopher.

This article focuses on how aesthetic values permeate Nietzsche’s philosophy. Artistry is not confined to the creation of conventional works of art but occurs in the form-giving that is essential to all human forms of life. Since Nietzsche was committed to the view that the world is in some basic sense chaotic and meaningless, he held that only by imposing forms can we create a cognizable world. This close association between the conditions of life itself and the aesthetic activity of (...) giving form belies that Kantian conception that any appreciation of aesthetic phenomena is essentially disinterested. (shrink)

Philosophers have come to distinguish between ‘right’ and ‘wrong’ kinds of reasons for belief, intention, and other attitudes. Several theories about the nature of this distinction have been offered, by far the most prevalent of which is the idea that it is, at bottom, the distinction between what are known as ‘object-given’ and ‘state-given’ reasons. This paper argues that the object-given/state-given theory vastly overgeneralizes on a small set of data points, and in particular that any adequate account of the distinction (...) between the ‘right’ and ‘wrong’ kinds of reason must allow state-given reasons to be of the right kind. The paper has three main goals, corresponding to its three main parts. In part 1 I set up the problem by introducing the right-kind/wrong-kind distinction, the object-given/state-given distinction, and the object-given/state-given theory, according to which the former distinction simply amounts to the latter. Part 2 presents the main argument of the paper: I argue against the object-given/state-given theory by showing that all of the earmarks of the ‘right’ and ‘wrong’ kinds of reason apply to reasons not to intend and not to believe, but that these cases can’t be captured by the object-given/state-given theory. Finally, in part 3 I use these arguments to motivate and explore a more general hypothesis about the rightkind/wrong-kind distinction, and explore some of the consequences of rejecting the object-given/stategiven theory. (shrink)

Introduction -- Aesthetic judgements, aesthetic principles, and aesthetic properties -- Aesthetic essence -- The acquaintance principle -- The intersubjective validity of aesthetic judgements -- The pure judgement of taste as an aesthetic reflective judgement -- Understanding music -- The characterization of aesthetic qualities by essential metaphors and quasi-metaphors -- Musical movement and aesthetic metaphors -- Aesthetic realism and emotional qualities of music -- On looking at a picture -- The look of a picture -- Wollheim on correspondence, projective properties, and (...) expressive perception -- Wittgenstein on aesthetics. (shrink)

Some artworks manifest moral attitudes. I clarify and defend an argument to the effect that these works can be aesthetically better merely because morally good people skilfully produced them.

Aesthetic judgements are autonomous, as many other judgements are not: for the latter, but not the former, it is sometimes justifiable to change one’s mind simply because several others share a different opinion. Why is this? One answer is that claims about beauty are not assertions at all, but expressions of aesthetic response. However, to cover more than just some of the explananda, this expressivism needs combining with some analogue of cognitive command, i.e. the idea that disagreements over beuaty can (...) occur, and when they do it is a priori that one side has infringed the norms governing aesthetic discourse. This combination can be achieved by reading Kant’s aesthetic theory in expressivist terms. The resulting view is a form of quasi‐realism about beauty. The position has its merits, but cannot ultimately explain the phenomena which motivate it. This conclusion generalises to quasi‐realism about other matters. (shrink)

Conventionalists about promising believe that it is wrong to break a promise because the promisor takes advantage of a useful social convention only to fail to do his part in maintaining it. Anti-conventionalists claim that the wrong of breaking a promise has nothing essentially to do with a social convention. Anti-conventionalists are right that the social convention is not necessary to explain the wrong of breaking most promises. But conventionalists are right that the convention plays an essential role in any (...) satisfactory account of promising. A new conventionalism can explain this by appealing to special features of social conventions. Two of these special features have important implications for any moral requirements they mediate, such as the requirement to keep one's promises and the moral requirements attached to social or occupational roles. First, these requirements will not depend on features of a situation that are inaccessible to typical participants in the convention. Second, these requirements often cannot be tailored to fit the overly unusual circumstances of participants. (shrink)

What Is Aesthetic Pleasure? When is pleasure in an object properly denominated aesthetic? The characterization of aesthetic pleasure is something that ...

Aesthetic judgements are autonomous, as many other judgements are not: for the latter, but not the former, it is sometimes justifiable to change one's mind simply because several others share a different opinion. Why is this? One answer is that claims about beauty are not assertions at all, but expressions of aesthetic response. However, to cover more than just some of the explananda, this expressivism needs combining with some analogue of cognitive command, i.e. the idea that disagreements over beuaty can (...) occur, and when they do it is a priori that one side has infringed the norms governing aesthetic discourse. This combination can be achieved by reading Kant’s aesthetic theory in expressivist terms. The resulting view is a form of quasi-realism about beauty. The position has its merits, but cannot ultimately explain the phenomena which motivate it. This conclusion generalises to quasi-realism about other matters. (shrink)

"This is a marvelous book, full of subtle, thoughtful, and original argument.

This paper considers the connection between the three-place relation, R is a reason for X to do A and the two-place relation, R is a reason to do A. I consider three views on which the former is to be analyzed in terms of the latter. I argue that these views are widely held, and explain the role that they play in motivating interesting substantive ethical theories. But I reject them in favor of a more obvious analysis, which goes the (...) other way around. (shrink)

This book considers the role of values in truth seeking, in morality, in aesthetics and also in the spiritual life. We have got beyond the simplistic view that values are simply expressions of feeling, but their precise ontological and epistemological status remains controversial. The essays in this book indicate in an accessible way the state of the discussion as it is at the end of the second millennium.

Particularism's model of explanation is challenged on the ground that a sensible intelligibility principle requires that there must be an explanation for the difference between a good and a bad action. Raz is concerned with what it is to be guided by reason, as well as with the results of the fact that reason can often undermine particular outcomes. What determines the moral status of an action must extend beyond what the agent's reason for acting is. It is argued that (...) there is a clear distinction between the evaluative and guiding functions of reasons. (shrink)

My primary aim in this paper is to outline a quasi-realist theory of aesthetic judgement. Robert Hopkins has recently argued against the plausibility of this project because he claims that quasi-realism cannot explain a central component of any expressivist understanding of aesthetic judgements, namely their supposed ‘autonomy’. I argue against Hopkins’s claims by contending that Roger Scruton’s aesthetic attitude theory, centred on his account of the imagination, provides us with the means to develop a plausible quasi-realist account of aesthetic judgement. (...) Finally, I respond to two recent attempts to discredit the validity of the notion of aesthetic autonomy. I claim that both fail adequately to address the underlying non-realist motivations and justifications for maintaining the principle. (shrink)

Mill was one of the most important British philosophers of the nineteenth century; his _Utilitarianism_ is a pivotal work in ethical thought. This book, written specifically for students coming to Mill - and perhaps philosophy - for the first time, will be an ideal guide. _Mill on Utilitarianism_ introduces and assesses: * Mill's life and the background of _Utilitarianism_ * the ideas and text of _Utilitarianism_ * the continuing importance of Mill's work to philosophy This is the first book dedicated (...) to _Utilitarianism_ itself. Concisely written and engaging, it is perfect reading for those studying Mill or moral philosophy. (shrink)