Edited by Richard McKeon, with an introduction by C.D.C. Reeve Preserved by Arabic mathematicians and canonized by Christian scholars, Aristotle’s works have shaped Western thought, science, and religion for nearly two thousand years. Richard McKeon’s The Basic Works of Aristotle—constituted out of the definitive Oxford translation and in print as a Random House hardcover for sixty years—has long been considered the best available one-volume Aristotle. Appearing in paperback at long last, this edition includes selections from the Organon, On the Heavens, (...) The Short Physical Treatises, Rhetoric, among others, and On the Soul, On Generation and Corruption, Physics, Metaphysics, Nicomachean Ethics, Politics, and Poetics in their entirety. (shrink)

_Art and Morality_ is a collection of groundbreaking new papers on the theme of aesthetics and ethics, and the link between the two subjects. A group of distinguished contributors tackle the important questions that arise when one thinks about the moral dimensions of art and the aesthetic dimension of moral life. The volume is a significant contribution to philosophical literature, opening up unexplored questions and shedding new light on more traditional debates in aesthetics. The topics explored include: the relation of (...) aesthetic to ethical judgement; the relation of artistic experience to moral consciousness; the moral status of fiction; the concepts of sentimentality and decadence; the moral dimension of critical practice, pictorial art and music; the moral significance of tragedy; and the connections between artistic and moral issues elaborated in the writings of central figures in modern philosophy, such as Kant, Schopenhauer and Nietzsche. The contributors share the view that progress in aesthetics requires detailed study of the practice of criticism. This volume will appeal both to the philosophical community and to researchers in areas such as literary theory, musicology and the theory of art. (shrink)

The acclaimed author of The Good Apprentice draws on the entire history of philosophy--and particularly on Plato and Kant--to formulate her own model of morality and demonstrate how thoroughly it is bound up with our daily lives. "An utterly absorbing book".--The Wall Street Journal.

This volume brings together Nussbaum's published papers on the relationship between literature and philosophy, especially moral philosophy. The papers, many of them previously inaccessible to non-specialist readers, explore such fundamental issues as the relationship between style and content in the exploration of ethical issues; the nature of ethical attention and ethical knowledge and their relationship to written forms and styles; and the role of the emotions in deliberation and self-knowledge. Nussbaum investigates and defends a conception of ethical understanding which involves (...) emotional as well as intellectual activity, and which gives a certain type of priority to the perception of particular people and situations rather than to abstract rules. She argues that this ethical conception cannot be completely and appropriately stated without turning to forms of writing usually considered literary rather than philosophical. It is consequently necessary to broaden our conception of moral philosophy in order to include these forms. Featuring two new essays and revised versions of several previously published essays, this collection attempts to articulate the relationship, within such a broader ethical inquiry, between literary and more abstractly theoretical elements. (shrink)

Almost all of us would agree that the experience of art is deeply rewarding. Why this is the case remains a puzzle; nor does it explain why many of us find works of art much more important than other sources of pleasure. Art and Knowledge argues that the experience of art is so rewarding because it can be an important source of knowledge about ourselves and our relation to each other and to the world. The view that art is a (...) source of knowledge can be traced as far back as Aristotle and Horace. Artists as various as Tasso, Sidney, Henry James and Mendelssohn have believed that art contributes to knowledge. As attractive as this view may be, it has never been satisfactorily defended, either by artists or philosophers. Art and Knowledge reflects on the essence of art and argues that it ought to provide insight as well as pleasure. It argues that all the arts, including music, are importantly representational. This kind of representation is fundamentally different from that found in the sciences, but it can provide insights as important and profound as available from the sciences. Once we recognise that works of art can contribute to knowledge we can avoid thorough relativism about aesthetic value and we can be in a position to evaluate the avant-garde art of the past 100 years. Art and Knowledge is an exceptionally clear and interesting, as well as controversial, exploration of what art is and why it is valuable. It will be of interest to all philosophers of art, artists and art critics. (shrink)

In many artworks, both aesthetic and ethical values are present, and both can contribute to the overall artistic value of a work. The question explored in this paper is: does the presence of one kind of value affect the degree of the other? For example, does a work that expresses a morally reprehensible attitude diminish the aesthetic value of a work? Let ‘interaction’ name the view that the presence of one kind of value affects the degree of the other. We (...) will argue in favour of the existence of interaction. However, we will argue further that such interaction is a contingent feature of artworks and that the most common argument that has been offered for interaction—the affective -response -argument—fails to identify the main reason why it holds, when it in fact does. (shrink)

'Saturn is the "planet of detours and delays" according to Walter Benjamin, one of the six literary figures under examination in Susan Sontag's latest collections of essays. Sontag... understands the saturnine mentality: the slowness, the attentiveness, the patience, the melancholy need to work, the solitude, the complexity of excellence and stamina, Sontag's criticism is a kind of spiritual autobiography... it is sufficient to confirm not only her excellence but her stature as one of America's foremost critics' Washington Post.

The paper addresses the intuitions of aestheticians concerning a fundamental contrast between the judgement, appreciation, and interest appropriate to artworks and those judgements, appreciations, and interests appropriate to all the other (non-art) cases of aesthetic interest. Then terms such as beauty must amount to something different in art-cases from that in other (aesthetic) cases. For the fact of being an artwork is transfigurational, allowing artistic properties to be (truly) ascribed. In arguing against the univocality of terms such as beauty (by (...) stressing occasion-sensitivity), the paper rejects the idea of a ‘look of the thing’ shared by art and non-art. And the pervasiveness of this artistic/aesthetic contrast is urged. (shrink)

It seems often to have been assumed by art theorists and aestheticians that concepts of art and the aesthetic are related, if not actually identical. In recent times, however, David Best has criticized this widespread assumption in the interests of marking a quite radical distinction between artistic and aesthetic concerns. But this claim may be considered problematic in turn, not only in terms of its denial of the conventional conception of art as implicated in the production of aesthetic effects, but (...) also because it obscures our understanding of the objectivity of aesthetic judgement – and hence, ultimately, of the rational basis of artistic appreciation and endeavour. In the light of some critical attention to Joseph Dunne’s recent work on practical reason in Aristotle, the following paper argues that a suitably modified notion of phronesis may provide the key to understanding the relationship of aesthetic sensibility to artistic knowledge. (shrink)