'Foot stands out among contemporary ethical theorists because of her conviction that virtues and vices are more central ethical notions than rights, duties, justice, or consequences - the primary focus of most other contemporary theorists. This volume brings together a dozen essays published between 1957 and 1977, and includes two new ones as well. In the first, Foot argues explicitly for an ethic of virtue, and in the next five discusses abortion, euthanasia, free will/determination, and the ethics of Hume and (...) Nietzsche. The final eight essays chart her growing disenchantment with emotivism and prescriptivism and their account of moral arguments. All the essays embody to some extent her commitment to an ethics of virtue... Foot's style is straightforward and readable, her arguments subtle, ingenious, and some of them important.' Choice. (shrink)

This book develops an Aristotelian account of the virtue of practical intelligence or "phronesis"--an excellence of deliberating and making choices--which ...

The goal of this book is to develop a new framework for thinking about what moral character looks like today. My central claim will be that most people have moral character traits, but at the same time they do not have either the traditional  ...

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 book is the first to offer a detailed analysis of Aristotelian and Kantian ethics together, in a way that remains faithful to the texts and responsive to debates in contemporary ethics. Recent moral philosophy has seen a revival of interest in the concept of virtue, and with it a reassessment of the role of virtue in the work of Aristotle and Kant. This book brings that re-assessment to a new level of sophistication. Nancy Sherman argues that Kant preserves a (...) notion of virtue in his moral theory that bears recognisable traces of the Aristotelian and Stoic traditions, and that his complex anthropology of morals brings him into surprising alliance with Aristotle. She develops her argument through close readings of major texts by both Aristotle and Kant, illustrating points of congruence and contrast. (shrink)

Abstract: In this essay I outline a radical kind of virtue theory I call exemplarism, which is foundational in structure but which is grounded in exemplars of moral goodness, direct reference to which anchors all the moral concepts in the theory. I compare several different kinds of moral theory by the way they relate the concepts of the good, a right act, and a virtue. In the theory I propose, these concepts, along with the concepts of a duty and of (...) a good life, are defined by reference to exemplars, identified directly through the emotion of admiration, not through a description. It is an advantage of the theory that what makes a good person good is not given a priori but is determined by empirical investigation. The same point applies to what good persons do and what states of affairs they aim at. The theory gives an important place to empirical investigation and narratives about exemplars analogous to the scientific investigation of natural kinds in the theory of direct reference. (shrink)

This paper argues that an emotion is a state of affectively perceiving its intentional object as falling under a "thick affective concept" A, a concept that combines cognitive and affective aspects in a way that cannot be pulled apart. For example, in a state of pity an object is seen as pitiful, where to see something as pitiful is to be in a state that is both cognitive and affective. One way of expressing an emotion is to assert that the (...) intentional object of the emotion falls under the thick affective concept distinctive of the emotion. I argue that the most basic kind of moral judgment is is this category. It has the form "That is A" (pitiful, contemptible, rude, etc.). Such judgments combine the features of cognitivism and motivational judgment internalism, an advantage that explains why we find moral weakness problematic in spite of its ubiquity. I then outline a process I call "thinning" the judgment, which explains how moral strength, weakness, and apathy arise. I argue that this process is necessary for moral reasoning and communication, in spite of its disadvantage in disengaging the agent's motivating emotion from the judgment. (shrink)

Iris Murdoch's moral philosophy has long influenced contemporary ethics, yet it has not, in general, received the kind of sustained critical attention that it deserves. "Existentialists and Mystics" and "Metaphysics as a Guide to Morals" provide new access to most of Murdoch's philosophical writings and make possible a deeper appreciation of her contribution to current thought. After assessing the recent critical reception of Murdoch's thought, this review places her moral philosophy in the context of contemporary trends in ethics by tracing (...) her influence on the work of Charles Taylor, highlights the distinctive features of her moral philosophy, and suggests future directions for Murdochian ethics. (shrink)

The category of the admirable has received little attention in the history of philosophy, even among virtue ethicists. I don't think we can understand the admirable without investigating the emotion of admiration. I have argued that admiration is an emotion in which the object is ‘seen as admirable’, and which motivates us to emulate the admired person in the relevant respect. Our judgements of admirability can be distorted by the malfunction of our disposition to admiration. We all know many ways (...) in which admiration misfires when people admire someone who is not admirable. In this paper I focus on a different kind of mistake, one in which there is resistance to moving from admiring to emulating someone admirable. I think that Aristotle's zēlos is in between admiration and envy, and it points us to a predictable line of deviation from admiration to the path of envy, spite and ressentiment. I think these are mistakes to which people in the modern age are particularly prone. (shrink)

1. Happiness, then and now -- Happiness, eudaimonia, and practical reasoning -- Happiness as eudaimonia -- Happiness and virtuous activity -- New directions from old debates -- 2. Happiness then: the sufficiency debate -- Aristotle's case against the sufficiency thesis -- 3. Happiness now: rethinking the self -- Socrates' case for the sufficiency thesis -- Epictetus and the stoic self -- The Stoics' case for the sufficiency thesis -- The embodied conception of the self -- The embodied conception and psychological (...) well-being -- The Stoics' case against the embodied conception. (shrink)

The ancient Greeks subscribed to the thesis of the Unity of Virtue, according to which the possession of one virtue is closely related to the possession of all the others. Yet empirical observation seems to contradict this thesis at every turn. What could the Greeks have been thinking of? The paper offers an interpretation and a tentative defence of a qualified version of the thesis. It argues that, as the Greeks recognized, virtue essentially involves knowledge ? specifically, evaluative knowledge of (...) what matters. Furthermore, such knowledge is essentially holistic. Perfect and complete possession of one virtue thus requires the knowledge that is needed for the possession of every other virtue. The enterprise of trying to reconcile the normative view embodied in this conception of virtue with empirical observation also serves as a case study for the field of moral psychology in which empirical and normative claims are often deeply and confusingly intertwined.1. (shrink)

Sophie Grace Chappell develops a picture of what philosophical ethics can be like, once set aside from the idealising and reductive pressures of conventional moral theory. Her question is 'How are we to know what to do?', and the answer she defends is 'By developing our moral imaginations'.

Iris Murdoch was one of the best-known philosophers and novelists of the post-war period. In this book, Sabina Lovibond explores the tangled issue of Murdoch's stance towards gender and feminism, drawing upon the evidence of her fiction, philosophy, and other public statements. As well as analysing Murdoch's own attitudes, _Iris Murdoch, Gender and Philosophy_ is also a critical enquiry into the way we picture intellectual, and especially philosophical, activity. Appealing to the idea of a 'social imaginary' within which Murdoch's work (...) is located, Lovibond examines the sense of incongruity or dissonance that may still affect our image of a woman philosopher, even where egalitarian views officially hold sway. The first thorough exploration of Murdoch and gender, _Iris Murdoch, Gender and Philosophy _is a fresh contribution to debates in feminist philosophy and gender studies, and essential reading for anyone interested in Murdoch's literary and philosophical writing. (shrink)

The paper examines a single, apparently simple argument for the existence of incompatibilities between the virtues as traits of character. This argument appeals not to empirical truths about human psychology or human nature but to the possibility of conflict between the exercise of different virtues in action. There are, for example, situations in which we can exercise the virtue of truthfulness only at the expense of not exercising the virtue of tact, as when we are asked a question to which (...) the straightforward answer will pain our questioner. The person who in these situations would give a straightforward answer possesses the virtue of truthfulness to a higher degree than the person who would respond more evasively, whereas the latter person possesses the virtue of tact to a higher degree than the former. But since the two responses are mutually exclusive, it follows that the degree to which we possess the virtue of truthfulness must, at least in some measure, correlate inversely with the degree to which we possess the virtue of tact. And similarly for many other pairs of virtues. My paper focusses on the two cardinal assumptions of this argument, viz., (i) that sometimes the exercise of one virtue can conflict with the exercise of another, and (ii) that the degree to which a person possesses a virtue correlates directly with the extent of its exercise, and defends both assumptions against a variety of objections which allege that, in different ways, they are insensitive to the complexity of the virtues. (shrink)

This essay outlines an approach to virtue theory that makes the foundation of the theory direct reference to virtuous exemplars, modeled on the famous theory of direct reference, devised in the seventies by Hilary Putnam and Saul Kripke. The basic idea is that exemplars are persons like that, just as water is liquid like that, and humans are members of the same species as that, and so on. In this theory exemplars are picked out directly through the emotion of admiration (...) rather than through the satisfaction of a description. We discover the virtues empirically by investigating the qualities of exemplars in a way that parallels the discovery that water is H2O. It is also possible that although the virtues are discovered empirically, the connection between being admirable and having certain traits is necessary, just as Kripke claims that “water is H2O” is necessary, but known a posteriori. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Martha Nussbaum FICTIONS OF THE SOUL* Gertrude says, "O Hamlet speak no more. / Thou turnst mine eyes into my very soul." He made her see her soul, then, with a speech. And many types of speeches try to do what Hamlet did here. They present us with accounts or pictures of ourselves, attempting to communicate to us some truth about what we really are — or (to use (...) what is already a certain sort of picture) to show us die insides of our human souls. These truths about ourselves are delivered in many different styles and forms: some through structured argument, some through more devious or more violent strategies. One distinguished thinker compared his discourse about the nature of the soul to dry translucent shafts of sunlight diat disperse the dark shadows of false belief. Another represents the recipient of a true account of the inside of her soul as crying out in pain: "These words like daggers enter in my ears." Clearly there ought to be connections between the way a drinker or writer conceives of the soul and the way he or she constructs a discourse to convey important trudis to such a soul — including, and especially, the truth about the nature of the soul. Whether we are to be approached with sunbeams or with daggers, whether we need light or violent motion to show us what we are: this seems to depend upon what, in fact, we are. On the answer to questions such as: Are our souls transparent? opaque? open? thick-skinned? And: is getting in touch with a human soul like shining light through a diamond? Like embracing a friend? Like drawing blood? To speak more prosaically, on die answers to questions such as: How does a soul arrive at truth? What elements does it have that promote and impede understanding? What is die subject matter or content of the most important truths about it? And in what sort of activity does knowing it consist? A story or account of die soul is, then, told. The telling, if the story is a good one, is not accidentally connected with the content of the told. And this * Editor's note: This article, as well as the contributions by Joseph Margolis, Félix MartínezBonati, and Sanford Freedman which follow it, grew out of a symposium on "Styles of Fictionality," held at Harvard University in 1981. Other papers from that symposium appeared in the April, 1983 issue of Philosophy and Literature. 145 146PHILOSOPHY AND LITERATURE ought to be so whether die teller is a literary artist, whom we suppose always to be conscious of the nature of the stylistic choices, or a philosopher, whom we often think of as avoiding or eschewing style altogether. No stylistic choice can be presumed to be neutral — not even the choice to write in a flat or neutral style. My aim in this article is to begin working on the complicated connections between a view of what a human soul is and a view about how to address that sort of soul in writing, in die communication of die view.1 I have chosen two very different views, associated with two extremely different styles. One will be an intellectualistic view of die person, expressed in a style commonly associated widi philosophical writing; the other, expressed in a literary narrative, will be severely critical of intellectualism. The philosophical view is associated with a harsh criticism ofliterary art, the literary view widi an equally harsh criticism of philosophical investigation. In each case, I want to ask how the story that is told engages, in the telling, widi the reader's soul, and how the telling and the told are matched. I have chosen two extremes not because I wish to suggest diat these positions somehow express the essence of the philosophical or the literary, but because diey speak to and criticize one another in an illuminating way. By seeing their opposing elements starkly and schematically set out, we will be in a better position, should we wish to, to imagine an alternative between them. My philosophical protagonist will be Plato — or certain aspects of Plato; the literary opponent will be Proust. I shall, in... (shrink)