First published in 1903, this volume revolutionized philosophy and forever altered the direction of ethical studies. A philosopher’s philosopher, G. E. Moore was the idol of the Bloomsbury group, and Lytton Strachey declared that Principia Ethica marked the rebirth of the Age of Reason. This work clarifies some of moral philosophy’s most common confusions and redefines the science’s terminology. Six chapters explore: the subject matter of ethics, naturalistic ethics, hedonism, metaphysical ethics, ethics in relation to conduct, and the ideal. Moore's (...) simplicity of style and precise use of everyday language exercised an enormous influence on the development of analytic philosophy, and they contribute to the continuing resonance of his compelling arguments. (shrink)

The pervasiveness of personality -- Good and bad people : a question of character -- The fragility of character -- Character, responsibility and circumspection -- personality, narrative and living a life.

Virtue ethics is perhaps the most important development within late twentieth-century moral philosophy. Rosalind Hursthouse, who has made notable contributions to this development, here presents a full exposition and defense of her neo-Aristotelian version of virtue ethics. She shows how virtue ethics can provide guidance for action, illuminate moral dilemmas, and bring out the moral significance of the emotions.

In the last thirty years, work in analytic philosophy of art has flourished, and it has given rise to considerably controversy. Stephen Davies describes and analyzes the definition of art as it has been discussed in Anglo-American philosophy during this period and, in the process, introduces his own perspective on ways in which we should reorient our thinking. Davies conceives of the debate as revealing two basic, conflicting approaches--the functional and the procedural--to the questions of whether art can be defined, (...) and if so, how. As the author sees it, the functionalist believes that an object is a work of art only if it performs a particular function (usually, that of providing a rewarding aesthetic experience). By contrast the proceduralist believes that something is an artwork only if it has been created according to certain rules and procedures. Davies attempts to demonstrate the fruitfulness of viewing the debate in terms of this framework, and he develops new arguments against both points of view--although he is more critical of functional than of procedural definitions. Because it has generated so much of the recent literature, Davies starts his analysis with a discussion of Morris Weitz's germinal paper, "The Role of Theory in Aesthetics." He goes on to examine other important works by Arthur Danto, George Dickie, and Ben Tilghman and develops in his critiques original arguments on such matters of the artificiality of artworks and the relevance of artists' intentions. (shrink)

In this incisive study Sarah Broadie gives an argued account of the main topics of Aristotle's ethics: eudaimonia, virtue, voluntary agency, practical reason, akrasia, pleasure, and the ethical status of theoria. She explores the sense of "eudaimonia," probes Aristotle's division of the soul and its virtues, and traces the ambiguities in "voluntary." Fresh light is shed on his comparison of practical wisdom with other kinds of knowledge, and a realistic account is developed of Aristototelian deliberation. The concept of pleasure as (...) value-judgment is expounded, and the problem of akrasia is argued to be less of a problem to Aristotle than to his modern interpreters. Showing that the theoretic ideal of Nicomachean Ethics X is in step with the earlier emphasis on practice, as well as with the doctrine of the Eudemian Ethics, this work makes a major contribution towards the understanding of Aristotle's ethics. (shrink)

In this article I return to an argument that I presented in earlier work to the effect that virtue epistemology is at worse false and at best unmotivated. In the light of recent responses to this argument from such figures as John Greco, Guy Axtell, and Kelly Becker, I here re-state and re-evaluate this argument. In the process the original argument is refined and supplemented in key respects and some of the main charges against it are shown to be unfounded. (...) Nevertheless, I also argue that at least one of the objections to the original argument—due to Becker—may well be on the right lines, and I draw some conclusions in this regard. (shrink)

In this article, I argue that the character traits conceived of and debunked by situationist social psychological studies have very little to do with character as it is conceived of in traditional virtue ethics. Traditional virtue ethics offers a conception of character far superior to the one under attack by situationism; in addition to clarifying the differences, I suggest ways in which social psychology might investigate character on the virtue ethics conception. Briefly, the so‐called character traits that the situationist experiments (...) test for are independently functioning dispositions to behave in stereotypical ways, dispositions that are isolated from how people reason. We should not be surprised by evidence that entities such as these are not responsible for much of our behavior. By contrast, the conception of character in virtue ethics is holistic and inclusive of how we reason: it is a person’s character as a whole (rather than isolated character traits), that explains her actions, and this character is a more‐or‐less consistent, more‐or‐less integrated, set of motivations, including the person’s desires, beliefs about the world, and ultimate goals and values. The virtuous character that virtue ethics holds up as an ideal is one in which these motivations are organized so that they do not conflict, but support one another. Such an organization would be an achievement of practical reason, and its behavioral manifestation would be cross‐situational consistency (in a sense somewhat different from the situationists’). Traditional virtue ethics explains behavioral inconsistency as a result of the cognitive and motivational obstacles to this achievement of practical reason rather than as the result of the absence of character traits. (shrink)

This essay focuses on three recent books on morality and virtue, Michael Slote's 'Morals from Motives', Rosalind Hursthouse's 'On Virtue Ethics', and Philippa Foot's 'Natural Goodness'. Slote proposes an "agent-based" ethical theory according to which the ethical status of acts is derivative from assessments of virtue. Following Foot's lead, Hursthouse aims to vindicate an ethical naturalism that explains human goodness on the basis of views about human nature. Both Hursthouse and Slote take virtue to be morally basic in a way (...) that Foot, to her credit, does not. We argue that all three views face a range of serious difficulties. (shrink)

The ancient Greeks almost universally accepted the thesis that virtues are skills. Skills have an underlying intellectual structure , and having a particular skill entails understanding the relevant logos. possessing a general ability to diagnose and solve problems . as well as having appropriate experience. Two implications of accepting this thesis for moral epistemology and epistemology in general are considered. Thinking of virtues as skills yields a viable virtue epistemology in which moral knowledge is a species of a general kind (...) of knowledge that is not philosophically suspect. Also, the debate between internalists and externalists in epistemology is subversively resolved as moot by adopting this strategy: the locus of justification for a belief is in the nature of skill. Thus, the contingent fact that some skills allow Homo Sapiens an ‘internal access’. while others do not, is theoretically neutral when considering the nature of justification per se. (shrink)

This is a new release of the original 1949 edition.

If good taste is a virtue, then an account of good taste might be modelled on existing accounts of moral or epistemic virtue. One good reason to develop such an account is that it helps solve otherwise intractable problems in aesthetics. This paper proposes an alternative to neo-Aristotelian models of good taste. It then contrasts the neo-Aristotelian models with the proposed model, assessing them for their potential to contend with otherwise intractable problems in aesthetics.

Stephen Mumford puts forward a new theory of dispositions, showing how central their role is in metaphysics and philosophy of science. Much of our understanding of the physical and psychological world is expressed in terms of dispositional properties--from the solubility of sugar to the belief that zebras have stripes. Mumford discusses what it means to say that something has a property of this kind, and how dispositions can possibly be real things in the world. His clear, straightforward, realist account reveals (...) them to be less mysterious than they seem, and shows that an understanding of dispositions is essential to an understanding of properties, causation, and scientific laws. (shrink)

This book is a provocative contribution to contemporary ethical theory challenging foundational conceptions of character that date back to Aristotle. John Doris draws on behavioral science, especially social psychology, to argue that we misattribute the causes of behavior to personality traits and other fixed aspects of character rather than to the situational context. More often than not it is the situation not the nature of the personality that really counts. The author elaborates the philosophical consequences of this research for a (...) whole array of ethical theories and shows that, once rid of the misleading conception of motivation, moral psychology can support more robust ethical theories and more humane ethical practices. (shrink)

Almost all theories of knowledge and justified belief employ moral concepts and forms of argument borrowed from moral theories, but none of them pay attention to the current renaissance in virtue ethics. This remarkable book is the first attempt to establish a theory of knowledge based on the model of virtue theory in ethics. The book develops the concept of an intellectual virtue, and then shows how the concept can be used to give an account of the major concepts in (...) epistemology, including the concept of knowledge. This highly original work of philosophy for professionals will also provide students with an excellent introduction to epistemology, virtue theory, and the relationship between ethics and epistemology. (shrink)

Recent work examining and expanding traditional accounts of a virtue has been used as the foundation for a virtue-based approach to epistemology. A similar approach to aesthetics yields some striking features, which coincide with contemporary philosophical concerns about the nature and definition of art. Those writing on virtue-based epistemology have offered epistemic theories based on intellectual virtues, defining knowledge from the nature of such virtues. This basic program can be applied to aesthetics so that art is defined using a virtue (...) theory of aesthetics. I will propose and examine the nature and structure of one such theory. I argue here that an approach to aesthetics, which defines art according to aesthetic virtues, would have characteristics that fit well with the value and interests we have about art. (shrink)

I discuss a large number of emotions that are relevant to performance at epistemic tasks. My central concern is the possibility that it is not the emotions that are most relevant to success of these tasks but associated virtues. I present cases in which it does seem to be the emotions rather than the virtues that are doing the work. I end of the paper by mentioning the connections between desirable and undesirable epistemic emotions.

Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His book (...) will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives. '...tightly focused and carefully argued... an exceptionally interesting contribution to the philosophy of art: it contains subtle, concise, and convincing discussions of a number of difficult concepts and contentious doctrines... lucid and meticulous'. (shrink)

What are virtue and vice, and how do they relate to other moral properties such as goodness and rightness? This book defends a perfectionist account of virtue and vice that gives distinctive answers to these questions. The account treats the virtues as higher‐level intrinsic goods, ones that involve morally appropriate attitudes to other, independent goods and evils. Virtue by itself makes a person's life better, but in a way that depends on the goodness of other things. This account was accepted (...) by many early twentieth‐ century consequentialists, including Franz Brentano, G. E. Moore, Hastings Rashdall, and W. D. Ross. The book elaborates it further than has been done before, describing its mathematical structure, connecting it to individual virtues and vices, and applying it to specific issues such as the morality of fantasy and the proper roles of private charity and the welfare state. While doing so, it argues for the account's superiority over rival views of virtue, including those defended under the heading of “virtue ethics.”. (shrink)

Ordinary moral thought often commits what social psychologists call 'the fundamental attribution error '. This is the error of ignoring situational factors and overconfidently assuming that distinctive behaviour or patterns of behaviour are due to an agent's distinctive character traits. In fact, there is no evidence that people have character traits in the relevant sense. Since attribution of character traits leads to much evil, we should try to educate ourselves and others to stop doing it.

Recent Work on Intrinsic Value brings together for the first time many of the most important and influential writings on the topic of intrinsic value to have appeared in the last half-century. During this period, inquiry into the nature of intrinsic value has intensified to such an extent that at the moment it is one of the hottest topics in the field of theoretical ethics. The contributions to this volume have been selected in such a way that all of the (...) fundamental questions concerning the nature of intrinsic value are treated in depth and from a variety of viewpoints. These questions include how to understand the concept of intrinsic value, what sorts of things can have intrinsic value, and how to compute intrinsic value. The editors have added an introduction that ties these questions together and places the contributions in context, and they have also provided an extensive bibliography. The result is a comprehensive, balanced, and detailed picture of current thinking about intrinsic value, one that provides an indispensable backdrop against which future writings on the topic may be assessed. (shrink)

This article traces a growing interest among epistemologists in the intellectuals of epistemic virtues. These are cognitive dispositions exercised in the formation of beliefs. Attempts to give intellectual virtues a central normative and/or explanatory role in epistemology occur together with renewed interest in the ethics/epistemology analogy, and in the role of intellectual virtue in Aristotle's epistemology. The central distinction drawn here is between two opposed forms of virtue epistemology, virtue reliabilism and virtue responsibilism. The article develops the shared and distinctive (...) claims made by contemporary proponents of each form, in their respective treatments of knowledge and justification. (shrink)

It is sometimes asked whether virtue ethics can be assimilated by Kantianism or utilitarianism, or if it is a distinct position. A look atAristotle’s ethics shows that it certanly can be distinct. In particular, Aristotle presents us with an ethics of aesthetics in contrast to themore standard ethics of cognition: A virtuous agent identifies the right actions by their aesthetic qualities. Moreover, the agent’s concernwith her own aesthetic character gives us a key to the important role the emotions play for (...) Aristotle, which further distinguishes him from the other two theories we have mentioned. (shrink)

The author presents and defends three theses: (1) "the first is that it is not profitable for us at present to do moral philosophy; that should be laid aside at any rate until we have an adequate philosophy of psychology." (2) "the second is that the concepts of obligation, And duty... And of what is morally right and wrong, And of the moral sense of 'ought', Ought to be jettisoned if this is psychologically possible...." (3) "the third thesis is that (...) the differences between the well-Known english writers on moral philosophy from sidgwick to the present day are of little importance." (staff). (shrink)

Apparently snobbery undermines justification for and legitimacy of aesthetic claims. It is also pervasive in the aesthetic realm, much more so than we tend to presume. If these two claims are combined, a fundamental problem arises: we do not know whether or not we are justified in believing or making aesthetic claims. Addressing this new challenge requires an epistemological story which underpins when, where and why snobbish judgement is problematic, and how appreciative claims can survive. This leads towards a virtue-theoretic (...) account of art appreciation and aesthetic justification, as contrasted with a purely reliabilist one – a new direction for contemporary aesthetics. (shrink)

Aesthetics plays an important role in environmental conservation. In this paper, I pin down two key concepts for understanding this role, aesthetic character and aesthetic integrity. Aesthetic character describes the particularity of an environment based on its aesthetic and nonaesthetic qualities. In the first part, I give an account of aesthetic character through a discussion of its subjective and objective bases, and I argue for an awareness of the dynamic nature of this character. In the second part, I consider aesthetic (...) character in a conservation context. I develop the diachronic concept of aesthetic integrity to guide decisions about how to manage change to aesthetic character. My argument is illustrated with a case study of the proposal for a superquarry on the remote isle of Harris in Scotland. (shrink)

On a contemporary Humean-influenced view, the responses of suitably idealized appreciators are presented as tracking, or even determining, facts about artistic value. Focusing on the intra-personal case, this paper argues that (i) facts about the refinement and reconfiguration of aesthetic character together with (ii) the manner in which autobiography and character are implicated in artistic appreciation make it de facto unlikely that we can reliably come to know how our ideal counterpart would respond to a given artwork. Attribution of superhuman (...) abilities to our ideal counterpart partially addresses this worry, but undermines a central feature of the theoretical motivation for the idealizing model. Insofar as response-dependent accounts of artistic value are inextricably tied to an idealizing view of critics, we have reason to reject them. (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)

The aesthetics of nature is a growing sub-field of contemporary aesthetics. In this article, I outline the view called ‘Scientific cognitivism’, which has been central in recent discussions of nature aesthetics. In assessing two important arguments for this view, I outline some recent thinking about key issues for the aesthetics of nature, including the relationship between nature and art and the relevance of ethical considerations to the aesthetic appreciation of nature.

In this paper I sketch a virtue theory of art, analogous to a virtue theory of ethics along Aristotelian lines. What this involves is looking beyond a parochial conception of art understood as work of art, as product, to include intentions, motives, skills, traits, and feelings, all of which can be expressed in artistic activity. The clusters of traits that go to make up the particular virtues of art production and of art appreciation are indeed virtues in part because, when (...) they are expressed in artistic activity, that activity is chosen for its own sake, ‘under the concept of art’; and also they are virtues in part because, when they are so expressed, the activities are themselves partly constitutive of human well-being, along with other activities, including leading an ethical life, and what Aristotle called contemplation. With a virtue theory of art before us, we can begin to see the point of art, to see why art matters to us as human beings. (shrink)

There appear to be various respects in which the outdoor environment has been regarded as significant for education in general and moral education in particular. Whereas some educationalists have considered the environment to be an important site of character development, others have regarded attention to conservation and sustainable development as pressing moral educational concerns in a world of widespread human environmental abuse. The following paper argues that approaches to environmental education that proceed by way of character education or environmental ethics (...) may yet fall short of the central goal of promoting intrinsic appreciation of nature and the outdoors, and explores an alternative strategy focused on exposure to the arts. (shrink)

C. C. W. Taylor presents a clear and faithful new translation of one of the most famous and influential texts in the history of Western thought, accompanied by an analytical and critical commentary focusing on philosophical issues. In Books II to IV of the Nicomachean Ethics Aristotle gives his account of virtue of character, which is central to his ethical theory as a whole and a key topic in much modern ethical writing.

In this richly argued and provocative book, David Davies elaborates and defends a broad conceptual framework for thinking about the arts that reveals important continuities and discontinuities between traditional and modern art, and between different artistic disciplines. Elaborates and defends a broad conceptual framework for thinking about the arts. Offers a provocative view about the kinds of things that artworks are and how they are to be understood. Reveals important continuities and discontinuities between traditional and modern art. Highlights core topics (...) in aesthetics and art theory, including traditional theories about the nature of art, aesthetic appreciation, artistic intentions, performance, and artistic meaning. (shrink)

Richard Holton provides a unified account of intention, choice, weakness of will, strength of will, temptation, addiction, and freedom of the will. Drawing on recent psychological research, he argues that, rather than being the pinnacle of rationality, the central components of the will are there to compensate for our inability to make or maintain sound judgments. Choice is understood as the capacity to form intentions even in the absence of judgments of what action is best. Weakness of will is understood (...) as the failure to maintain an intention, or more specifically, a resolution, in the face of temptation--where temptation typically involves a shift in judgment as to what is best, or in the case of addiction, a disconnection between what is judged best and what is desired. Strength of will is the corresponding ability to maintain a resolution, an ability that requires the employment of a particular faculty or skill. Finally, the experience of freedom of the will is traced to the experiences of forming intentions, and of maintaining resolutions, both of which require effortful activity from the agent. (shrink)