In this engagingly written book, Colin McGinn advances a number of related theses, most prominent among them, that moral philosophy is in need of new methodologies in order to get at neglected questions about moral character. The methodology McGinn urges involves drawing upon literature for its deep and intricate portrayals of ethical themes. This would seem a natural approach given McGinn’s substantive views about ethics. He contends that our ethical knowledge is aesthetically mediated ; he speculates that the “innateness” of (...) ethics may be “a by-product of our innate grasp of folk psychology” which comes into play when we interpret literature; and he defends an “aesthetic theory of virtue” according to which virtue coincides with beauty of soul. (shrink)

With a new foreword by Jonathan Lear 'Remarkably lively and enjoyable…It is a very rich book, containing excellent descriptions of a variety of moral theories, and innumerable and often witty observations on topics encountered on the way.' -_ Times Literary Supplement_ Bernard Williams was one of the greatest philosophers of his generation. Ethics and the Limits of Philosophy is not only widely acknowledged to be his most important book, but also hailed a contemporary classic of moral philosophy. Drawing on the (...) ideas of the Greek philosophers, Williams reorients ethics away from a preoccupation with universal moral theories towards ‘truth, truthfulness and the meaning of an individual life’. He explores and reflects upon the most difficult problems in contemporary philosophy and identifies new ideas about central issues such as relativism, objectivity and the possibility of ethical knowledge. This edition also includes a commentary on the text by A.W.Moore. At the time of his death in 2003, Bernard Williams was hailed by the Times as 'the outstanding moral philosopher of his age.' He taught at the Universities of Cambridge, Berkeley and Oxford and is the author of many influential books, including _Morality; Descartes: The Project of Pure Enquiry_ and _Truth and Truthfulness_. (shrink)

With a new foreword by Jonathan Lear 'Remarkably lively and enjoyable…It is a very rich book, containing excellent descriptions of a variety of moral theories, and innumerable and often witty observations on topics encountered on the way.' -_ Times Literary Supplement_ Bernard Williams was one of the greatest philosophers of his generation. Ethics and the Limits of Philosophy is not only widely acknowledged to be his most important book, but also hailed a contemporary classic of moral philosophy. Drawing on the (...) ideas of the Greek philosophers, Williams reorients ethics away from a preoccupation with universal moral theories towards ‘truth, truthfulness and the meaning of an individual life’. He explores and reflects upon the most difficult problems in contemporary philosophy and identifies new ideas about central issues such as relativism, objectivity and the possibility of ethical knowledge. This edition also includes a commentary on the text by A.W.Moore. At the time of his death in 2003, Bernard Williams was hailed by the Times as 'the outstanding moral philosopher of his age.' He taught at the Universities of Cambridge, Berkeley and Oxford and is the author of many influential books, including _Morality; Descartes: The Project of Pure Enquiry_ and _Truth and Truthfulness_. (shrink)

In discussions of perception and its relation to knowledge, it is common to distinguish what one comes to believe on the basis of perception from the distinctively perceptual basis of one's belief. The distinction can be drawn in terms of propositional contents: there are the contents that a perceiver comes to believe on the basis of her perception, on the one hand; and there are the contents properly attributed to perception itself, on the other. Consider the content.

The question of what it means to be aware of others as subjects of mental states is often construed as the question of how we are epistemically justified in attributing mental states to others. The dominant answer to this latter question is that we are so justified in virtue of grasping the role of mental states in explaining observed behaviour. This chapter challenges this picture and formulates an alternative by reflecting on the interpretation of early joint attention interactions. It argues (...) that the standard picture is committed to an implausible account of children's awareness of the co-attender's focus of attention. On a more natural interpretation, children engaged in joint attention perceptually recognize the co-attender's attitude to some object, as something like the (correct) answer to the question of what the object is like. The developmentally basic case is not that of attributing mental states as the causes of observed behaviour but of understanding perceived attitudes and actions as appropriate responses to the shared world. The chapter concludes by exploring how this developmental claim bears on mature adult knowledge of other minds. (shrink)

A collection of the author's most influential essays and short works includes her critique of existentialism, her two dialogues on art and religion, key texts on the continuing importance of the sublime, the concept of love, and more.

McGinn's latest brings together moral philosophy and literary analysis in a way that illuminates both. Setting out to enrich the domain of moral reflection by showing the value of literary texts as sources of moral illumination, McGinn starts by setting out an uncompromisingly realist ethical theory, arguing that morality is an area of objective truth and genuine knowledge. He goes on to address such subjects as the nature of goodness, evil character, and the meaning of monstrosity in the context of (...) an aesthetic theory of virtue, which maintains that goodness of character is the same thing as beauty of soul. Looking at such literary works as Billy Budd, Lolita, The Picture of Dorian Gray, and Frankenstein, as well as examples from film and painting, Ethics, Evil, and Fiction is an original and compelling book by a leading philosopher who is also a critic and novelist. (shrink)

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)

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)

Peter Goldie has argued for a virtue theory of art, analogous to a virtue theory of ethics, one in which the skills and dispositions involved in the production and appreciation of art are virtues and not simply mere skills. In this note I highlight a link between the appreciation of art and its production, and explore the implications of such a link for a virtue theory of art.

I begin with Kant's notion of a maxim and consider the role which this notion plays in Kant's formulations of the fundamental categorical imperative. This raises the question of what a maxim is, and why there is not the same requirement for resolutions of other kinds to be universalizable. Drawing on Bernard Williams' notion of a thick ethical concept, I proffer an answer to this question which is intended neither in a spirit of simple exegesis nor as a straightforward exercise (...) in moral philosophy but as something that is poised somewhere between the two. My aim is to provide a kind of rational reconstruction of Kant. In the final section of the essay, I argue that this reconstruction, while it manages to salvage something distinctively Kantian, also does justice to the relativism involved in what J. L. Mackie calls 'people's adherence to and participation in different ways of life'. (shrink)

If we cannot agree that evaluations are judgements that both describe things and express sentiments, we lack any shared understanding of a common topic. If we ever come to agree how the describing and expressing relate, we shall lose a debate. Suppose that evaluation is a mode of description essentially expressive of sentiment, and that some evaluations can be known to be true: then there must exist properties of such a kind that they can be apprehended only from appropriately affective (...) points of view. Alternatively, it may be that evaluation involves some element distinct from description, so that, in principle, one could always accept the descriptive core of an evaluation while distancing oneself from a non-descriptive element that makes it evaluative. We may distinguish the two kinds of view as lumping, or descriptivist-cum-expressivist, and splitting, or descriptivist-plus-expressivist. Both ascribe to evaluations an expressive aspect as well as a descriptive content; what is at issue is whether the former is integral to the latter, or detachable from it. (shrink)