We readily claim that great moral catastrophes such as the Holocaust involve evil in some way, although it' not clear what this amounts to in a secular context. This paper seeks to provide a secular account of what evil is. It examines what is intuitively the most plausible account, namely that the evil act involves the production of great suffering (or other disvalue), and argues that such outcomes are neither necessary nor sufficient for an act to be evil. Only an (...) appeal to distinctive patterns of motivation, so it is argued, will allow us to accommodate our intuitionsabout which acts are evil, and hence will provide an adequate account of the nature of evil. (shrink)

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)

This book attempts to place a realist view of ethics (the claim that there are facts of the matter in ethics as elsewhere) within a broader context. It starts with a discussion of why we should mind about the difference between right and wrong, asks what account we should give of our ability to learn from our moral experience, and looks in some detail at the different sorts of ways in which moral reasons can combine to show us what we (...) should do in the circumstances. The second half of the book uses these results to mount an attack on consequentialism in ethics, arguing that there are more sorts of reasons around than consequentialists can even dream of. (shrink)

Argues that Nietzsche tried to create a specific literary character in his writings and discusses the paradoxes of his work.

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)

In 1958, moral philosophers were given rather startling advice. They were told that their subject was not worth pursuing further until they possessed an adequate philosophy of psychology. What is needed, they were told, is an enquiry into what type of characteristic a virtue is, and, furthermore, it was suggested that this question could be resolved in part by exploring the connection between what a man ought to do and what he needs : perhaps man needs certain things in order (...) to flourish, just as a plant needs water; and perhaps what men need are the virtues, courage, honesty, loyalty, etc. Thus, in telling a man that he ought to be honest, we should not be using any special sense of ought: a man ought to be honest just as a plant ought to be watered. The ‘ought’ is the same: it tells us what a man needs. (shrink)