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)

This volume brings together Nussbaum's published papers on the relationship between literature and philosophy, especially moral philosophy.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 53-64 [Access article in PDF] Emotion and Creativity Mike Radford Introduction Creativity may be seen as a complex process of informational processing within a given framework, or, as Margaret Boden has termed it, "conceptual space." 1 It is in the context of such frameworks that the process of managing information makes sense. The framework offers the possibilities within which information can be (...) combined and separated, grouped and regrouped,and may be seen to define the boundaries of that which makes sense both within the space and at its parameters. Boden suggests that we can, by playing around with the variables within a "conceptual space," be creative. We can generate multiple possibilities in terms of meaningful articulations.We can also aspire to a more fundamental level of creative thought oraction by engaging in the high-risk process of challenging the very rules that support the coherence of the space itself. In other words we can think, hypothesize or "play" at the boundaries of sense. Such explorations might result in changing those boundaries, thus transforming the conceptual space. Such changes might be minor but at other times dramatic, constituting major transitions in human thought and expression. This account seems to explain both the gradual process of creative development in the arts and sciences as well as the dramatic transformations that we observe in the history of intellectual and cultural development. Some conceptual spaces may be clearly defined with relatively closely controlled parameters. Others might be more open, more accommodating both within and at their boundariesA number of questions arise in the context, two of which are of particularinterest. First, how do novel combinations or reorganizations of information within the conceptual space come to be made and how they are recognized as sensible and of value within the system? Second and more fundamentally, how are new and original articulations that stand at the parameters or boundaries of the sense-making system constructed? How are we guided [End Page 53] when we seek to make sense at its very boundaries? It may be that few are called to such profound levels of creative articulation but for the rest of us, how do we recognize these creative articulations when they are made? How do we make sense of an activity, a new scientific theory, or work of art when it challenges the very principles that govern its sense in the first place?It is important to give full cognizance to the complexity of the information-processing task being performed and it is highly doubtful if all elements, all items of information, and the relationships between them, are before the conscious mind of the individual creative intelligence at any one time. There may be a sense of consonance or harmony within this system that enables us to recognize its sense or coherence. In this way much of the information contained within it is simply not noticed. Only when some item of information or process is out of place, dissonant with the organization, do we perceive difficulties. All systems contain dissonances either obvious or manufactured. In science for example there are items of evidence that do not fit within the theoretical frameworks or the paradigms that it has to offer. There are also substantial areas of human experience that might seem to fall outside the paradigm altogether. For many years scientists have been able to predict the exact day, time, and locality within which we may observe an eclipse of the sun. What they have been unable to do, even within a few hours of the event, is predict whether the weather conditions will be such that we can actually observe it. In time it may be that there is the development of a new paradigm that promises accuracy in weather predictions or newly discovered evidence that warrants a review of particular theories within a paradigm.Sometimes it may seem that there is a perversity in human intelligence, particularly in the arts, that seeks out or deliberately manufactures such dissonances in order to challenge us in the way that we are thinking, to shake complacency... (shrink)