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)

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)

In this new and original book, Claire Armon-Jones examines the concept of affect and various philosophical positions which attempt to define and characterize it: the standard view, the neo-cognitivist view, and the objectual thesis. She contends that these views radically distort our understanding of affect by disregarding modes of affect which fail to conform to the accounts they each employ. Against the standard and neo-cognitivist views she argues that the notions they use to characterize affect are neither necessary nor sufficient; (...) and against the objectual thesis she further argues that affective states exhibit degrees of independence from the concept of an object. She develops a new theory of the varieties of affect that explains their cognitive nature, their felt aspect, their special logic and the relationship between their objectless and object-directed forms. Armon-Jones concludes by suggesting that her arguments call into question certain assumptions about the rationality and moral status of affect and require a revision of the conception of the good in affect. (shrink)

"Well-being," "welfare," "utility," and "quality of life," all closely related concepts, are at the center of morality, politics, law, and economics. Griffin's book, while primarily a volume of moral philosophy, is relevant to all of these subjects. Griffin offers answers to three central questions about well-being: what is the best way to understand it, can it be measured, and where should it fit in moral and political thought. With its breadth of investigation and depth of insight, this work holds significance (...) for philosophers as well as for those interested in political and economic theory and jurisprudence. (shrink)

INTRODUCTION: REASON AND THE PASSIONS i. Philosophy? This same philosophy is a good horse in the stable, but an arrant jade on a journey. ...

In this book, the author of "Language, Truth and Logic" tackles one of the central issues of philosophy - how we can know anything - by setting out all the sceptic's arguments and trying to counter them one by one.

In this book, I make use of an idea from economics to suggest how noble human tendencies might not only have survived the ruthless pressures of the material world, but actually have been nurtured by them.

Wittgenstein was one of the most powerful influences on contemporary philosophy, yet he shunned publicity and was essentially a private man. This remarkable, vivid, personal memoir is written by one of his friends, the eminent philosopher Norman Malcolm. Reissued in paperback, this edition includes the complete text of fifty-seven letters which Wittgenstein wrote to Malcolm over a period of eleven years. Also included is a concise biographical sketch by another of Wittgenstein's philosopher friends, Georg Henrik von Wright. 'A reader does (...) not need to care about philosophy to be excited by Mr Malcolm's book; it is about Wittgenstein as a man, and its interest is human interest'. (shrink)

This edition contains the thirty-nine essays included in Essays, Moral, and Literary, that made up Volume I of the 1777 posthumous Essays and Treatises on Several Subjects. It also includes ten essays that were withdrawn or left unpublished by Hume for various reasons. The two most important were deemed too controversial for the religious climate of his time. This revised edition reflects changes based on further comparisons with eighteenth-century texts and an extensive reworking of the index. - Publisher.

Emotions normally include elements of feeling, motivation, and also intentionality; but the argument of this essay is that there can be emotion without feeling, emotion without corresponding motivation, and emotion without an intentional relation to an object such that the emotion is (among other things) a belief about or construal of it. Many recent writers have claimed that some form of intentionality is essential to emotion, and then have created lines of defence for this thesis. Thus, what look like troublesome (...) cases of emotions can be regarded as having a global intentionality or as being “mood-like”. Alternatively surges of non-intentional joy or ecstasy can be regarded as merely feelings rather than as emotions, and what people experience in response to absolute music can be treated similarly. A clear view of how we normally talk about moods, emotions, and feelings however undermines these defences; and in particular we can understand the role of emotions in relation to absolute music once we become clear about the way in which musical content stands in for intentional objects. (shrink)

Ludwig Wittgenstein, who died in Cambridge in 1951, is one of the most powerful influences on contemporary philosophy, yet he shunned publicity and was essentially a private man. His friend Norman Malcolm (himself an eminent philosopher) wrote this remarkably vivid personal memoir ofWittgenstein, which was published in 1958 and was immediately recognized as a moving and truthful portrait of this gifted, difficult man.This edition includes also the complete text of the fifty-seven letters which Wittgenstein wrote to Malcolm over a period (...) of eleven years. Apart from the quotations in the Memoir these letters are previously unpublished. They reveal how much friendships mattered to Wittgenstein, and how concerned hewas for the health and well-being of his friends. His human qualities become evident; he advises, warns, jokes. and is grateful and affectionate.The volume also features a concise biographical sketch by another leading philosopher who was a friend of Wittgenstein, Georg Henrik von Wright.Much has been published about Wittgenstein since his death, but nothing brings us closer to the man himself than this modest classic of philosophical biography. (shrink)

The paper plays against the philosophical stereotype that facts are bits of reality, ‘furniture of the universe’, and that values in contrast are either mysterious bits of reality or responses to facts. It follows Strawson in regarding facts as interpretative constructs. Values also are interpretative constructs, characterized by a normal (but not universal) connection with motivations. So is there a deep difference? There is a sense of ‘facts’, marked by phrases such as ‘Stick to the facts’, in which the interpretative (...) element embedded in a ‘fact’ is uncontentious and would be invisible to most people. The interpretative element in values, in contrast, usually is very noticeable. But values in which this element comes to be uncontentious and taken for granted congeal into facts. (shrink)

Now in a thoroughly revised and expanded third edition, this authoritative Handbook reviews current knowledge about all aspects of emotion and its role in human ...

I argue that knowledge about the human condition can be derived from appreciating works of fictional literature. I support this claim in two major ways. ;First, I present a theory of "fictive modeling," which holds that: Fictive works may embody the structure of some subject matter ; and Such an embodiment allows the subject matter's structure to become more perspicuous to suitable appreciators and, thereby, susceptible to a wide range of epistemic operations . I contend this theory accommodates more segments (...) of the knowledge acquisition process than standard propositional theories, which limit what we learn from fiction to propositions contained either implicitly or explicitly in a fictive text. I hold that fictive knowledge includes shifts in pattern recognition, conceptual classification and analogical projection--each of which is an important epistemic result in science and practical affairs, yet which is inadequately articulated by the notion of a determinate proposition. ;Second, I analyze several kinds of knowledge fiction typically generates about the human condition. These include both descriptive and normative knowledge concerning human emotions, subjective "ways of seeing," and self-deceptions, as well as imaginative knowledge of other people's views and circumstances. ;In my discussion, I challenge Plato's conception that fictive art leads appreciators to have hedonic and emotive experiences which discourage the attainment of knowledge. I contend Plato underestimates the capacity of appreciators to subject fictive models to critical testing and, in this way, to control such experience. Critical testing may be accomplished by employing the claims and procedures of experts or the appreciator's own experiences. ;I also discuss the beneficial role served by literacy critics, who guide appreciators in identifying and assessing epistemic models contained in fictive works. Concerning the problem of multiple, yet contrary, interpretations of a work , I claim there is no logical difficulty here, since there are good reasons to accept the premise that fictive works are structurally ambiguous objects. (shrink)