Christine Swanton presents a new target centred virtue ethics, which is opposed to orthodox virtue ethics in two major ways. She rejects the 'natural goodness' metaphysics of neo-Aristotelian virtue ethics in favour of a 'hermeneutic ontology' of ethics, and she offers a new target centred framework for assessing rightness of acts.

Does trust play a significant role in the appreciation of art? If so, how does it operate? We argue that it does, and that the mechanics of trust operate both at a general and a particular level. After outlining the general notion of ‘art-trust’—the notion sketched is consistent with most notions of trust on the market—and considering certain objections to the model proposed, we consider specific examples to show in some detail that the experience of works of art, and the (...) attribution of art-relevant properties or characterisations to works of art, very often involves the notion of trust; in such cases—perhaps most or even, implicitly, all—the question ‘Do I trust the artist (or art-maker)?’, is inescapable. (shrink)

One solution to the problem of moral knowledge is to claim that we can acquire it a posteriori through moral experience. But what is a moral experience? When we examine the most compelling putative cases, we find features which, I argue, are best explained by the hypothesis that moral experiences are emotions. To preempt an objection, I argue that putative cases of emotionless moral experience can be explained away. Finally, I allay the worry that emotions are an unsuitable basis for (...) moral knowledge. I conclude that those who believe in moral experience should hold that it consists of emotion. (shrink)

This article responds to two arguments against ‘Epistemic Perceptualism’, the view that emotional experiences, as involving a perception of value, can constitute reasons for evaluative belief. It first provides a basic account of emotional experience, and then introduces concepts relevant to the epistemology of emotional experience, such as the nature of a reason for belief, non-inferentiality, and prima facie vs. conclusive reasons, which allow for the clarification of Epistemic Perceptualism in terms of the Perceptual Justificatory View. It then challenges two (...) arguments which purport to show that emotional experience is not a source of reasons for evaluative belief. The first argument claims that because normative why-questions are always appropriate in the case of emotions, then emotions can never be conclusive reasons for corresponding evaluative beliefs. The second purports to show that appeal to emotional experience as a source of reasons for evaluative beliefs renders emotions problematically self-justifying, and since emotions cannot be self-justifying, they cannot provide any sort of reason for corresponding evaluative beliefs. This article responds to these arguments, and in doing so shows there is still much to be learned about the epistemology of emotional experience by drawing analogies with perceptual experience. (shrink)

Julia Annas offers a new account of virtue and happiness as central ethical ideas. She argues that exercising a virtue involves practical reasoning of the kind we find in someone exercising an everyday practical skill, such as farming, building, or playing the piano. This helps us to see virtue as part of an agent's happiness or flourishing.

Renowned scholar Robert Adams explores the relation between religion and ethics through a comprehensive philosophical account of a theistically-based framework for ethics. Adams' framework begins with the good rather than the right, and with excellence rather than usefulness. He argues that loving the excellent, of which adoring God is a clear example, is the most fundamental aspect of a life well lived. Developing his original and detailed theory, Adams contends that devotion, the sacred, grace, martyrdom, worship, vocation, faith, and other (...) concepts drawn from religious ethics have been sorely overlooked in moral philosophy and can enrich the texture of ethical thought. (shrink)

As I write this, in November 1971, people are dying in East Bengal from lack of food, shelter, and medical caxc. The suffering and death that are occurring there now axe not inevitable, 1101; unavoidable in any fatalistic sense of the term. Constant poverty, a cyclone, and a civil war have turned at least nine million people into destitute refugees; nevertheless, it is not beyond Lhe capacity of the richer nations to give enough assistance to reduce any further suffering to (...) very small proportions. The decisions arid actions of human beings can prevent this kind of suffering. Unfortunately, human beings have not made the necessary decisions. At the individual level, people have, with very few exceptions, not responded to the situation in any signihczmt way. Generally speaking, people have not given large sums to relief funds; they have not written t0 their parliamentaxy representatives demanding increased government assistance; they have not demonstrated in the streets, held symbolic fasts, or done anything else directed toward providing thc refugees with the means to satisfy their essential needs. At thc government level, no govcrmmcnt has given the sort of massive aid that would enable the refugees to survive fm: more than a few days. Britain, for instance, has given rather more than most countries. It has, to date, given £14,750,000. For comparative purposes, B1~itain’s share of thc nonreccverabla development costs of the Anglo-French Concorde project is already in excess of £275,000,000, and on present estimates will reach £440,000,¤00. The implication is that the British government values a supersonic transport more than thirty times as.. (shrink)

Theories of practical reason must meet a psychological requirement: they must explain how normative practical reasons can be motivationally efficacious. It would be pointless to claim that we are subject to normative demands of reason, if we were in fact unable to meet those demands. Concerning this requirement to account for the possibility of rational motivation, internalist approaches are distinguished from externalist ones. I defend internalism, whilst rejecting both ways in which the belief‐desire model can be instantiated. Both the Humean (...) and the Kantian instantiation of that model fail to account for the internal connection between normative and motivating reasons required by internalism. The two classes of reasons rather come to be seen as mutually exclusive. Opposing the belief‐desire model, I argue that rational motivation can only be established by reference to emotion. Emotions are affective perceptions. They have motivational force so that they can contribute to the explanation of action. At the same time they can rationalise actions because they have an intentional content which resembles the content of sensory perception in being representational. Because of this, the emotions can noninferentially justify judgements, which in turn can justify actions. I conclude by outlining the Aristotelian account of practical reason and ethics that emerges from integrating the emotions into practical reasoning. Doing the right thing is much more a matter of seeing things right than of drawing the right inferences. Seeing things right, in its turn, is not only to justify an action: it necessarily implies to be motivated to act accordingly. (shrink)

David Sobel defends subjectivism about well-being and reasons for action: the idea that normativity flows from what an agent cares about, that something is valuable because it is valued. In these essays Sobel explores the tensions between subjective views of reasons and morality, and concludes that they do not undermine subjectivism.

The emotions we experience are crucial to who we are, to what we think, and to what we do. But what are emotions, exactly, and how do they relate to agency? The aim of this book is to spell out an account of emotions, which is grounded on analogies between emotions and sensory experiences, and to explore the implications of this account for our understanding of human agency. The central claim is that emotions consist in perceptual experiences of values, such (...) as the fearsome, the disgusting or the admirable. A virtue of this account is that it affords a better grasp of a variety of interconnected phenomena, such as motivation, values, responsibility and reason-responsiveness. In the process of exploring the implications of the Perceptual Theory of emotions, several claims are proposed. First, emotions normally involve desires that set goals, but they can be contemplative in that they can occur without any motivation. Second, evaluative judgements can be understood in terms of appropriate emotions in so far as appropriateness is taken to consist in correct representation. Third, by contrast with what Strawsonian theories hold, the concept of moral responsibility is not response-dependent, but the relationship between emotions and moral responsibility is mediated by values. Finally, in so far as emotions are perceptions of values, they can be considered to be perceptions of practical reasons, so that on certain conditions, acting on the basis of one's emotions can consist in responding to one's reasons. (shrink)

The prevailing accounts of Aristotle's view of practical wisdom pay little attention to all the intellectual capacities discussed in Nicomachean Ethics Book 6. They also contrast the phronimos with the wicked, the continent or the incontinent, rather than with those who have 'natural virtue' (innate or habituated), and thereby they neglect the importance of experience, through which those capacities are acquired. When we consider them, we can see what sort of experience is needed and hence what sort aspirants to full (...) virtue should be trying to acquire. It turns out that much of the knowledge such experience yields is just plain worldly knowledge. But it is not to be despised on that account. The phronimos must meet a threshold of knowledge that he will, indeed, share with some of the wicked, but will have a superior version that goes beyond theirs. (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)

This book develops an Aristotelian account of the virtue of practical intelligence or "phronesis"--an excellence of deliberating and making choices--which ...

Joshua Gert offers an original account of normative facts and properties, those which have implications for how we ought to behave. He argues that our ability to think and talk about normative notions such as reasons and benefits is dependent on how we respond to the world around us, including how we respond to the actions of other people.

Three things often recognized as central to morality are concern for others’ welfare, respect for their self-expression, and cooperation in worthwhile collective activity. When philosophers have proposed theories of the substance of morality, they have typically looked to one of these three sources to provide a single, fundamental principle of morality – or they have tried to formulate a master-principle for morality that combines these three ideas in some way. This book views them instead as three independently important foundations of (...) morality. It sets out a plural-foundation moral theory with affinities to that of W.D. Ross. There are major differences: the account of the foundations of morality differs from Ross’s, and there is a more elaborate explanation of how the rest of morality derives from them. However, the overall aim is similar. This is to illuminate the structure of morality by showing how its complex content is generated from a relatively simple set of underlying elements – with the complexity resulting from the various ways in which one part of morality can derive from another, and the various ways in which they can interact. Plural-foundation moral theories are sometimes criticized for having nothing helpful to say about cases in which their fundamental norms conflict. Responding to this, the book concludes with three detailed applications of the theory: to the questions surrounding paternalism, the use of others as means, and our moral responsibilities as consumers. (shrink)

In recent years there has been a revival of a theory of conscious emotions as analogous in important ways to perceptual experiences. In the standard versions of this view emotions are construed as, potentially, perceptual disclosures of values. The model has been widely debated and criticized. In this paper I reconstruct an early, qualified version of the perceptual model to be found in the classical phenomenological approaches of Scheler and Sartre. After outlining this version of the theory, I examine its (...) prospects against objections prominent in the current debate. (shrink)

The thought that creativity is a kind of virtue is an attractive one. Virtues are valuable traits that are praised and admired, and creativity is a widely celebrated trait in our society. In philosophical ethics, epistemology, and increasingly aesthetics, virtue-theoretical approaches are influential, so an account of creativity as a virtue can draw on well-established theories. Several philosophers, including Linda Zagzebski, Christine Swanton and Matthew Kieran, have argued for the claim that creativity is a virtue, locating this claim within a (...) broader picture of intellectual, ethical and aesthetic virtues respectively. Moreover, a prominent research programme in psychology, led by Teresa Amabile, holds that people have an intrinsic motivation when they are creative, and this seems seamlessly to fit with the view that creativity is a virtue, for it is often held that a requirement for a trait to be a virtue is that the virtuous agent acts from an intrinsic motivation. (shrink)

Margaret Boden presents a series of essays in which she explores the nature of creativity in a wide range of art forms. Creativity is the generation of novel, surprising, and valuable ideas. Boden identifies three forms of creativity each eliciting a different form of surprise.

ABSTRACT Glen Pettigrove’s ‘What Virtue Adds to Value’ maintains that sometimes virtue is fundamental in the order of value, and that we should reject the general thesis that the value of our responses depends on their proportionality to the value of the objects toward which they are directed. He argues that this view is needed to account for the moral phenomena surrounding love, forgiveness and ambition. I object that his view is unable to explain the forms of discrimination that distinguish (...) the good kinds of love, forgiveness and ambition from the bad ones; and that explaining this requires a version of the proportionality thesis he opposes. (shrink)