The Philosophy of Death is a discussion of the basic philosophical issues concerning death, and a critical introduction to the relevant contemporary philosophical literature. Luper begins by addressing questions about those who die: What is it to be alive? What does it mean for you and me to exist? Under what conditions do we persist over time, and when do we perish? Next, he considers several questions concerning death, including: What does dying consist in; in particular, how does it differ (...) from ageing? Must death be permanent? By what signs may it be identified? Is death bad for the one who dies? If so why? Finally he discusses whether, and why, killing is morally objectionable, and suggests that it is often permissible; in particular, suicide, euthanasia and abortion may all be morally permissible. His book is a lively and engaging philosophical treatment of a perennially fascinating and relevant subject. (shrink)

According to a naïve view sometimes apparent in the writings of moral philosophers, ‘ought’ often expresses a relation between agents and actions – the relation that obtains between an agent and an action when that action is what that agent ought to do. It is not part of this naïve view that ‘ought’ always expresses this relation – on the contrary, adherents of the naïve view are happy to allow that ‘ought’ also has an epistemic sense, on which it means, (...) roughly, that some proposition is likely to be the case, and adherents of the naïve view are also typically happy to allow that ‘ought’ also has an evaluative sense, on which it means, roughly, that were things ideal, some proposition would be the case.1 What is important to the naïve view is not that these other senses of ‘ought’ do not exist, but rather that they are not exhaustive – for what they leave out, is the important deliberative sense of ‘ought’, which is the central subject of moral inquiry about what we ought to do and why – and it is this deliberative sense of ‘ought’ which the naïve view understands to express a relation between agents and actions.2 In contrast, logically and linguistically sophisticated philosophers – with a few notable exceptions3 – have rejected this naïve view. According to a dominant perspective in the interpretation of deontic logic and in linguistic semantics, for example, articulated by Roderick Chisholm (1964) and Bernard Williams (1981) in philosophy and in the dominant paradigm in linguistic semantics as articulated in particular by.. (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

Written with clarity, wit, and rigor, _The Philosophy of Art_ provides an incisive account of the core topics in the field. The first volume in the new _Foundations of the Philosophy of the Arts_ series, designed to provide crisp introductions to the fundamental general questions about art, as well as to questions about the several arts. Presents a clear and insightful introduction to central topics and on-going debates in the philosophy of art. Eight sections cover a wide spectrum of topics (...) such as the interpretation of art, the relation between art and moral values, and the expression and arousal of emotion through art. Pedagogical features include full-color illustrations, vibrant examples, thought-provoking discussion questions and helpful suggested readings. (shrink)

The goal of this dissertation is to demonstrate that construals of our emotional responses to fictions as irrational or merely pseudo-emotional are not the only explanations available to us, and that necessary and sufficient conditions for an emotional response to a fiction can be established without abandoning either its intentionality or the assignment of a causal role to our beliefs. ;Colin Radford's claim that our emotional responses to fictions are irrational and inconsistent is challenged in two ways. First, distinctions can (...) be drawn between our reactions to fiction and indisputably irrational emotional reactions which preclude arriving at Radford's conclusion via an argument from analogy. Further, the conditions for rationality put forward in several analyses of emotion, ranging from that of David Hume to that of Ronald de Sousa, are not violated by our emotional responses to fictions. ;Kendall Walton's contention that such affective reactions are merely quasi-emotions is contested on the ground that the absence of the existentially committed beliefs which Walton allies with all genuine emotional responses does not demonstrate an absence of cognitive content. Existentially uncommitted evaluative beliefs, thoughts, and even beliefs about the world can be linked to our emotional experience of fictions, and can serve a function necessary to the identification of the emotion, a function which Walton assigns to the existentially committed belief. ;In our experience of fictions, the objects of our emotion are various. However, a direct response to a fictional entity or event is characterized in terms of Peter Lamarque's account: as a response to the content of a thought, a response to what has been thought or imagined rather than to the thought itself. The roles played both by evaluative beliefs and beliefs about what can occur in the world are investigated and found to constitute necessary conditions for an emotional response to a fiction. An account of the role of the imagination, which borrows from Boruah, David Novitz, and Susan Feagin, provides another condition which, together with the two preceding, appears sufficient for such a response. (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

Sexual fantasy is a non-perceptual thought that is sexually arousing. It has several paradigmatic features. The structure of a fantasy involves an agent taking pleasure in an object that is often a visual depiction of an event. The fantasy is under the agent’s control and has a semantic content. Since mere sexual fantasizing about someone respects the individual who are depicted in the fantasy, the rightness of a sexual fantasy depends on whether consequentialism is true and, if so, whether the (...) particular fantasy brings about better results an alternative activities. Sexual fantasies can be intrinsically good or bad depending on whether the pleasure is malicious and whether the fantasy contains a false statement. The vast majority are not intrinsically bad since they neither involve an unfitting attitude toward something that is itself bad nor commit the subject to a falsity. Hence, if one rejects consequentialism, then most sexual fantasies, including many of the most violent ones, are neither wrong nor intrinsically bad. (shrink)

explanation is of course that Arnheim was working against the assumption that film cannot be art because it is mere mechanical recording. Thus what he needed to emphasize were all the ways in which film fails to accurately reproduce reality.

A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium. Groundbreaking in its coverage of (...) a wide range of contemporary cinematic media, it analyses not only traditional photographic films, but also digital cinema, and a variety of interactive cinematic works, including videogames. (shrink)

Recently T. M. Scanlon and others have advanced an ostensibly comprehensive theory of moral responsibility—a theory of both being responsible and being held responsible—that best accounts for our moral practices. I argue that both aspects of the Scanlonian theory fail this test. A truly comprehensive theory must incorporate and explain three distinct conceptions of responsibility—attributability, answerability, and accountability—and the Scanlonian view conflates the first two and ignores the importance of the third. To illustrate what a truly comprehensive theory might look (...) like, I investigate what it would say about the difficult case of the psychopath. (shrink)

Are horror films immoral? Gianluca Di Muzio argues that horror films of a certain kind are immoral because they undermine the reactive attitudes that are responsible for human agents being disposed to respond compassionately to instances of victimization. I begin with this argument as one instance of what I call the Argument from Reactive Attitudes (ARA), and I argue that Di Muzio’s attempt to identify what is morally suspect about horror films must be revised to provide the most persuasive interpretation (...) of the ARA. I then argue that the ARA provides a compelling standard for evaluating the moral permissibility of creating and viewing horror films, yet I note that it is an exceedingly difficult practical task evaluating the risk that these films create for our reactive attitudes. My conclusion is that the ARA provides a useful way or orienting ourselves to the complicated details of evaluating the moral status of horror films. (shrink)

Few today can escape exposure to mass art. Nevertheless, despite the fact that mass art provides the primary source of aesthetic experience for the majority of people, mass art is a topic that has been neglected by analytic philosophers of art. The Philosophy of Mass Art addresses that lacuna. It shows why philosophers have previously resisted and/or misunderstood mass art and it develops new frameworks for understanding mass art in relation to the emotions, morality, and ideology.

What are virtue and vice, and how do they relate to other moral properties such as goodness and rightness? This book defends a perfectionist account of virtue and vice that gives distinctive answers to these questions. The account treats the virtues as higher‐level intrinsic goods, ones that involve morally appropriate attitudes to other, independent goods and evils. Virtue by itself makes a person's life better, but in a way that depends on the goodness of other things. This account was accepted (...) by many early twentieth‐ century consequentialists, including Franz Brentano, G. E. Moore, Hastings Rashdall, and W. D. Ross. The book elaborates it further than has been done before, describing its mathematical structure, connecting it to individual virtues and vices, and applying it to specific issues such as the morality of fantasy and the proper roles of private charity and the welfare state. While doing so, it argues for the account's superiority over rival views of virtue, including those defended under the heading of “virtue ethics.”. (shrink)

In Reasons and the Good Roger Crisp answers some of the oldest questions in moral philosophy. Fundamental to ethics, he claims, is the idea of ultimate reasons for action; and he argues controversially that these reasons do not depend on moral concepts. He investigates the nature of reasons themselves, and how we come to know them. He defends a hedonistic theory of well-being and an account of practical reason according to which we can give some, though not overriding, priority to (...) our own good over that of others. (shrink)

In this paper, I want to defend the thesis that the dead can be harmed, and to explain how this can be so. First, however, I shall discuss a second thesis about the dead—namely, that they can be wronged.

I ARGUE THAT WE RECEIVE PLEASURE FROM TRAGEDIES BECAUSE WE ARE PLEASED TO FIND OURSELVES RESPONDING IN AN UNPLEASANT WAY TO HUMAN SUFFERING AND INJUSTICE. THE PLEASURE IS THUS A METARESPONSE, AND REFLECTS FEELINGS WHICH ARE AT THE BASIS OF MORALITY. THIS HELPS EXPLAIN WHY TRAGEDY IS SUPPOSED TO BE A HIGHER ART FORM THAN COMEDY, AND PROVIDES A NEW WAY OF SEEING THE RELATIONSHIP BETWEEN THE MORALITY OF AN ARTWORK AND ITS VALUE.

Theories of individual well‐being fall into three main categories: hedonism, the desire‐fulfilment theory, and the list theory (which maintains that there are some things that can benefit a person without increasing the person's pleasure or desire‐fulfilment). The paper briefly explains the answers that hedonism and the desire‐fulfilment theory give to the question of whether being virtuous constitutes a benefit to the agent. Most of the paper is about the list theory's answer.

According to outcome welfarism, roughly, the value of an outcome is fundamentally a matterof the individual welfare it contains. I assess various suggestions as to how to spell out this idea more fully on the basis of some basic intuitions about the content and implications of welfarism. I point out that what are in fact different suggestions are often conflated and argue that none fully captures the basic intuitions. I then suggest that what this means is that different doctrines of (...) welfarism may be appropriate in different contexts and that when deciding on a particular doctrine, we need to consider which intuitions it does accommodate. Finally, I consider the issue of just how a benefit must be related to an outcome in order to contribute to its value. (shrink)

Philosophical and popular ethics tend to focus on the question "What ought I to do?" Is there, in addition to the ethics of action, an ethics of fantasy? Are there fantasies one ought not to have? Of course there are fantasies with horrific content. Does it follow that there is something wrong with a person who has such fantasies or that they ought to make efforts to suppress them or to otherwise change themselves? Do the problems such fantasies raise depend (...) on their links to desire and action? Masturbation fantasies are considered as well as fantasies that may emerge during sex with others, fantasies that include actual others, and fantasies that get embodied in pornography. Psychoanalytic and legal aspects of the issues are emphasized. 2012 APA, all rights reserved). (shrink)

In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, no three-dimensional (...) depth. (shrink)

Well-Being and Death addresses philosophical questions about death and the good life: what makes a life go well? Is death bad for the one who dies? How is this possible if we go out of existence when we die? Is it worse to die as an infant or as a young adult? Is it bad for animals and fetuses to die? Can the dead be harmed? Is there any way to make death less bad for us? Ben Bradley defends the (...) following views: pleasure, rather than achievement or the satisfaction of desire, is what makes life go well; death is generally bad for its victim, in virtue of depriving the victim of more of a good life; death is bad for its victim at times after death, in particular at all those times at which the victim would have been living well; death is worse the earlier it occurs, and hence it is worse to die as an infant than as an adult; death is usually bad for animals and fetuses, in just the same way it is bad for adult humans; things that happen after someone has died cannot harm that person; the only sensible way to make death less bad is to live so long that no more good life is possible. (shrink)

Here I defend response moralism, the view that some emotional responses to fi ctions are morally right, and others morally wrong, from the objection that responses to merely fi ctional characters and events cannot be morally evaluated. I defend the view that emotional responses to fi ctions can be morally evaluated only to the extent that said responses are responses to real people and events.

Most philosophers since Sidgwick have thought that the various forms of pleasure differ so radically that one cannot find a common, distinctive feeling among them. This is known as the heterogeneity problem. To get around this problem, the motivational theory of pleasure suggests that what makes an experience one of pleasure is our reaction to it, not something internal to the experience. I argue that the motivational theory is wrong, and not only wrong, but backwards. The heterogeneity problem is the (...) principal source of motivation for this, otherwise, highly counterintuitive theory. I intend to show that the heterogeneity problem is not a genuine problem and that a more straightforward theory of pleasure is forthcoming. I argue that the various experiences that we call pleasures all feel good. (shrink)

It is advisable to treat some sorts of discourse about fiction with the aid of an intensional operator "in such-And-Such fiction...." the operator may appear either explicitly or tacitly. It may be analyzed in terms of similarity of worlds, As follows: "in the fiction f, A" means that a is true in those of the worlds where f is told as known fact rather than fiction that differ least from our world, Or from the belief worlds of the community in (...) which the fiction originated. (shrink)

Welfarism is the view that morality is centrally concerned with the welfare or well-being of individuals. The division between welfarist and non-welfarist approaches underlies many important disagreements in ethics, but welfarism is neither consistently defined nor well understood. I survey the philosophical work on welfarism, and I offer a suggestion about how the view can be characterized and how it can be embedded in various kinds of moral theory. I also identify welfarism's major rivals, and its major attractions and weaknesses.

The phenomenology of emotions has traditionally been understood in terms of bodily sensations they involve. This is a mistake. We should instead understand their phenomenology in terms of their distinctively evaluative intentionality. Emotions are essentially affective modes of response to the ways our circumstances come to matter to us, and so they are ways of being pleased or pained by those circumstances. Making sense of the intentionality and phenomenology of emotions in this way requires rejecting traditional understandings of intentionality and (...) so coming to see emotions as a distinctive and irreducible class of mental states lying at the intersection of intentionality, phenomenology, and motivation. (shrink)

The long debate -- Aesthetics and ethics : basic concepts -- A conceptual map -- Autonomism -- Artistic and critical practices -- Questions of character -- The cognitive argument : the epistemic claim -- The cognitive argument : the aesthetic claim -- Emotion and imagination -- The merited response argument.

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)

Moral philosophers agree that welfare matters. But they disagree about what it is, or how much it matters. In this vital new work, Wayne Sumner presents an original theory of welfare, investigating its nature and discussing its importance. He considers and rejects all notable theories of welfare, both objective and subjective, including hedonism and theories founded on desire or preference. His own theory connects welfare closely with happiness or life satisfaction. Reacting against the value pluralism that currently dominates moral philosophy, (...) he advances welfare as the only basic ethical value. He concludes by discussing the implications of this thesis for ethical and political theory. Written in clear, non-technical language, and including a definitive survey of other work in this area, Sumner's book is essential reading for moral philosophers, political theorists, and welfare economists. (shrink)

Why do people seemingly want to be scared by movies and feel pity for fictional characters when they avoid situations in real life that arouse these same negative emotions? Although the domain of relevant artworks encompasses far more than just tragedy, the general problem is typically called the paradox of tragedy. The paradox boils down to a simple question: If people avoid pain then why do people want to experience art that is painful? I discuss six popular solutions to the (...) paradox: conversion, control, compensatory, meta-response, catharsis, and rich experience theories. (shrink)

According to Epicurus (1966a,b), neither death, nor anything that occurs later, can harm those who die, because people who die are not made to suffer as a result of either. In response, many philosophers (e.g., Nagel 1970, Feinberg 1984, and Pitcher 1984) have argued that Epicurus is wrong on both counts. They have defended the mortem thesis: death may harm those who die. They have also defended the post-mortem thesis: posthumous events may harm people who die. Their arguments for this (...) joint view are by now quite familiar, and there is no need to rehearse them here (for a summary, see Luper 2002). Instead, our topic is a third position, which carves out intermediate ground between the other two. The intermediate view takes the mortem thesis for granted, like the critics of Epicurus, but rejects the post-mortem thesis, like Epicurus himself. For Epicurus’ project—the attainment of ataraxia, or equanimity—the intermediate view is almost useless (we are not tranquil if we regard death as a tragedy whose peculiarity is that it frees us from the possibility of any further misfortune); however, it is far more plausible than Epicurus’ own position since it avoids his absurd claim that death cannot harm us, while retaining his view that events occurring while we are dead and gone cannot harm us. According to the proponent of the intermediate view, when we understand the harm death inflicts, we must reject the idea that events following death can be bad for us. The damage death itself does is so severe that people are not subject to harm by any subsequent events. Thus the intermediate view rests on the mortem thesis together with the immunity thesis: death leaves its victims immune from posthumous harm. (shrink)

In comments originally presented at the ISUS conference at Dartmouth College in 2005, Elinor Mason and Alastair Norcross raised a number of objections to various things I said in Pleasure and the Good Life. One especially interesting objection concerns one of my central claims about the nature of pleasure. I distinguished between sensory pleasure and attitudinal pleasure. I said that a feeling counts as a sensory pleasure if the one who feels it takes intrinsic attitudinal pleasure in the fact that (...) he is then feeling it. I also said that attitudinal pleasure is a propositional attitude that does not intrinsically involve any particular 'feelings'. On my view, a person can take attitudinal pleasure in things at a time even though he does not feel any pleasurable feelings at that time. In their comments, Mason and Norcross expressed doubts about my account of attitudinal pleasure. In my reply, I try to answer those doubts. (shrink)

We take welfarism in moral theory to be the claim that the well-being of individuals matters and is the only consideration that fundamentally matters, from a moral point of view. We argue that criticisms of welfarism due to G.E. Moore, Donald Regan, Charles Taylor and Amartya Sen all fail. The final section of our paper is a critical survey of the problems which remain for welfarists in moral theory.

When we look at photographs we literally see the objects that they are of. But seeing photographs as photographs engages aesthetic interests that are not engaged by seeing the objects that they are of. These claims appear incompatible. Sceptics about photography as an art form have endorsed the first claim in order to show that there is no photographic aesthetic. Proponents of photography as an art form have insisted that seeing things in photographs is quite unlike seeing things face-to-face. This (...) paper argues that the claims are compatible. While seeing things in photographs is quite unlike seeing things face-to-face, nevertheless seeing things in photographs is one way of seeing things. The differences between seeing things by means of photographs and by means of the naked eye provide the elements of an account of the aesthetic interests photographs engage. (shrink)

Violation pornography is pornography where the depicted behavior includes unjust sexual acts, e.g., rape. In this paper I argue that it is unclear whether the enjoyment of violation pornography is bad for the viewer. My essay has three parts. First, I set out an account of flourishing. I adopt a composite account, whereby flourishing is a function of the degree to which an individual has pleasure and various objective-list elements. Objective-list elements are things (e.g., knowledge and meaningful relationships) that make (...) my life go better independently of their effects on pleasure and desire-fulfillment. In the next two parts, I relate violation pornography to each component of flourishing. Thus, in the second part, I explore whether violation pornography promotes or hinders pleasure. In the third part I explore whether pornography is compatible with these objective-list elements, particularly virtue. (shrink)

In this paper, I argue that in at least some interesting cases, the moral value of a narrative work depends on the aesthetic properties of that artwork. It does not follow that a work that is aesthetically bad will be morally bad (or that it will be morally good). The argument comprises four stages. First I describe several different features of imaginative engagement with narrative artworks. Then I show that these features depend on some of the aesthetic properties of those (...) works. Third, I argue that these same features of imaginative engagement are morally salient, by virtue of inviting more or less sophisticated and reflective moral responses. Finally, I show that the overall moral value of an artwork depends in part on whether or not the prescribed response is simple or complex, passive or reflective. (shrink)

Fred Feldman's fascinating new book sets out to defend hedonism as a theory about the Good Life. He tries to show that, when carefully and charitably interpreted, certain forms of hedonism yield plausible evaluations of human lives. Feldman begins by explaining the question about the Good Life. As he understands it, the question is not about the morally good life or about the beneficial life. Rather, the question concerns the general features of the life that is good in itself for (...) the one who lives it. Hedonism says (roughly) that the Good Life is the pleasant life. After showing that received formulations of hedonism are often confused or incoherent, Feldman presents a simple, clear, coherent form of sensory hedonism that provides a starting point for discussion. He then presents a catalogue of classic objections to hedonism, coming from sources as diverse as Plato, Aristotle, Brentano, Ross, Moore, Rawls, Kagan, Nozick, Brandt, and others. One of Feldman's central themes is that there is an important distinction between the forms of hedonism that emphasize sensory pleasure and those that emphasize attitudinal pleasure. Feldman formulates several kinds of hedonism based on the idea that attitudinal pleasure is the Good. He claims that attitudinal forms of hedonism - which have often been ignored in the literature -- are worthy of more careful attention. Another main theme of the book is the plasticity of hedonism. Hedonism comes in many forms. Attitudinal hedonism is especially receptive to variations and modifications. Feldman illustrates this plasticity by formulating several variants of attitudinal hedonism and showing how they evade some of the objections. He also shows how it is possible to develop forms of hedonism that are equivalent to the allegedly anti-hedonistic theory of G. E. Moore and the Aristotelian theory according to which the Good Life is the life of virtue, or flourishing. He also formulates hedonisms relevantly like the ones defended by Aristippus and Mill. Feldman argues that a carefully developed form of attitudinal hedonism is not refuted by objections concerning 'the shape of a life'. He also defends the claim that all of the alleged forms of hedonism discussed in the book genuinely deserve to be called 'hedonism'. Finally, after dealing with the last of the objections, he gives a sketch of his hedonistic vision of the Good Life. (shrink)