Simon Critchley's first book, The Ethics of Deconstruction, was originally published to great acclaim in 1992. This edition contains three new appendices and a new preface where Critchley reflects upon the origins, motivation and reception of The Ethics of Deconstruction.

Editorial preface to the fourth edition and modified translation -- The text of the Philosophische Untersuchungen -- Philosophische untersuchungen = Philosophical investigations -- Philosophie der psychologie, ein fragment = Philosophy of psychology, a fragment.

In "Upheavals of Thought", Martha Nussbaum offers a theory of the emotions. She argues that emotions are best conceived as thoughts, and she argues that emotion-thoughts can make valuable contributions to the moral life. She develops extensive accounts of compassion and erotic love as thoughts that are of great moral import. This paper seeks to elucidate what it means, for Nussbaum, to say that emotions are forms of thought. It raises critical questions about her conception of the structure of emotion, (...) and about her conception of compassion, in particular. Finally, the paper seeks to show how analyzing the structure, as well as the moral value, of the emotions ultimately requires entering the realm of religious ethics. (shrink)

INTRODUCTION Ever since the beginning of the modern phenomenological movement disciplined attention has been paid to various patterns of human experience as ...

In lieu of an abstract, here is a brief excerpt of the content:Against Ethical CriticismRichard A. PosnerOscar Wilde famously remarked that “there is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.” He was echoed by Auden, who said in his poem in memory of William Butler Yeats that poetry makes nothing happen (though the poem as a whole qualifies this overstatement), by Croce, and by formalist critics such as (...) Cleanth Brooks, a doyen of the New Critics, who insisted that edification was the function of religion but not of poetry. 1 George Orwell, though himself a didactic novelist, was of this view as well, 2 and it is one that most critics adopt when the issue is censorship. I accept Wilde’s thesis—the creed of aestheticism, of art for art’s sake—if understood to mean that the moral content and consequences of a work of literature are irrelevant to its value as literature; or as the critic Helen Vendler has put it, that “treating fictions as moral pep-pills or moral emetics is repugnant to anyone who realizes the complex psychological and moral motives of a work of art.” 3 This is not to deny that reading can have consequences, including moral and political ones. Information affects people’s outlook and behavior, and reading is a source of information. Imaginative literature conveys ideas, opinions, and information, often with great power. Think of the role that novels by Turgenev (Fathers and Sons), Dostoevsky (The Possessed), Conrad (The Secret Agent, Under Western Eyes), Koestler (Darkness at Noon), Orwell (Animal Farm, Nineteen Eighty-Four), and, of course, Solzhenitsyn played in exposing the horrors of anarchism and communism. Of A Passage to India it has been said that “as an account of the social conditions of British India it was powerful enough to have influenced events.” 4 Upton Sinclair’s novel The Jungle is thought to have incited federal regulation of food processing; and few doubt the effect of Uncle Tom’s Cabin (1852) on the abolitionist cause. [End Page 1]At the core of the aesthetic tradition, which I shall be defending in this essay particularly against its opponents in the “law and literature” movement, are three theses. First, immersion in literature does not make us better citizens or better people. One might be able to pick out some works of literature that would have such an effect because of the information they convey or the emotional state they induce, but they would constitute a skewed sample of literary works. Second, we should not be put off by morally offensive views encountered in literature even when the author appears to share them. A work of literature is not to be considered maimed or even marred by expressing unacceptable moral views; by the same token, a mediocre work of literature is not redeemed by expressing moral views of which we approve. The proper criteria for evaluating literature are aesthetic rather than ethical. Third, authors’ moral qualities or opinions should not affect our valuations of their works.The insistence, in short, is on the separation of the moral from the aesthetic—but with two qualifications. Some literature has little interest or value apart from the didactic and for it the proper criticism is didactic. And the separation of moral from aesthetic values is not a rejection of the former. The aesthetic outlook is a moral outlook, one that stresses the values of openness, detachment, hedonism, curiosity, tolerance, the cultivation of the self, and the preservation of a private sphere—in short, the values of liberal individualism.The counter tradition in literary criticism to the aesthetic originates with Plato and insists upon the importance, in some versions to the near or even total exclusion of anything else, of the ethical or political content and effects of works of literature, and less commonly of the author’s own morality. Martha Nussbaum, for example, deems Greek tragedies and Anglo-American realistic novels a part of moral philosophy. 5 Reading novels, she argues, “develops moral capacities without which citizens will not succeed in making reality out of the normative conclusions of any moral or political theory, however excellent.” 6 Wayne Booth, disagreeing with his illustrious... (shrink)

This book argues that the question posed by virtue theories, namely, “what kind of person should I be?” provides a more promising approach to moral questions than do either deontological or consequentialist moral theories where the concern is with what actions are morally required or permissible. It does so both by arguing that there are firmer theoretical foundations for virtue theories, and by persuasively suggesting the superiority of virtue theories over deontological and consquentialist theories on the question of explaining morally (...) bad behavior. Virtue theories can give a richer account by appealing to the kinds of dispositions that make certain bad choices appear attractive. This richer account also exposes a further advantage of virtue theories: they provide the best kinds of motivations for agents to become better persons. (shrink)

Altered Reading will interest philosophers, literary critics, scholars of religion, and others drawn to Levinas's work.

"--Peter Brooks, Princeton University "This is an important book and a superb piece of writing, combining passionate enthusiasm with calm arguments and informative examples.

What is the relationship between literary criticism and ethics? Does criticism have an ethical task? How can criticism be ethical after literary theory? Ethical Criticism seeks to answer these questions by examining the historical development of the ethics of criticism and the vigorous contemporary backlash against what is known as 'theory'. The book appraises current arguments about the ethics of criticism and, finding them wanting, turns to the philosophy of Emmanuel Levinas. Described as 'the greatest moral philosopher of the twentieth (...) century', Levinas' thought has had a profound influence on a number of significant contemporary thinkers. By paying close attention to his major writings, Robert Eaglestone argues cogently and persuasively for a new understanding of the ethical task of criticism and theory. (shrink)

This book argues for the ethical relevancy of contemporary fiction at the beginning of the 21st century. The writers discussed in Contemporary Fiction and the Ethics of Modern Culture pay close attention to the concrete realities of the everyday world, such as the feelings of isolation created in urban environments; the roles played by sports, drugs, advertising, and the media; and the widespread use of computer, telecommunication, and entertainment technologies. Through reading novels by such writers as David Foster Wallace, Richard (...) Powers, and Irvine Welsh, this book looks at how these works seek to transform the ways that readers live in the world. This book should appeal to scholars of contemporary literature, persons interested in cultural studies, critics interested in ethics, scholars of Gilles Deleuze and Felix Guattari, students of contemporary literature, and general readers of contemporary literature. (shrink)

Introduction -- Creation and the other -- Originality and invention -- Inventive language and the literary event -- Singularity -- Reading and responding -- Performance -- Form, meaning, context -- Responsibility and ethics -- An everyday impossibility.