Ideal for introductory ethics courses, The Moral Life: An Introductory Reader in Ethics and Literature, Fifth Edition, brings together an extensive and varied collection of ninety-one classical and contemporary readings on ethical theory and practice. Integrating literature with philosophy in an innovative way, this unique anthology uses literary works to enliven and make concrete the ethical theory or applied issues addressed. It also emphasizes the personal dimension of ethics, which is often ignored or minimized in ethics anthologies. The readings are (...) enhanced by chapter introductions, study questions, suggestions for further reading, and biographical sketches. The fifth edition adds ten new readings, eight of which appear in two new chapters: Feminist Ethics and the Ethics of Care and Global Economic Justice. An updated Companion Website at www.oup.com/us/pojman provides self-quizzes, essay questions, and helpful links for students and reading summaries, a test bank, and PowerPoint-based lecture slides for instructors. (shrink)

Introduction: Morality in Modern and Postmodern Perspective Shattered beings are best represented by bits and pieces. Rainer Maria Rilke As signalled in its ...

Philosophers, political theorists, and all readers seriously interested in the possibility of a moral life will find sustenance and inspiration in this book.

This major collection of essays stands at the border of aesthetics and ethics and deals with charged issues of practical import: art and morality, the ethics of taste, and censorship. As such its potential interest is by no means confined to professional philosophers; it should also appeal to art historians and critics, literary theorists, and students of film. Prominent philosophers in both aesthetics and ethics tackle a wide array of issues. Some of the questions explored in the volume include: Can (...) art be morally enlightening and, if so, how? If a work of art is morally better does that make it better as art? Is morally deficient art to be shunned, or even censored? Do subjects of artworks have rights as to how they are represented? Do artists have duties as artists and duties as human beings, and if so, to whom? How much tension is there between the demands of art and the demands of life? (shrink)

Rethinks the existing definitions of aesthetics and ethics and the relations between them.

Do the rich descriptions and narrative shapings of literature provide a valuable resource for readers, writers, philosophers, and everyday people to imagine and confront the ultimate questions of life? Do the human activities of storytelling and complex moral decision-making have a deep connection? What are the moral responsibilities of the artist, critic, and reader? What can religious perspectives—from Catholic to Protestant to Mormon—contribute to literary criticism? Thirty well known contributors reflect on these questions, including iterary theorists Marshall Gregory, James Phelan, (...) and Wayne Booth; philosophers Martha Nussbaum, Richard Hart, and Nina Rosenstand; and authors John Updike, Charles Johnson, Flannery O'Connor, and Bernard Malamud. Divided into four sections, with introductory matter and questions for discussion, this accessible anthology represents the most crucial work today exploring the interdisciplinary connections between literature, religion and philosophy. (shrink)

The Age of Reason is one of the most influential defences of Deism ever written. This edition presents Part 1, Paine's controversial philosophical argument against revealed religion, with representative excerpts of his biblical analysis from Parts 2 and 3. Appendices include numerous selections from Paine's other religious writing, his Deist influences, and his contemporary opposition.

Ideal for introductory ethics courses, The Moral Life: An Introductory Reader in Ethics and Literature, Fifth Edition, brings together an extensive and varied collection of ninety-one classical and contemporary readings on ethical theory and practice. Integrating literature with philosophy in an innovative way, this unique anthology uses literary works to enliven and make concrete the ethical theory or applied issues addressed. It also emphasizes the personal dimension of ethics, which is often ignored or minimized in ethics anthologies. The readings are (...) enhanced by chapter introductions, study questions, suggestions for further reading, and biographical sketches. The fifth edition adds ten new readings, eight of which appear in two new chapters: Feminist Ethics and the Ethics of Care and Global Economic Justice. An updated Companion Website at www.oup.com/us/pojman provides self-quizzes, essay questions, and helpful links for students and reading summaries, a test bank, and PowerPoint-based lecture slides for instructors. (shrink)

Almost all of us have entered or will one day enter a specifically standardized form of monogamous marriage. This cultural requirement is so very basic to our existence that we accept it for most part as a kind of intractable given: dictated by the laws of God, Nature, Government and Good Sense all at once. Though it is perhaps unusual for a social practice to be so promiscuously underwritten, we generally find comfort rather than curiosity in this fact and seldom (...) wonder how something could be divinely inspired, biologically determined, coerced and reasoned out all at the same time. We simply take for granted. (shrink)

I consider in this essay three possible interpretations of the infinitely rich story of Abraham and Isaac found in Genesis 22. Against the background of what I call "the traditional reading," I compare the views of William Blake, Johannes de Silentio, and Søren Kierkegaard. Blake's poetry and painting suggest a striking alternative to our usual understanding of the story, but they finally require too radical a departure from the Biblical text. The pseudonym de Silentio's views on obedience to God, presented (...) in Fear and Trembling, are even more problematic, however. They are at odds with Kierkegaard's powerful account of love of neighbor, related under his own name in Works of Love, for instance. The God who is Love would not literally require murderous intent toward a neighbor, I conclude, but that same God might issue an "ironic" command designed to lift us out of an abominable ritual. (shrink)

An analysis of Geoffrey Hill's lyric poem about William Blake illuminates the relations between art, prophecy, and imperial politics across more than two centuries. Hill's poem responds to David V. Erdman's argument that Blake was resolutely, if ineffectually and sometimes secretly, opposed to war. It also establishes Hill's own cryptic but definite resistance to contemporary war and warmongers, while it mourns poetry's public powerlessness to halt the violent competition for material resources. Ignored by the majority, poetry fails to bring about (...) the ethical social change that poets often envision. The layering of perspectives (Hill the poet and scholar writing about Erdman the scholar, who is explicating Blake the poet and artist) allows for a multidimensional interpretation of the role of poets and prophetic poetry. Despite their fury at society's deafness and greed, and frustration at their own incapacities, poets—because if they are great poets, they are prophets, too—continue to speak to their audiences about the problems of this world and about the better worlds that can be imagined. Hill's text obliquely teaches how the small success of a great poem can provide a minor note of consolation as it objects to terror and tyranny. (shrink)

An analysis of Geoffrey Hill's lyric poem about William Blake illuminates the relations between art, prophecy, and imperial politics across more than two centuries. Hill's poem responds to David V. Erdman's argument that Blake was resolutely, if ineffectually and sometimes secretly, opposed to war. It also establishes Hill's own cryptic but definite resistance to contemporary war and warmongers, while it mourns poetry's public powerlessness to halt the violent competition for material resources. Ignored by the majority, poetry fails to bring about (...) the ethical social change that poets often envision. The layering of perspectives (Hill the poet and scholar writing about Erdman the scholar, who is explicating Blake the poet and artist) allows for a multidimensional interpretation of the role of poets and prophetic poetry. Despite their fury at society's deafness and greed, and frustration at their own incapacities, poets—because if they are great poets, they are prophets, too—continue to speak to their audiences about the problems of this world and about the better worlds that can be imagined. Hill's text obliquely teaches how the small success of a great poem can provide a minor note of consolation as it objects to terror and tyranny. (shrink)

It was William Blake's insight that the Christian churches, by inverting the Incarnation and the dialectical vision of Paul, have repressed the body, divided God from creation, substituted judgment for grace, and repudiated imagination, compassion, and the original apocalyptic faith of early Christianity. Blake's prophetic poetry thus contributes to the renewal of Christian ethics by a process of subversion and negation of Christian moral, ecclesiastical, and theological traditions, which are recognized precisely as inversions of Jesus, and therefore as instances of (...) the forms of evil that God-in-Christ overcomes through Incarnation, reversing the Fall. Blake's great epic poems, particularly Milton (1804–08) and Jerusalem (1804–20), embody his heterodox representation of the final coincidence of Christ and Satan through which, at last, all things are made new. (shrink)

Almost all of us have entered or will one day enter a specifically standardized form of monogamous marriage. This cultural requirement is so very basic to our existence that we accept it for most part as a kind of intractable given: dictated by the laws of God, Nature, Government and Good Sense all at once. Though it is perhaps unusual for a social practice to be so promiscuously underwritten, we generally find comfort rather than curiosity in this fact and seldom (...) wonder how something could be divinely inspired, biologically determined, coerced and reasoned out all at the same time. We simply take for granted. (shrink)