Foreword to the new edition Acknowledgements Introduction: radically interpreting Davidson I. From translation to interpretation 1. The Quinean background 1.1 Radical translation and naturalized epistemology 1.2 Meaning and indeterminacy 1.3 Analytical hypotheses and charity 2. The Davidsonian project 2.1 The development of a theory of meaning 2.2 The project of radical interpretation 2.3 From charity to triangulation..

In Foot’s book, "Natural Goodness" she attempts to give reason to reject subjectivism and “non-cognitivism,” which act as solutions to the Nietzschean problem. In doing so, Foot strives to provide an objective system of morality for people to embrace. Some have taken issue with particular components of her system or fine details of her scheme, but I argue that the natural normative project, as explained by Foot, if taken to its logical conclusion, necessitates a materialistic understanding of the human animal, (...) which is detrimental to her system of ethics. (shrink)

The idea of a new aestheticism is now explicit in both philosophical aesthetics and cultural theory with the publication of Gary Iseminger's The Aesthetic Function of Art and an anthology of essays edited by John Joughin and Simon Malpas critiquing the anti-aestheticism of literary theory. Both are significant in marking a wider trend reacting to, broadly speaking, intellectualised and historicised accounts of art, refocusing on the idea of appreciation itself, and working away from the emphasis on ideology and disregard (...) for the particularity of works in, especially, literary theory. This broader context also includes renewed debates running within philosophical aesthetics about non-perceptual aesthetic properties and the aesthetic experience of conceptual artworks, and about beauty in art, considerations that have engaged two philosophers normally identified by their commitment to art theoretical and historical (and by extension, non-aesthetic) accounts of artistic making and viewing, namely Noël Carroll and Arthur Danto. So Carroll acknowledges that what's at stake is an aesthetic theory of art that is potentially 'back in business', while Danto's 'surprising' theoretic re-engagement with the concept of beauty has been noted by Diarmuid Costello. (shrink)

El autor recobra las fuentes originales del llamado Dilema del Tranvía pues considera que existe confusión sobre quién es el autor original. Sostiene que no es Phillipa Foot como suele citarse comúnmente, ni siquiera Judith Thomson, sino que sus raíces son más lejanas y se encuentran en dos juristas alemanes: Hans Welzel y, aún antes, Karl Engisch. Propone que la solución al dilema está dada desde el Derecho positivo y no en especulaciones consecuencialistas. ABSTRACT The author recovers the original (...) sources of the so-called Trolley Dilemma because he considers that there is confusion about who the original author is. He argues that it is not Phillipa Foot as it is commonly cited, not even Judith Thomson, but that its roots are more distant and are found in two German jurists: Hans Welzel and, even earlier, Karl Engisch. Proposes that the solution to the dilemma is given from the positive law and not in consequentialist speculations. (shrink)