Abstract: For many women experiencing motherhood for the first time, the message they receive is clear: mothers who do not breastfeed ought to have good reasons not to; bottle feeding by choice is a failure of maternal duty. We argue that this pressure to breastfeed arises in part from two misconceptions about maternal duty: confusion about the scope of the duty to benefit and conflation between moral reasons and duties. While mothers have a general duty to benefit, we argue that this does not imply a duty to carry out any particular beneficent act. Therefore, the expectation that mothers should breastfeed unless they have sufficient countervailing reasons not to is morally unwarranted. Recognising the difference between reasons and duties can allow us to discuss the benefits of breastfeeding and the importance of supporting mothers who wish to breastfeed without subjecting mothers who bottle feed to guilt, blame and failure.
What Is Love? An Incomplete Map of the Metaphysics
Abstract: The paper begins by surveying a range of possible views on the metaphysics of romantic love, organizing them as responses to a single question. It then outlines a position, constructionist functionalism, according to which romantic love is characterized by a functional role that is at least partly constituted by social matters (social institutions, traditions, and practices), although this role may be realized by states that are not socially constructed.
Epistemic Value and the Primacy of What We Care About
Abstract: In this paper I argue that to understand the ethics of belief we need to put it in a context of what we care about. Epistemic values always arise from something we care about and they arise only from something we care about. It is caring that gives rise to the demand to be epistemically conscientious. The reason morality puts epistemic demands on us is that we care about morality. But there may be a (small) class of beliefs which it is not wrong to hold unconscientiously. I also argue that epistemic values enjoy a privileged place in the panorama of what we care about because they are entailed by anything we care about. That means that when there is a conflict between caring about knowledge or true belief and caring about something else, that conflict cannot be resolved simply by following the one we care about the most because caring about knowledge in any domain is entailed by caring about that domain. Finally, I argue that whereas caring demands different degrees of conscientiousness in different contexts, contextualism about knowledge is less plausible.
The pleasures of Tragedy
Summary: This article addresses a paradox that has puzzled philosophers of art since Aristotle: tragedies produce, and are designed to produce, pleasure for the audiences, without supposing any special callousness or insensitivity on their part. The author introduces a distinction which enables us to understand how we can feel pleasure in response to tragedy, and which also sheds some light on the complexity of such responses. The virtues of this approach lie in its straightforward solution to the paradox of tragedy as well as the bridges the approach builds between this and some other traditional problems in aesthetics, and the promising ways in which we are helped to see their relationships. In particular, we are helped to understand the feeling many have had about the greatness of tragedy in comparison to comedy, and provided a new perspective from which to view the relationship between art and morality.
Descartes’s Meditations: An Introduction
Abstract: This new introduction to a philosophical classic draws on the reinterpretations of Descartes’ thought of the past twenty-five years. Catherine Wilson examines the arguments of Descartes’ famous Meditations, revealing how he constructs a theory of the mind, body, nature, and God from a premise of radical uncertainty. She discusses in detail the historical context of Descartes’ writings and their relationship to early modern science, and at the same time she introduces concepts and problems that define the philosophical enterprise as it is understood today.
Everyday Aesthetics
Publisher’s Note: Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments can exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues.
The Moral Dimension of Japanese Aesthetics
Summary: Saito presents the moral dimension of Japanese aesthetics in terms of two design principles: respect for the quintessential, innate characteristics of things and honor and responsiveness to human needs. She analyzes the sensitivity to objects and people at work in a wide range of Japanese arts and crafts, including garden design, haiku, painting, pottery, and food, emphasizing that the cultivation of a moral attitude toward things is often practiced through aesthetic means.
What is a Portrait?
Summary: Explores three fundamental claims: (1) portraits can be placed on a continuum between the specificity of likeness and the generality of type; (2) all portraits represent something about the body and face, on the one hand, and the soul, character, or virtues of the sitter, on the other; (3) all portraits involve a series of negotiations – often between artist and sitter, but sometimes there is also a patron who is not included in the portrait. NB: In the Introduction preceding this chapter West also questions the cliché that portraits are an invention of the Renaissance and an exclusively Western phenomenon.
The Other History of Intercultural Performance
Summary: Fusco’s text chronicles the preparation, performance, and public reception of an artwork – “Two Undiscovered Amerindians” – she created in collaboration with Guillermo Gómez-Peña in 1992. The performance was intended as a critique of the contemporary artworld, whose shallow redemptive multiculturalism often sidelined important issues of racial difference and racialized aesthetic perception. It consisted of the two artists spending three days in a golden cage presented, in the manner of live ethnographic spectacles of the not so distant colonial past, as members of an exotic and newly discovered island nation in the Gulf of Mexico. Fusco contends that otherness is always performative and, as such, has held the entire history of performance art – from the Dadaists to the present day – captive. The resulting frequent gestures of appropriation, condescension and erasure discredit the social and intercultural consciousness most performance artists see themselves as representing. Ironically, the strange journey the “Two Undiscovered Amerindians” project has travelled has plentifully confirmed the iniquities the two artists set out to expose.
Myra: a Portrait of a Portrait
Summary: Considers philosophical problems with representation, particularly in regard to the loss of particularity and individuality in instances when an identity takes on symbolic proportions. Hindley, the woman, has been totally merged with Hindley, the monster. Her particularity has been subsumed as a two-dimensional stereotype by having her photo treated with obsessive media attention by being repetitively linked to that same hated stereotype.