Article: The article examines the idea of multiculturalism in contemporary political philosophy. It considers the variety of justifications for multiculturalism, including communitarian, liberal egalitarian, anti-domination, and historical injustice arguments. It then surveys a number of critiques of multiculturalism. It concludes by discussing concerns about political backlash and retreat from multiculturalism in the Western liberal democratic countries.
Truth-telling in health care
Abstract: This article is about the description of all the situations in which clinician find difficult to tell the truth to patients regarding their condition. Moral importance of telling the truth is recognized in both moral theory and in the practical reality of everyday living. However, empirical studies continue to show that health- care professional identify the question of truth-telling and disclosure as a source of moral and psychological discomfort in many situations. Other situation creating difficulties for clinicians are not related directly to the patient’s wants or needs regarding their illness but to wider issues such as disclosure of medical error and identifying poor performance in colleagues.
Has her(oine’s) time now come?
Abstract: Following suggestions drawn from both analytic and postmodernist sources, I shall advise revisionist artwriters to follow Fou- cault’s caution against conceiving of the artists whose stories are related in arts scholarship as historical persons who originated (that is, were the origins of) their art, and who, consequently, are prior to and separate from it. From this perspective, it is problematic how references to properties external to works of art-properties like gender-function in the kind of artwriting crucial to canonical reform.
Schopenhauer’s Aesthetics and Philosophy of Art
Abstract: This essay focuses on Schopenhauer’s aesthetics and philosophy of art, areas of his philosophy which have attracted the most philosophical attention in recent years. After discussing the subjective and objective aspects of aesthetic experience on his account, I shall offer interpretations of Schopenhauer’s theory of the sublime and solution to the problem of tragedy. In addition, I shall touch upon the liveliest interpretive debates concerning his aesthetic theory: the intelligibility of the ‘Platonic Ideas’ as the objects of aesthetic experience and the very possibility of aesthetic experience within Schopenhauer’s system. Another aim of this essay is to suggest how some of Schopenhauer’s aesthetic doctrines may be interpreted in a less metaphysically extravagant way. When understood in this manner, contemporary aestheticians might be inclined to take a closer look at Schopenhauer’s aesthetic theory and philosophy of art, for it is distinctive in the tradition of Western philosophical aesthetics in its attempt to highlight and balance the hedonic and cognitive importance of aesthetic experiences; in its sensitivity both to the aesthetic experience of nature as well as of art; in the high value placed on the experience of music ; and in the innovative solution to the problem of tragedy it offers
Restricting Justice: Political Interventions in the Home and in the Market
Abstract: Liberal theorists of justice like John Rawls have long maintained that a theory of justice should apply primarily to the institutional mechanisms of society, and only derivatively to the behavior of individuals within institutions. Institutions of taxation, for example, may be just or unjust by the lights of a theory of justice, but such a theory should deem the behavior of individuals unjust only insofar as that behavior undermines just institutions. As Rawls puts it, ‘we are to comply with and to do our share in just institutions when they exist and apply to us, [and] we are to assist in the establishment of just arrangements when they do not exist.’1 Critics of this restricted conception of justice (hereafter RCJ) argue that a theory of justice should judge individual behavior directly, even when that behavior complies with just institutions. These critics have tended to focus on two kinds of behavior that they argue should fall within the subject matter of a theory of justice: the ‘market-maximizing’ behavior of economic agents who demand incentives to exercise marketable talents in socially beneficial ways, and the ‘housework-shirking’ behavior of family members who distribute power and labor unequally according to gender. These critics argue that RCJ implausibly places these behaviors beyond the reach of justice. Call this the ‘restrictiveness objection’ to RCJ. A second objection to RCJ threatens to undermine RCJ from within: this criticism alleges that RCJ is arbitrary, because the theorists who embrace it lack a principled justification for restricting the subject matter of their theories to institutions while exempting the behavior of individuals within those institutions. Call this the ‘arbitrariness objection’ to RCJ. My project in this article is to defend RCJ against both objections. Along the way, I consider and reject an alternative strategy for defending RCJ, but I use insights gleaned from the inadequacies of this rival strategy to build my own defense against the two objections: working from within the framework of political liberalism, I demonstrate first that a theory of justice can nonarbitrarily be restricted to the basic structure, or the institutional structure by which ‘the major social institutions distribute fundamental rights and duties and determine the division of advantages from social cooperation,’ and second that such a restriction does not result in an implausibly narrow subject matter of justice. I conclude that neither objection undermines RCJ. I do not defend RCJ as it has typically been understood, however. A crucial premise in my argument is that the delineation of the basic structure is itself a substantive normative task, the performance of which must be responsive to relevant differences among enactments of political power. I argue for a more expansive notion of legitimate political power than either critics or defenders of RCJ have tended to adopt. My defense of RCJ thus occupies a conceptual middle ground within the debate about the subject matter of justice: With defenders of RCJ, I maintain that a theory of justice applies directly only to the basic structure of society, such that a society with just institutions may be fully just even though housework-shirking and market-maximizing occur within it. But I agree with critics of RCJ that market-maximizing and housework-shirking should not be beyond the reach of a theory of justice. I reconcile these convictions by defending a view of political legitimacy according to which housework-shirking and market-maximizing can be targets of legitimate political interventions. While a society is not made less just by the mere occurrence of housework-shirking and market-maximizing, it can be less just for having a basic structure that enables or encourages these behaviors.
Fair Educational Opportunity and the Distribution of Natural Ability: Toward a Prioritarian Principle of Educational Justice
Abstract: In this article, I develop and defend a prioritarian principle of justice for the distribution of educational resources. I argue that this principle should be conceptualized as directing educators to confer a general benefit, where that benefit need not be mediated by improved academic outcomes. I go on to argue that it should employ a metric of all-things-considered flourishing over the course of the student’s lifetime. Finally, I discuss the relationship between my proposed prioritarian principle and the meritocratic principle that it is presumed to supplement
Fiction and the suspension of disbelief
Abstract: I want to suggest that the notion of the suspension of disbelief cannot coherently be used to explain or account for our reactions to fictional characters and events, and that in any case it is unnecessary to the solution of the alleged paradox. I take fiction here to cover art works in which a story is told, presented or represented, i.e. novels, short stories, plays, certain kinds of painting and sculpture and dance-any works in fact is connection with which it makes sense to speak of characters appearing and events taking place in them.
The art object
Abstract: The art work cannot be identified simply with a physical object, there has been an emphasis on the importance of theory context, and convention and a corresponding de-emphasis of the importance of the physical object for the identification of a work. In the hurry to abandon the object and to adopt theory as the means of identifying the art work, the importance of the object in that identification has sometimes been underestimated.
What is said and psychological reality; Grice’s project and relevance theorists’ criticisms
Abstract: One of the most important aspects of Grice’s theory of conversation is the drawing of a borderline between what is said and what is implicated. Grice’s views concerning this borderline have been strongly and influentially criticised by relevance theorists. In particular, it has become increasingly widely accepted that Grice’s notion of what is said is too limited, and that pragmatics has a far larger role to play in determining what is said than Grice would have allowed. (See for example Bezuidenhuit 1996; Blakemore 1987; Carston 1991; Recanati 1991, 1993, 2001; Sperber and Wilson 1986; Wilson and Sperber 1981.) In this paper, I argue that the rejection of Grice has moved too swiftly, as a key line of objection which has led to this rejection is flawed. The flaw, we will see, is that relevance theorists rely on a misunderstanding of Grice’s project in his theory of conversation. I am not arguing that Grice’s versions of saying and implicating are right in all details, but simply that certain widespread reasons for rejecting his theory are based on misconceptions.1Relevance theorists, I will suggest, systematically misunderstand Grice by taking him to be engaged in the same project that they are: making sense of the psychological processes by which we interpret utterances. Notions involved with this project will need to be ones that are relevant to the psychology of utterance interpretation. Thus, it is only reasonable that relevance theorists will require that what is said and what is implicated should be psychologically real to the audience. (We will see that this requirement plays a crucial role in their arguments against Grice.) Grice, I will argue, was not pursuing this project. Rather, I will suggest that he was trying to make sense of quite a different notion of what is said: one on which both speaker and audience may be wrong about what is said. On this sort of notion, psychological reality is not a requirement. So objections to Grice based on a requirement of psychological reality will fail. Once Grice’s project and that of relevance theorists are seen as distinct, it will be clear that they can happily coexist.2They are simply discussing different subject matters. One may start to wonder, however, about who is really discussing what is said, a topic that both camps claim. I will not attempt a conclusive answer to this question. But I will suggest that Grice’s view, despite certain shortcomings, has advantages which seem all too often to have gone unnoticed.
The aesthetics of unscenic nature
Abstract: Revolution in the aesthetics of nature often takes place when people start appreciating the parts of nature formerly regarded as aesthetically negative. One such example is the change in the aesthetics of mountains which occurred during the early eighteenth century. We are witnessing another revolution in this country which started a century ago. Its primary purpose is to overcome the pictorial appreciation of the natural environment, a legacy left by the picturesque aesthetics established during the latter half of the eighteenth century. The picturesque emphasis on vision as the vehicle for appreciating the natural environment has led us to regard nature as a series of scenes consisting of two- dimensional designs. This approach to nature has also encouraged us to look for and appreciate primarily the scenically interesting and beautiful parts of our natural environment. As a result, those environments devoid of effective pictorial composition, excitement, or amusement (that is, those not worthy of being represented in a picture) are considered lacking in aesthetic values. Consider, for example, John Muir’s experience of encountering two artists on Mt. Ritter in the High Sierras. Muir complains that they were satisfied only with a few scenic spots affording spectacular, startling views. However, other parts that attracted Muir, such as the autumn colors of the surrounding meadows and bogs, were “sadly disappointing” to the artists because they did not make “effective pictures.” Half a century later, Aldo Leopold echoes Muir’s complaint. “Concerned for the most part with show pieces,” Leopold claims, we are “willing to be herded through ‘scenic’ places” and “find mountains grand if they be proper mountains with waterfalls, cliffs, and lakes.” Because we expect to be entertained by the grand, amusing, and spectacular parts of nature (such as in national parks), we find the Kansas plains “tedious” and the prairies of Iowa and southern Wisconsin boring. Against such a common tendency, Leopold reminds us that “in country, as in people, a plain exterior often conceals hidden riches,” and urges us to develop the aesthetic sensitivity to penetrate the “plain” exterior to reach the hidden riches. The same sentiment is expressed by a contemporary painter, Alan Gussow. While not objecting to the popular appreciation of the “crown jewels” in the National Park system, he calls for “the cultivation of an ability to see beauty in more modest, less aggressive settings,” such as tidal wetlands and wildlife habitats. According to Gussow, their beauty is primarily based upon health and sustainability and is more subtle, less visible, than the grandiose splendor of the Grand Canyon, Yellowstone, or Mt. Rainier. Holmes Rolston III, a contemporary writer on environmental ethics, reiterates this concern for the common inclination to depreciate the scenically challenged parts of nature. In defending the positive aesthetic value of a rotten carcass of an elk full of maggots (not our typical example of scenic beauty), he advises against our tendency to look for pretty objects and picturesque scenes fit for a postcard. ‘At the beginning,” Rolston claims, “we search for something pretty or colorful, for scenic beauty, for the picturesque. Landscapes regularly provide that, but when they do not, we must not think that they have no aesthetic properties.”‘ In his recent writings on nature aesthetics, Allen Carlson also challenges the pictorial approach to nature. According to Carlson, considering nature as a series of landscape paintings is inappropriate, simply because that is not what nature is. This landscape model for appreciating nature “requires us to view the environment as if it were a static representation which is essentially ‘two dimensional.’ It requires the reduction of the environment to a scene or view.” Experiencing nature as a static, representational, two-dimensional scene, however, “unduly limits our appreciation …, it also misleads it.” Carlson claims that with a proper approach (to be specified later), even pictorially challenged natural objects would appear aesthetically positive, confirmed by the change of people’s attitudes regarding mountains, jungles, insects, and reptiles.