Diversity Reading List

Abstract: Much of the discussion of Naive Realism about veridical experience has focused on a consequence of adopting it—namely, disjunctivism about perceptual experience. However, the motivations for being a Naive Realist in the first place have received relatively little attention in the literature. In this paper, I will elaborate and defend the claim that Naive Realism provides the best account of the phenomenal character of veridical experience.

Abstract: Many philosophers are skeptical about disjunctivism—a theory of perceptual experience which holds roughly that a situation in which I see a banana that is as it appears to me to be (the good case) and one in which I have a hallucination as of a banana (a certain kind of bad case) are mentally completely different. Often this skepticism is rooted in the suspicion that such a view cannot adequately account for the bad case—in particular, (i) that such a view cannot explain why what it’s like to have a hallucination can be exactly like what it’s like to have a veridical experience, (ii) that it cannot explain why the hallucination I have in the bad case is subjectively indistinguishable from the kind of experience I have in the good case, and (iii) that it cannot offer a viable account of the nature of hallucination. In this paper, I argue that a proper formulation of disjunctivism can avoid these objections. Disjunctivism should be formulated as the weakest claim required to preserve its primary motivation, viz., Naïve Realism—the view that veridical experience fundamentally consists in the subject perceiving entities in her environment. And the weakest claim required to preserve Naïve Realism allows for many sorts of commonalities across the good and hallucinatory cases, commonalities that can be marshaled in responding to the objections. Most importantly, disjunctivism properly formulated is compatible with “positive” accounts of the nature of hallucination (as against M.G.F. Martin’s widely accepted argument to the contrary).

Abstract: Disjunctivist theories of perceptual experience claim that veridical and non-veridical experiences are radically unalike in some respect (other than the obvious difference in their causal histories). This chapter outlines four ways of elaborating this basic claim, each motivated by a different concern. The first is disjunctivism about the objects of experience, motivated by Direct Realism. The second is disjunctivism about the content of experience, motivated by the view that some experiences have object-dependent content. The third is disjunctivism about perceptual evidence (also known as epistemological disjunctivism), which is a strategy for responding to a particular sort of argument for scepticism about the external world. The fourth is disjunctivism about the metaphysical structure of experience (also known as metaphysical disjunctivism), which is motivated by Naïve Realism (a species of Direct Realism).

Publisher's Note: Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His book will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives. '...tightly focused and carefully argued... an exceptionally interesting contribution to the philosophy of art: it contains subtle, concise, and convincing discussions of a number of difficult concepts and contentious doctrines... lucid and meticulous'

Abstract: FEW hold "A poem should not mean, but be" as dogma any longer, but most aestheticians agree that a work of art cannot be exhaustively paraphrased. Few dispute that the aesthetic ex- perience is, in some sense, disinterested, but the terms of that disinterestedness are still debated. I suggest that the work of art and the aesthetic experience are congruent and that an analysis of this congruence reveals both the nature of the import of art and the character of the aesthetic experience. I found my analysis on a faculty framework because I am convinced that neither the aesthetic experience nor the import of art can be illuminated without a fairly rigorous epistemology in which the roles of the imagination and the understanding are clearly defined. My framework is avowedly Kantian, for I think that the very incommensurability of the imagination and the un- derstanding, as emphasized by Kant, does more justice to the phenomenology of the aesthetic experience than an analysis of the cognitive faculties that stresses a difference in degree rather than kind.

Publisher's Note: Sabina Lovibond invites her readers to see how the 'practical reason view of ethics' can survive challenges from within philosophy and from the antirationalist postmodern critique of reason. She elaborates and defends a modern practical-reason view of ethics by focusing on virtue or ideal states of character that involve sensitivity to the objective reasons circumstances bring into play. At the heart of her argument is the Aristotelian idea of the formation of character through upbringing; these ancient ideas can be made contemporary if one understands them in a naturalized way. She then explores the implications that arise from the naturalization of the classical view, weaving into her theory ideas of Jacques Derrida and J. L. Austin. The book also discusses two modes of resistance to an existing ethical culture - one committed to the critical employment of shared norms of rationality, the other aspiring to a more radical attitude, grounded in hostility to the 'universal.' Lovibond tries to determine what may be correct in this second, admittedly paradoxical, tendency. This is a timely and valuable effort to connect the most advanced forms of thinking in the analytic tradition and in the Continental tradition, and to extend our understanding of the intimacies and resistances between these two prominent strands of contemporary philosophy.

Publisher's Note: In Realism and Imagination in Ethics, author Sabina Lovibond explores the non-cognitive theory of ethics along with its objections and the alternative of moral realism. Delving into expressivism, perception, moral sense theory, objectivity, and more, this book pulls from Wittgenstein, Hegel, Bradley, Nietzsche and others to explore the many facets of ethics and perception. The discussion analyzes the language, theories, and criteria surrounding ethical action, and describes the faults and fallacies of traditional schools of thought.

Abstract:
This paper considers the ontological implications of encountering varying levels of intelligibility when one traverses social structures, such as when one immigrates to a new culture or works in a place with people of a different economic class than one's own. This paper terms this phenomenon "world-travelling," which the paper understands as the shift in self-experience that occurs when an oppressed person moves from an environment where she is readily perceived as an active subject to one where she is perceived as a passive instrument of others' wills and desires. Such a situation opens on an ontological paradox because it seems that the same person is capable of possessing two contradictory attributes at the same time. The chapter explains how this paradoxical situation could obtain by arguing that attributes of consciousness are world-dependent. It concludes that the self is actually "a plurality of selves" and that the structure of subjectivity is neither unitary, universal, nor ahistorical.

Publisher's Note: Do you have to think that prostitution is good to support sex worker rights? How do sex worker rights fit with feminist and anti-capitalist politics? Is criminalising clients progressive—and can the police deliver justice? In Revolting Prostitutes, sex workers Juno Mac and Molly Smith bring a fresh perspective to questions that have long been contentious. Speaking from a growing global sex worker rights movement, and situating their argument firmly within wider questions of migration, work, feminism, and resistance to white supremacy, they make clear that anyone committed to working towards justice and freedom should be in support of the sex worker rights movement.

Abstract: The opening sentence of Jane Austen's novel Emma is a sentence from fiction. Emma is a work in which the author tells a story of characters, places and incidents almost all of which she has invented. I shall mean by " fiction " any similar work. For unless a work is largely, if not wholly, composed of what is invented, it will not correctly be called " fiction ". One which contains nothing imaginary may be history, science, detection, biography, but not fiction. I want to ask some questions about how an author uses words and sentences in fiction. But my interest is logical, not literary. I shall not discuss the style or artistic skill of any storyteller. Mine is the duller task of trying to understand some of the logic of fictional language; to determine the logical character of its expressions. How do they resemble and differ from those in other contexts? What are they understood to convey? Are they, e.g., true or false statements? If so, of or about what are they true or false? If not, what other function do they perform? How are they connected? These are the questions I shall chiefly discuss.