Diversity Reading List

Publisher’s Note:
lmost all theories of knowledge and justified belief employ moral concepts and forms of argument borrowed from moral theories, but none of them pay attention to the current renaissance in virtue ethics. This remarkable book is the first attempt to establish a theory of knowledge based on the model of virtue theory in ethics. The book develops the concept of an intellectual virtue, and then shows how the concept can be used to give an account of the major concepts in epistemology, including the concept of knowledge. This highly original work of philosophy for professionals will also provide students with an excellent introduction to epistemology, virtue theory, and the relationship between ethics and epistemology.

Abstract:
"An Introduction to Chinese Philosophy" unlocks the mystery of ancient Chinese philosophy and unravels the complexity of Chinese Buddhism by placing them in the contemporary context of discourse. Elucidates the central issues and debates in Chinese philosophy, its different schools of thought, and its major philosophers. Covers eight major philosophers in the ancient period, among them Confucius, Laozi, and Zhuangzi. Illuminates the links between different schools of philosophy. Opens the door to further study of the relationship between Chinese and Western philosophy.

Abstract:
This paper explores a late-Ming Chinese philosopher Wang Yangming’s (1472–1529) philosophical assertions showcasing the pivotal role that human mind plays in shaping our worldview. Wang Yangming’s view—especially his declaration that the Mind is the Principle—emphasizes that the human mind is the sole foundation of moral principles and that worldly affairs are identified with human ethical practices. This position has been contentious both in his times and among contemporary scholars. While some critics, notably Chen Lai, find Wang’s synthesis of the ethical and the metaphysical realm problematic, others like Wing-tsit Chan view Wang Yangming’s philosophy as verging on subjective idealism. Both Chen and Chan argue that Wang Yangming commits the fallacy of the conflation of fact and value. In this paper, I defend Wang Yangming’s ethics-oriented metaphysics against such criticisms. I will engage a comparative study between Wang Yangming’s perspective and pragmatist metaphysics—a modern philosophical stance which sees metaphysics as intertwining with human ethics and practices. Building upon this comparative study, this paper aims to highlight the intrinsic bond between metaphysics and ethics and to advocate for the centrality of ethics in shaping the very foundation of metaphysical thinking. The conclusion of this paper is that Wang Yangming’s metaphysics aligns with commonsense realism, rather than with subjective idealism. His metaphysics is not a confused worldview that conflates fact with value, nor is it subjective idealism. Instead, it is a metaphysics with the ethical grounding of human engagements and humanistic concerns.

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: Kant claims to have established his table of categories or "pure concepts of the understanding" according to the "guiding thread" provided by logical forms of judgment. By drawing extensively on Kant's logical writings, Béatrice Longuenesse analyzes this controversial claim, and then follows the thread through its continuation in the transcendental deduction of the categories, the transcendental schemata, and the principles of pure understanding. The result is a systematic, persuasive new interpretation of the Critique of Pure Reason. Longuenesse shows that although Kant adopts his inventory of the forms of judgment from logic textbooks of his time, he is nevertheless original in selecting just those forms he holds to be indispensable to our ability to relate representations to objects. Kant gives formal representation to this relation between conceptual thought and its objects by introducing the term "x" into his analysis of logical forms to stand for the object that is "thought under" the concepts that are combined in judgment. This "x" plays no role in Kant's forms of logical inference, but instead plays a role in clarifying the relation between logical forms (forms of concept subordination) and combinations ("syntheses") of perceptual data, necessary for empirical cognition. Considering Kant's logical forms of judgment thus helps illuminate crucial aspects of the Transcendental Analytic as a whole, while revealing the systematic unity between Kant's theory of judgment in the first Critique and his analysis of "merely reflective" (aesthetic and teleological) judgments in the third Critique.

Abstract: Kant conducts his Analytic of the Beautiful, in the Critique of the Power of Judgment, according to the 'leading thread' that also guided the table of the categories in the first Critique: the four titles of the logical functions of judgement. This leading thread, which has not met with much favor on the part of Kant's readers where the first Critique is concerned, is even less popular in the case of the third Critique. In this essay, I will argue that this ill repute is unmerited. In fact, Kant's use of the leading thread of the logical functions of judgment to analyze judgments of taste merits close attention. In particular, it brings to light a striking feature of judgments of taste as analyzed by Kant. We would expect the main headings in the table of logical functions (quantity, quality, relation, modality) to guide the analysis of aesthetic judgments as judgments about an object ('this rose is beautiful,' 'this painting is beautiful'). Now they certainly do serve this purpose. But in addition, it turns out that they also serve to analyze another judgment, one that remains implicitly contained within the predicate ('beautiful') of the judgments of taste. This second judgment, embedded, as it were, in the first (or in the predicate of the first), and that only the critique of taste brings to discursive clarity, is a judgment no longer about the object, but about the judging subjects, namely, the subjects that pass the judgment: 'this rose is beautiful,' 'this painting is beautiful,' and so on.

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.