Diversity Reading List

Abstract: This essay is about the relation between the expression and the arousal of emotion by music. I am assuming that music frequently expresses emotional qualities and qualities of human personality such as sadness, nobility, aggressiveness, tenderness, and serenity. I am also assuming that music frequently affects us emotionally: it evokes or arouses emotions in us. My question is whether there is any connection between these two facts, whether, in particular, music ever expresses emotion by virtue of arousing emotion. Of course, what it means to say that music expresses emotion is a contentious issue and I shall not be directly addressing it here, although what I say will have implications for any theory of musical expression. Nor will I be examining all the possible contexts in which music can be said to arouse emotion. My focus in this essay will be narrower. The question I shall try to answer is this: Are the grounds on which we attribute the expression of emotion to music ever to be identified with the arousal of that same emotion in listeners?

Abstract:
Philosophers tend to take very sophisticated and culture bound emotions as their paradigms for emotion in general. So Gilbert Ryle discusses an interest in symbolic logic; William Lyons discusses being awestruck by the beauty of a golden eagle; Patricia Greenspan talks about being warily suspicious of an insurance salesman; and Robert Gordon talks about being embar rassed about the publicity for one's wedding.' Psychologists, on the other hand, tend to stick to very different examples; several of them have studied the startle reaction as an example of an emo tion, a suggestion most philosophers would consider laughable. I shall argue that startle does belong on the spectrum of emotional response, and that indeed, if we abstract from the startle response, we can come up with a useful model of emotional response in general.

Abstract:
Sometimes our emotions change straightaway when we learn that what we believed is not true. The grieving husband recovers when he learns that, because she missed her plane, his wife did not die in the fatal plane crash. But often changes in emotions do not appropriately follow changes in belief. Their tenacity, their inertia, suggests that there is akrasia of the emotions; it reveals the complex structure of their intentionality.'

Abstract: Recent developments in neuroscience raise the worry that understanding how brains cause behavior will undermine our views about free will and, consequently, about moral responsibility. The potential ethical consequences of such a result are sweeping. I provide three reasons to think that these worries seemingly inspired by neuroscience are misplaced. First, problems for common-sense notions of freedom exist independently of neuroscientific advances. Second, neuroscience is not in a position to undermine our intuitive notions. Third, recent empirical studies suggest that even if people do misconstrue neuroscientific results as relevant to our notion of freedom, our judgments of moral responsibility will remain largely unaffected. These considerations suggest that neuroethical concerns about challenges to our conception of freedom are misguided.

Abstract:
The notion of gender identity has been characterized as "one's sense of oneself as male, female or transgender." To have a sense of oneself at all, one must have a robust first-person perspective - a capacity to conceive of oneself as oneself in the first person. A robust first-person perspective requires that one have a language complex enough to express thoughts like "I wonder how I am going to die." Since a robust first-person perspective requires that one have a language, and languages embed whole worldviews, the question arises: in learning a language, does the robust first-person perspective itself introduce gender stereotypes? Without denying that we unconsciously acquire attitudes about gender that shape our normative expectations, this chapter argues that one's gender identity is not just attributable to the biases implicit in the language one speaks. So the robust first-person perspective itself is not responsible for which gender-specific attitudes a person acquires.

Abstract:
In recent years, autopoietic enactivism has been used to address persistent conceptual problems in psychiatry, such as the problem of demarcating disorder, that other models thus far have failed to overcome. There appear to be three main enactive accounts of psychopathology with subtle, although not incompatible, differences: Maiese characterizes disorder as distinct disruptions in autonomy and agency; Nielsen characterizes disorder as behaviors that relevantly conflict with the functional norms of an individual; De Haan emphasizes patterns of disordered sense-making, that are transformed through the existential dimension. Given that these accounts are intended to provide not only an ontologically richer account of psychopathology but also reduce the stigma experienced by individuals with mental disorders by accounting for lived experience, a critical analysis of these approaches is needed. Russell provides a problematization of enactive accounts of mental disorder, showing that this particular framework does not, as it stands, necessarily reduce the harm and suffering experienced by individuals with mental disorder because of its ontological openness; enactivism leaves much to be interpreted and applied by the clinician (or patient) such that practical and ethical problems in its use arise.

Abstract: After surveying the strengths and weaknesses of several well-known approaches to wisdom, I argue for a new theory of wisdom that focuses on being epistemically, practically, and morally rational. My theory of wisdom, The Deep Rationality Theory of Wisdom, claims that a wise person is a person who is rational and who is deeply committed to increasing his or her level of rationality. This theory is a departure from theories of wisdom that demand practical and/or theoretical knowledge. The Deep Rationality Theory salvages all that is attractive, and avoids all that is problematic, about theories of wisdom that require wise people to be knowledgeable.

Introduction: What is wisdom? Philosophers, psychologists, spiritual leaders, poets, novelists, life coaches, and a variety of other important thinkers have tried to understand the concept of wisdom. This entry will provide a brief and general overview, and analysis of, several philosophical views on the topic of wisdom. It is not intended to capture the many interesting and important approaches to wisdom found in other fields of inquiry. Moreover, this entry will focus on several major ideas in the Western philosophical tradition. In particular, it will focus on five general approaches to understanding what it takes to be wise: (1) wisdom as epistemic humility, (2) wisdom as epistemic accuracy, (3) wisdom as knowledge, (4) a hybrid theory of wisdom, and (5) wisdom as rationality.

Introduction: What is wisdom? Remarkably few contemporary analytic philosophers have proposed an answer to this ancient question. I think the question is interesting and deserves some careful attention. In this paper, I will present and evaluate several analyses of wisdom. I will then defend my own analysis of wisdom.

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.