Diversity Reading List

Abstract: In this paper I offer an original account of intellectual modesty and some of its surrounding vices: intellectual haughtiness, arrogance, servility and self-abasement. I argue that these vices are attitudes as social psychologists understand the notion. I also draw some of the educational implications of the account. In particular, I urge caution about the efficacy of direct instruction about virtue and of stimulating emulation through exposure to positive exemplars.

Abstract: In this paper I provide an account of two forms of intellectual arrogance which cause the epistemic practices of conversational turn-taking and assertion to malfunction. I detail some of the ethical and epistemic harms generated by intellectual arrogance, and explain its role in fostering the intellectual vices of timidity and servility in other agents. Finally, I show that arrogance produces ignorance by silencing others (both preventing them from speaking and causing their assertions to misfire) and by fostering self-delusion in the arrogant themselves.

Abstract: In this paper I offer an original account of intellectual modesty and some of its surrounding vices: intellectual haughtiness, arrogance, servility and self-abasement. I argue that these vices are attitudes as social psychologists understand the notion. I also draw some of the educational implications of the account. In particular, I urge caution about the efficacy of direct instruction about virtue and of stimulating emulation through exposure to positive exemplars.

Abstract: In this paper I provide an account of two forms of intellectual arrogance which cause the epistemic practices of conversational turn-taking and assertion to malfunction. I detail some of the ethical and epistemic harms generated by intellectual arrogance, and explain its role in fostering the intellectual vices of timidity and servility in other agents. Finally, I show that arrogance produces ignorance by silencing others (both preventing them from speaking and causing their assertions to misfire) and by fostering self-delusion in the arrogant themselves.

Publisher's Note: Could gender, race, and sexuality be relevant to knowledge? Although their positions and arguments differ in several respects, feminists have asserted that science, knowledge, and rationality cannot be severed from their social, political, and cultural aspects. This book presents a comprehensive introduction to feminist epistemologies situated at the intersection of philosophical, sociological, and cultural investigations of knowledge. It provides several critiques of more traditional approaches, and explores the alternatives proposed by feminists. In particular, this book contains extensive discussions of topics such as objectivity, rationality, power, and subject. Drawing on a variety of sources, the author also argues that when knowledge is conceived in terms of practices, it becomes possible to see it as normative and socially constituted."

Summary: The importance of food in our individual lives raises moral questions from the debate over eating animals to the prominence of gourmet cookery in the popular media. Through philosophy, Elizabeth Telfer discusses issues including our obligations to those who are starving; the value of the pleasure of food; food as art; our duties to animals; and the moral virtues of hospitableness and temperance. Elizabeth Telfer shows how much traditional philosophy, from Plato to John Stuart Mill, has to say to illuminate this everyday yet complex subject.

Abstract:

Logicians have always found inspiration for new research in the ordinary language that is used on a daily basis and acquired naturally in childhood. Whereas the logical issues in the foundations of mathematics motivated the development of mathematical logic with its emphasis on notions of proof, validity, axiomatization, decidability, consistency, and completeness, the logical analysis of natural language motivated the development of philosophical logic with its emphasis on semantic notions of presupposition, entailment, modality, conditionals, and intensionality. The relation between research programs in both mathematical and philosophical logic and natural language syntax and semantics as branches of theoretical linguistics has increased in importance throughout the last fifty years. This chapter reviews the development of one particularly interesting and lively area of interaction between formal logic and linguistics—the semantics of natural language. Research in this emergent field has proved fruitful for the development of empirically, cognitively adequate models of reasoning with partial information, sharing or exchanging information, dynamic interpretation in context, belief revision and other cognitive processes.

Abstract: While the concept of adaptive preferences is an important tool for criticizing injustice, it is often claimed that using the concept involves showing disrespect for persons judged to have adaptive preferences. In this paper, I propose an account of adaptive preferences that does the relevant political work while still showing persons two centrally important kinds of respect. My account is based in what I call an indirect substantive account of autonomy, which places substantive requirements on the options available to a person, rather than on the option that she ultimately prefers. This allows us to pinpoint cases in which a person's circumstances have rendered her insufficiently autonomous, without saying that any conception of the good must be non-autonomous tout court.

Abstract: A thesis that is rarely stated but often assumed in art criticism and aesthetics concerns the inseparability of form and content in art. The thesis of inseparability states that (1) it is impossible to have the same content in two different forms; and (2) it is impossible to have the same form in two different contents. 1 Clearly, the thesis needs elucidation in terms of a plausible account of the distinction between form and content. It also needs to be considered whether the inseparability of form and content motivates a theory of art or, less ambitiously, identifies an important criterion in an account of art. 2 The inseparability thesis is traditionally associated with formalism, which, as a general theory of art, has been widely condemned. Nevertheless, formalism is currently making a comeback in particular philosophies of the arts - notably, philosophy of music and philosophy of film.3 Sophisticated formalism in relation to both music and film allows for the aesthetic relevance of other features of the work besides form while recommending a structural focus for aesthetic appreciation. If the assumption that formalism is no longer relevant to our under- standing of the arts involves a major oversight, then the inseparability thesis cannot be ignored just because of its traditional association with formalism. But even if one persisted in this oversight, it does not warrant ignoring the importance of the inseparability thesis for the thesis bears no necessary relation to any theory of art, including a formalist one. In what follows, I consider whether the inseparability thesis is compatible with aesthetic cognitivism, the view that art is valuable in part because it can give us nontrivial knowledge. Ultimately, I argue that the two are compatible because there are ways of learning from art that depend on the inseparability of form and con- tent. Given the long and tangled history of the debate over the possibility and value of learning from art, it is supremely important to recognize, finally, such compatibility. Against defenders of aesthetic cognitivism, skeptics and critics have regularly resorted to brandishing the inseparability thesis, defiantly claiming that you cannot expect to learn about the world from art if you cannot 'get to' a work's content unaffected by style and medium. Here the assumption is that the kind of aesthetic transformation that grounds the inseparability of form and con- tent precludes either the practicality or the aesthetic significance of looking to art for real-life insight in the form of facts, principles, or new perspectives. If the compatibility I defend is really there, however, we can expect insight through such transformation. As we shall see, art serves as a primary means for gaining insight of a rare and valuable kind. In what follows, I begin by outlining the preliminaries of the contemporary debate between aesthetic cognitivists and aesthetic anti-cognitivists.4 Then I employ three strategies for elucidating the thesis of inseparability: I identify a particular account of form and content as the one invoked by the thesis, I show that the thesis does not motivate a theory of art in order to circumvent standard criticisms against the thesis as a necessary and sufficient condition of art status, and I explore the ways inseparability influences our understanding of representational art. Armed with a proper understanding of inseparability, I then consider its relation to the debate over aesthetic cognitivism. This involves laying out the assumption that inseparability precludes the aesthetic relevance of learning from art. Finally, I challenge this assumption by outlining two kinds of insight that depend on inseparability. The point is not that such insight can only be gained from art but that it is most readily and relevantly gained from art because of the aesthetic value of inseparability.

Abstract: The diversity and increasing number of recent artistic collaborations raise new and substantive philosophical questions about the nature of authorship. In the past, the problems surrounding the authorship of collaboratively produced art were tackled primarily by film theorists, who defended the conservative view that films were on a par with other artworks, having a single author. Fortunately, this is starting to change. Recently, a number of theorists, including Berys Gaut, Paisley Livingston, and C. Paul Sellors, have argued, contra auteur theory, that films (and many other artworks) are the product of multiple authors.1 Livingston and Sellors draw on recent theories of collective intentionality, specifically theories of shared intention, in order to develop their theories of coauthorship. Although we agree entirely with this anti?individualistic movement, we think there are problems with the accounts of coauthorship on offer. Some of the accounts are too weak, failing to distinguish between mere contributors and genuine coauthors, while others rely on a theory of shared intention that does not adequately account for the range and complexity of artistic collaborations present in contemporary art. Fortunately, there is an alternative theory of collective intentionality that has yet to be considered as a point of departure in developing an account of coauthorship: Margaret Gilbert's plural subject theory. We argue that her theory provides for an account of coauthorship that successfully distinguishes between mere contributors and coauthors. It also makes sense of a number of actual cases of collaboratively produced art in which intuitively the group, rather than any set of individuals, is the author. In Section I, we rehearse Gaut's arguments against auteur theory and explain why Gaut's account of multiple authorship is problematically overpermissive. In Section II, we consider Livingston and Sellors's attempts to develop an account of coauthorship that relies on the theories of shared intentions by Michael Bratman and John Searle, respectively. Both accounts are ultimately problematic in different ways. In Section III, we turn to Margaret Gilbert's plural subject theory. At the heart of Gilbert's theory is the notion of a joint commitment. We develop a theory of coauthorship that appeals to the notion of a joint commitment, and then we show how it helps us to distinguish between mere contributors and genuine coauthors. We also present a number of actual cases of collaboratively produced art and show how Gilbert's plural subject theory can accommodate these cases in a way that other accounts of coauthorship cannot.