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Added by: Xintong WeiAbstract:
In order to construct a satisfactory theory of cheng-yi 誠意, Zhu Xi 朱熹 develops an account of how self-deception is possible—a profound problem that has puzzled many philosophers. In Zhu’s opinion, zhi 知 can be divided into two categories: a priori knowing and empirical knowing. The further division of empirical knowing defines three sorts of self-deception: the self-deception caused by one’s ignorance, the self-deception caused by one’s superficial knowing, and the self-deception that may occur when one acquires genuine knowledge. In this paper, I will construct a theoretical model of self-deception that follows Zhu’s criterial definition of self-deception in Daxue Zhangju 大學章句, thereby accounting for the possibility of these three sorts of self-deception. Better understanding of Zhu’s conception of self-deception could, moreover, open fruitful avenues for further work on his metaphysics and moral psychology.
Comment : available in this BlueprintWarren, Mary Anne. Moral status: obligations to persons and other living things1997, Oxford: Oxford University Press.-
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Added by: Simon FoktPublisher’s Note:
Publisher's description: Mary Anne Warren investigates a theoretical question that is at the centre of practical and professional ethics: what are the criteria for having moral status? That is: what does it take to be an entity towards which people have moral considerations? Warren argues that no single property will do as a sole criterion, and puts forward seven basic principles which establish moral status. She then applies these principles to three controversial moral issues: voluntary euthanasia, abortion, and the status of non-human animals.Comment : Particular chapters are useful in teaching on the applied ethics of abortion, euthanasia and obligations towards non-human animals.Warren, Mary Anne. On the Moral and Legal Status of Abortion1973, The Monist, 57 (4): 43-61.-
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Added by: Rochelle DuFord
Summary: This paper is a response to Thomson's influential defense of abortion. Warren argues that Thomson is mistaken that if a fetus has full moral rights, then abortion is still morally permissible. Warren, instead, argues that while fetuses participate in genetic humanity, they do not participate in the category of personhood (the category which defines the moral community). For this reason, abortion is always morally permissible and thus ought to be legally permissible.Comment : This reading is a good response to Thomson's influential violinist case. The text is a bit complex, and would be better suited for a course that considered issues of abortion and infanticide in an in depth way.Warwick, Sarah Jane. A vote for no confidence1989, Journal of Medical Ethics 15 (4):183-185.-
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Added by: Clotilde Torregrossa, Contributed by: Simon Fokt
Abstract: This paper considers the justifications for adhering to a principle of confidentiality within medical practice. These are found to derive chiefly from respect for individual autonomy, the doctor/patient contract, and social utility. It is suggested that these will benefit more certainly if secrecy is rejected and the principle of confidentiality is removed from the area of health careWebb, Simone. Mary Astell’s ‘A Serious Proposal to the Ladies’ (1694)2018, 1000-Word Philosophy: An Introductory Anthology-
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Added by: Simon Fokt, Contributed by: Simone Webb
Introduction: Mary Wollstonecraft (1759-1797) is established in the popular imagination as the “first feminist,” but another philosopher provided a systematic analysis of women’s subjugated condition and a call for female education nearly a century before Wollstonecraft’s A Vindication of the Rights of Woman (1792). Mary Astell’s (1666-1731) A Serious Proposal to the Ladies, for the Advancement of their True and Greatest Interest by a Lover of Her Sex, Parts I and II (1694, 1697) is a philosophical text that argues that women are in an inferior moral condition compared to men, analyses the causes of this problem, and presents a two-part remedy.
Comment : This is a 1000-word introductory article to Mary Astell's feminist thought as expressed in her philosophical treatise A Serious Proposal to the Ladies. It would work well as pre-class reading, or a very basic introduction to the study of the history of feminist thought or women in early modern philosophy.Weiss, Roslyn. Philosophers in the Republic: Plato’s Two Paradigms2012, Cornell University Press-
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, Contributed by: Quentin PharrPublisher’s Note:
In Plato's Republic, Socrates contends that philosophers make the best rulers because only they behold with their mind's eye the eternal and purely intelligible Forms of the Just, the Noble, and the Good. When, in addition, these men and women are endowed with a vast array of moral, intellectual, and personal virtues and are appropriately educated, surely no one could doubt the wisdom of entrusting to them the governance of cities. Although it is widely—and reasonably—assumed that all the Republic’s philosophers are the same, Roslyn Weiss argues in this boldly original book that the Republic actually contains two distinct and irreconcilable portrayals of the philosopher. According to Weiss, Plato’s two paradigms of the philosopher are the "philosopher by nature" and the "philosopher by design." Philosophers by design, as the allegory of the Cave vividly shows, must be forcibly dragged from the material world of pleasure to the sublime realm of the intellect, and from there back down again to the "Cave" to rule the beautiful city envisioned by Socrates and his interlocutors. Yet philosophers by nature, described earlier in the Republic, are distinguished by their natural yearning to encounter the transcendent realm of pure Forms, as well as by a willingness to serve others—at least under appropriate circumstances. In contrast to both sets of philosophers stands Socrates, who represents a third paradigm, one, however, that is no more than hinted at in the Republic. As a man who not only loves "what is" but is also utterly devoted to the justice of others—even at great personal cost—Socrates surpasses both the philosophers by design and the philosophers by nature. By shedding light on an aspect of the Republic that has escaped notice, Weiss’s new interpretation will challenge Plato scholars to revisit their assumptions about Plato’s moral and political philosophy.Comment : This text is an excellent companion text or further reading for Plato's Republic. But, for students or educators looking for more information on how Plato conceives of philosophers themselves, Socrates included, this text is essential. It also provides key insights beyond the standard discussion of how philosophers might fit into their broader societies - what roles they might play, how their societies might respond to them, and what obligations Plato thinks philosophers have, depending on what sort of philosopher they are. After reading this text, the various aspects of the allegory of the "cave" should be that much easier to interpret.Werhane, Patricia H.. Evaluating the Classificatory Process1979, The Journal of Aesthetics and Art Criticism, 37: 352–54.-
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Added by: Simon Fokt
Content: In this short discussion paper, Werhane challenges the distinction between the classificatory and evaluative senses of ‘art’ defended by George Dickie. Many of the criteria which matter in the selective classificatory process are evaluative in nature, and thus even institutional classification of art depends on evaluation. This means that sometimes people whom institutionalists would interpret as using ‘art’ in the evaluative sense (e.g. in saying: ‘this is not art!’), should rather be seen as using it in the classificatory sense, evaluating the classificatory process (e.g. meaning: ‘the process which led to classifying this as art is wrong, because this should not be classified as art’).Comment : Despite its focus on the institutional definitions of art, this paper can have a wider application to the general discussion on the possibility and appropriateness of separating the classificatory and evaluative uses of the concept ‘art’. This makes it particularly well suited as a further reading in teaching on the proceduralist-functionalist debate (or, since it is very short, an extra required reading).West, Shearer. The Functions of Portraiture2004, In: Portraiture, Oxford: Oxford University Press, pp. 43-69.-
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Added by: Hans Maes
Summary: Posits that aesthetic value has only rarely been the primary inspiration in the commissioning, display, and reception of portraits. Discusses the different functions that portraits and portrait collections have fulfilled. Includes sections on the portrait as biography, the portrait as document, the portrait as proxy and gift, the portrait as commemoration and memorial, the portrait as political tool.Comment : A central text for classes on portraiture. Very useful in any classes focusing on non-aesthetic function of art.Artworks to use with this text:
Anonymous, after an engraving by Simon Van de Passe, Pocahontas (after 1616)
Words painted on a portrait were often important in establishing the authenticity of the likeness, but in this case that claim is misleading, as this portrait was a third-hand image. Moreover, Pocahantos is depicted as white, described as a Christian convert, and principally identified as the wife of John Rolfe.
Jean-Étienne Liotard, Portrait of Maria Frederike van Reede-Athlone at 7 years of age (1755-6)
Because pastel portraits rendered the person both lifelike and seemingly touchable, they potentially had an erotic and fetishistic quality and were collected obsessively. A central text for classes on portraiture. Very useful in any classes focusing on non-aesthetic function of art.
Artworks to use with this text:
Anonymous, after an engraving by Simon Van de Passe, Pocahontas (after 1616)
Words painted on a portrait were often important in establishing the authenticity of the likeness, but in this case that claim is misleading, as this portrait was a third-hand image. Moreover, Pocahantos is depicted as white, described as a Christian convert, and principally identified as the wife of John Rolfe.
Jean-Étienne Liotard, Portrait of Maria Frederike van Reede-Athlone at 7 years of age (1755-6)
Because pastel portraits rendered the person both lifelike and seemingly touchable, they potentially had an erotic and fetishistic quality and were collected obsessively.
West, Shearer. Gender and Portraiture2004, In: Portraiture, Oxford: Oxford University Press, pp. 144-161.-
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Added by: Hans Maes
Summary: The gender of both artist and sitter needs to be taken into account when considering the history of portraiture. Explores how and why women were often portrayed in certain roles (as goddesses, historical or religious figures, allegorical embodiments of abstract notions). Discusses why many women artists before the 20th century were portraitists and considers a few examples. Also highlights changing notions of masculinity in portraiture.Comment : Useful in aesthetics classes discussing portraiture, depiction and representation, as well as philosophy of gender classes discussing representations of women.Artworks to use with this text:
Lotte Laserstein, Self-Portrait with Cat (1928) vs Otto Dix, Portrait of the Journalist Sylvia von Harden (1926)
Both portraits were painted in 1920s Germany by artists linked to the New Objectivity art movement. Still, there is a notable difference between the 'objective' view of the male artist and the subjective self-image of the woman artist.
Elizabeth Siddal, Self-Portrait (1854)
There's a marked contrast between the unhappiness and fatigue visible in this self-portrait and the beauty and eroticism in Dante Gabriel Rossetti's Beata Beatrix (c.1862) in which he transfers the ideal qualities of Dante's Beatrice into the real portrait of Siddal.
Artemisia Gentileschi, Self-Portrait as "La Pittura" (c. 1630)
It could be said that the artist is complicit in the tendency of portraitists to generalize their women subjects as she embodied herself as the allegory of Painting. Nevertheless, Artemisia does not show herself in an idealized way and by self-consciously manipulating a set of conventions makes a unique contribution to the corpus of self-portraiture. Useful in aesthetics classes discussing portraiture, depiction and representation, as well as philosophy of gender classes discussing representations of women.
Artworks to use with this text:
Lotte Laserstein, Self-Portrait with Cat (1928) vs Otto Dix, Portrait of the Journalist Sylvia von Harden (1926)
Both portraits were painted in 1920s Germany by artists linked to the New Objectivity art movement. Still, there is a notable difference between the 'objective' view of the male artist and the subjective self-image of the woman artist.
Elizabeth Siddal, Self-Portrait (1854)
There's a marked contrast between the unhappiness and fatigue visible in this self-portrait and the beauty and eroticism in Dante Gabriel Rossetti's Beata Beatrix (c.1862) in which he transfers the ideal qualities of Dante's Beatrice into the real portrait of Siddal.
Artemisia Gentileschi, Self-Portrait as "La Pittura" (c. 1630)
It could be said that the artist is complicit in the tendency of portraitists to generalize their women subjects as she embodied herself as the allegory of Painting. Nevertheless, Artemisia does not show herself in an idealized way and by self-consciously manipulating a set of conventions makes a unique contribution to the corpus of self-portraiture.
West, Shearer. What is a Portrait?2004, In: Portraiture, Oxford: Oxford University Press, pp. 21-41.-
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Added by: Hans Maes
Summary: Explores three fundamental claims: (1) portraits can be placed on a continuum between the specificity of likeness and the generality of type; (2) all portraits represent something about the body and face, on the one hand, and the soul, character, or virtues of the sitter, on the other; (3) all portraits involve a series of negotiations – often between artist and sitter, but sometimes there is also a patron who is not included in the portrait. NB: In the Introduction preceding this chapter West also questions the cliché that portraits are an invention of the Renaissance and an exclusively Western phenomenon.Comment : This text offers a great introduction to the topic of portraiture and an overview of the subject. It can also be useful in a wider context of depiction and representation.Artworks to use with this text:
Jan Van Eyck, Madonna With Chancellor Rolin (1433) vs Rogier van der Weyden, The Donor, Chancellor Rolin, Kneeling in Prayer; from the reverse of Last Judgment Polyptych (1445)
A comparison of these two paintings reveals how likenesses are always mediated by the varying functions of portraits and the distinct styles of the artists.
Angelica Kauffmann, Portrait of J.W. Goethe (1787-8)
For women artists such as Kauffmann the control of the gaze during sessions with male sitters could be socially uncomfortable but empowering. This text offers a great introduction to the topic of portraiture and an overview of the subject. It can also be useful in a wider context of depiction and representation.
Artworks to use with this text:
Jan Van Eyck, Madonna With Chancellor Rolin (1433) vs Rogier van der Weyden, The Donor, Chancellor Rolin, Kneeling in Prayer; from the reverse of Last Judgment Polyptych (1445)
A comparison of these two paintings reveals how likenesses are always mediated by the varying functions of portraits and the distinct styles of the artists.
Angelica Kauffmann, Portrait of J.W. Goethe (1787-8)
For women artists such as Kauffmann the control of the gaze during sessions with male sitters could be socially uncomfortable but empowering.
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Wang, Kaili. On self-deception: from the perspective of Zhu Xi’s moral psychology
2021, Asian Philosophy 31 (4):414-429