Gheaus, Anca. The Role of Solitude in the Politics of Sociability
2022, In Kimberley Brownlee, David Jenkins & Adam Neal (eds.), Being Social: The Philosophy of Social Human Rights. Oxford University Press. pp. 234–251
-
Expand entry
-
Added by: Deryn Mair ThomasAbstract:
This chapter explores a so-far neglected way of avoiding the bads of loneliness: by learning to value solitude, where that is understood as a state of ‘keeping oneself company’, as J. David Velleman puts it. Unlike loneliness, solitude need not involve any deprivation, whether subjective or objective. This chapter considers the various goods to which solitude is constitutive or instrumental, with a focus on the promise that proper valuing of solitude holds for combating loneliness. The overall argument is this: If loneliness significantly detracts from individual wellbeing, and if the ability to value solitude protects against loneliness, then such an ability is obviously valuable to human flourishing. If, further, loneliness raises concerns of justice, then supporting people’s ability to value solitude is a way to implement a desideratum of justice. Individuals can cultivate their ability to value solitude, an ability that others can promote or hinder.
Comment: This chapter explores philosophical questions concerning the nature and value of solitude, and the various goods related to 'keeping oneself company'. As a somewhat neglected topic in contemporary analytic philosophy, it provides an unique and novel discussion of the relationships between solitude, loneliness, and isolation and their relation to justice and well-being. Might be useful as a replacement for a foundational text in basic social and political philosophy, especially if studied in concert with other texts exploring our basic social requirements and the demands that these place on social and political institutions. See work on social rights and ethics of sociability by Kimberley Brownlee.
Gilbert, Margaret. A Theory of Political Obligation: Membership, Commitment and the Bonds of Society
2008, Oxford: Oxford University Press.
-
Expand entry
-
Added by: Carl FoxPublisher’s Note:
Publisher: Does one have special obligations to support the political institutions of one’s own country precisely because it is one’s own? In short, does one have political obligations? This book argues for an affirmative answer, construing one’s country as a political society of which one is a member, and a political society as a special type of social group. The obligations in question are not moral requirements derived from general moral principles. They come, rather, from one’s participation in a special kind of commitment: a joint commitment. This theory is referred to as the plural subject theory of political obligation since, by the author’s definition, those who are party to any joint commitment constitute a plural subject of some action in a broad sense of the term. Several alternative theories are compared and contrasted with plural subject theory, with a particular focus on the most famous — actual contract theory — according to which membership in a political society is a matter of participation in an agreement. The book offers plural subject accounts of both social rules and everyday agreements, and includes discussion of political authority and punishment.Comment: Some chapters in Part 1 would work very nicely as introductory reading to the problem of political obligation. As the book progresses it homes in on the theory of social groups and Gilbert's theory of political obligation as joint commitment. As such, the later chapters are more suited to specialised readings.
Gilbert, Margaret. Walking Together: A Paradigmatic Social Phenomenon
1990, Midwest Studies in Philosophy 15(1): 1-14.
-
Expand entry
-
Added by: Lukas SchwengererAbstract: The everyday concept of a social group is approached by examining the concept of going for a walk together, an example of doing something together, or 'shared action'. Two analyses requiring shared personal goals are rejected, since they fail to explain how people walking together have obligations and rights to appropriate behaviour, and corresponding rights of rebuke. An alternative account is proposed: those who walk together must constitute the 'plural subject' of a goal (roughly, their walking alongside each other). The nature of plural subjecthood, the thesis that social groups are plural subjects, and the relation of these ideas to Rousseau's and Hobbes's, are briefly explored.Comment: The article uses a clear example to explore shared agency. It is both an accessible and fundamental paper for the discourse on collective intentionality, and as such it is ideal as an introduction to those topics. It is also a good addition for courses on social ontology.
Ginsborg, Hannah. Aesthetic Judgment and Perceptual Normativity
2006, Inquiry 49(5): 403-437.
-
Expand entry
-
Added by: Ben McGorrigan, Contributed by: Christy Mag UidhirAbstract: I draw a connection between the question, raised by Hume and Kant, of how aesthetic judgments can claim universal agreement, and the question, raised in recent discussions of nonconceptual content, of how concepts can be acquired on the basis of experience. Developing an idea suggested by Kant's linkage of aesthetic judgment with the capacity for empirical conceptualization, I propose that both questions can be resolved by appealing to the idea of "perceptual normativity". Perceptual experience, on this proposal, involves the awareness of its own appropriateness with respect to the object perceived, where this appropriateness is more primitive than truth or veridicality. This means that a subject can take herself to be perceiving an object as she (and anyone else) ought to perceive it, without first recognizing the object as falling under a corresponding concept. I motivate the proposal through a criticism of Peacocke's account of concept-acquisition, which, I argue, rests on a confusion between the notion of a way something is perceived, and that of a way it is perceived as being. Whereas Peacocke's account of concept-acquisition depends on an illicit slide between these two notions, the notion of perceptual normativity allows a legitimate transition between them: if someone's perceiving something a certain way involves her taking it that she ought to perceive it that way, then she perceives the thing as being a certain way, so that the corresponding concept is available to her in perceptual experience.Comment: This paper will mainly be of relevance in relation to the antinomy or paradox of taste, a problem famously examined by Hume and Kant. It may also be of use in relation to topics in the Philosophy of Perception or Epistemology, or in teaching on Kant's Critique of Judgment. Ginsbourg presents a very thorough discussion of the notion that perceptions make concepts available by involving implicit claims to their own appropriateness; she uses this idea to make an interesting and plausible contribution to the debate regarding the antinomy of taste.
Gluer, Kathrin. Donald Davidson: A short Introduction
2014, Oxford University Press USA
-
Expand entry
-
Added by: Giada FratantonioPublisher's Note: Donald Davidson was one of the 20th Century's deepest analytic thinkers. He developed a systematic picture of the human mind and its relation to the world, an original and sustained vision that exerted a shaping influence well beyond analytic philosophy of mind and language. At its center is an idea of minded creatures as essentially rational animals: Rational animals can be interpreted, their behavior can be understood, and the contents of their thoughts are, in principle, open to others. The combination of a rigorous analytic stance with aspects of humanism so distinctive of Davidsonian thought finds its maybe most characteristic expression when this central idea is brought to bear on the relation of the mental to the physical: Davidson defended the irreducibility of its rational nature while acknowledging that the mental is ultimately determined by the physical. Davidson made contributions of lasting importance to a wide range of topics - from general theory of meaning and content over formal semantics, the theories of truth, explanation, and action, to metaphysics and epistemology. His writings almost entirely consist of short, elegant, and often witty papers. These dense and thematically tightly interwoven essays present a profound challenge to the reader. This book provides a concise, systematic introduction to all the main elements of Davidson's philosophy. It places the theory of meaning and content at the very center of his thought. By using interpretation, and the interpreter, as key ideas it clearly brings out the underlying structure and unified nature of Davidson's work. Kathrin Gluer carefully outlines his principal claims and arguments, and discusses them in some detail. The book thus makes Davidson's thought accessible in its genuine depth, and acquaints the reader with the main lines of discussion surrounding it.Comment: Can be used as brief introduction into the main thoughts of Donald Davidon's philosophy.
Goehr, Lydia. Political music and the politics of music
1994, Journal of Aesthetics and Art Criticism 52 (1):99-112.
-
Expand entry
-
Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: On September 24th, 1947, a composer with "an international reputation" became the first Holly wood artist to be called before the Committee on Un-American Activities [HUAC]. The charge against him was that his music had aided the Communist infiltration of the motion-picture industry.' A significant part of his defense con sisted in his claim that he was only a musician and thus not responsible for any part of a Com munist conspiracy. What is peculiar is that he almost got away with this unlikely defense, unlikely because he had spent much of his life developing a political music consistent with the ideals of Communism. In the end, the Commit tee caught him out on technical grounds: it found a history of inaccurate statements in his visa applications. The composer was deported. It was the second exile of his life: the first had been from Germany ten years earlier.
Goehr, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music
1992, Oxford University Press.
-
Expand entry
-
Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirPublisher's Note: What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the normative functions of concepts and ideals. She also addresses current debates amongst conductors, early-music performers, and avant-gardists.
Goodship, Laura. On Dialethism
1996, Australasian Journal of Philosophy 74 (1):153 – 161
-
Expand entry
-
Added by: Franci MangravitiAbstract:
The paper discusses two problems with Graham Priest's version of dialetheism: the thesis that one cannot be rationally obliged to both accept and reject something, and the use of a Contraction-less conditional in dealing with Curry paradoxes. Some solutions are suggested.
Comment: A useful supplement to any discussion of dialetheism, as the origin of what is now known in the literature as the "Goodship project". Some familiarity with Priest's account is required for context.
Gopnik, Alison. The Child as Scientist
1996, Philosophy of Science 63 (4):485-514
-
Expand entry
-
Added by: Andrea BlomqvistAbstract: This paper argues that there are powerful similarities between cognitive development in children and scientific theory change. These similarities are best explained by postulating an underlying abstract set of rules and representations that underwrite both types of cognitive abilities. In fact, science may be successful largely because it exploits powerful and flexible cognitive devices that were designed by evolution to facilitate learning in young children. Both science and cognitive development involve abstract, coherent systems of entities and rules, theories. In both cases, theories provide predictions, explanations, and interpretations. In both, theories change in characteristic ways in response to counterevidence. These ideas are illustrated by an account of children's developing understanding of the mind.Comment: In the mindreading debate, this is one of the main papers arguing for Theory Theory. It offers a good introduction of the theory as well as empirical support. It is suitable in a second or third year module on social cognition.
Gover, K. E.. Artistic Freedom and Moral Rights in Contemporary Art: The Mass MoCA Controversy
2011, Journal of Aesthetics and Art Criticism 69 (4):355-365.
-
Expand entry
-
Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: The concept of artistic freedom, like that of academic freedom, is as potent as it is slippery. Its indeterminacy may in fact lend the concept some power, since it can be uncritically applied to many different kinds of situations involving artists and their creations. Philosopher Paul Crowther has observed that the prevailing conception of artistic freedom is essentially negative in character: it is based 'purely on the absence of ideological or conceptual restraint.' There is a widespread art-world intuition that the creative freedom of the artist should be given virtually absolute precedence in decisions about the creation, exhibition, and treatment of artworks. As a recent controversy involving Swiss artist Christoph Buchel and the Massachusetts Museum of Contemporary Art (Mass MoCA) shows, the dominant conception of artistic freedom also entails freedom from financial and logistical constraints such as museum budgets and exhibition deadlines. In this particular case, the artist and his supporters argued that the museum violated his artistic freedom by attempting to display his unfinished and abandoned artwork against his wishes. As with the Tilted Arc controversy in the 1980s, this case raises provocative questions about the nature of artistic freedom as 'artistic' as it comes into conflict with the needs and interests of the institutions that pay for, exhibit, and, in Mass MoCA's case, construct the work.
Can’t find it?
Contribute the texts you think should be here and we’ll add them soon!