Diversity Reading List

Abstract: This paper addresses the question "In virtue of what do practical reasons have normative force or justificatory power?" There seems to be good reason to doubt that desires are the source of normativity. However, I argue that the reasons to be suspicious of desire-based accounts of normativity can be overcome by a sufficiently sophisticated account. The position I defend in this paper is one according to which desires, or more generally, proattitudes, do constitute values and provide rational justifications of actions when they are organized in the right way.

Publisher’s Note: Publisher: This is the first philosophy textbook in moral psychology, introducing students to a range of philosophical topics and debates such as: What is moral motivation? Do reasons for action always depend on desires? Is emotion or reason at the heart of moral judgment? Under what conditions are people morally responsible? Are there self-interested reasons for people to be moral? Moral Psychology: A Contemporary Introduction presents research by philosophers and psychologists on these topics, and addresses the overarching question of how empirical research is relevant to philosophical inquir

Abstract: Well-being in the broadest sense is what we have when we are living lives that are not necessarily morally good, but good for us. In philosophy, well-being has been an important topic of inquiry for millennia. In psychology, well-being as a topic has been gathering steam very recently and this research is now at a stage that warrants the attention of philosophers. The most popular theories of well-being in the two fields are similar enough to suggest the possibility of interdisciplinary collaboration. In this essay I provide an overview of three of the main questions that arise from psychologists’ work on well-being, and highlight areas that invite philosophical input. Those questions center on the nature, measurement, and moral significance of well-being. I also argue that the life-satisfaction theory is particularly well suited to meet the various demands on a theory of well-being.

Abstract: I argue that clarity about essence provides the tools both to isolate a distinct concept of art and to see why anti-essentialism is a plausible, though incomplete, doctrine about it. While this concept is not the only concept currently expressed by our word ‘art’, it is an interesting, and might be an important, one. One of the challenges it poses to conceptual analysis is to explain what it is to be better than being good of a thing's kind, where this extra-goodness is neither a trivial fact nor simply a matter of being a good instance of two different kinds of thing. While anti-essentialism seems to be right about what types of analysis will not work for it, this result only deepens the question of what its proper analysis is.

Abstract: Deception sometimes results in nonconsensual sex. A recent body of literature diagnoses such violations as invalidating consent: the agreement is not morally transformative, which is why the sexual contact is a rights violation. We pursue a different explanation for the wrongs in question: there is valid consent, but it is not consent to the sex act that happened. Semantic conventions play a key role in distinguishing deceptions that result in nonconsensual sex (like stealth condom removal) from those that don’t (like white lies). Our framework is also applicable to more controversial cases, like those implicated in so-called “gender fraud” complaints.

Summary: Todd (Métis) situates contemporary acts of cultural appropriation in the colonial appropriation of indigenous land. She offers a normative definition of cultural appropriation according to which it is understood as the opposite of cultural autonomy. In the course of her discussion, she responds to a number of defenses of cultural appropriation that, she argues, fail to recognize the asymmetries of power in which appropriation from indigenous communities is embedded.

Abstract: This article explores human-fish relations as an under-theorized “active site of engagement” in northern Canada. It examines two case studies that demonstrate how the Inuvialuit of Paulatuuq employ “fish pluralities” (multiple ways of knowing and defining fish) to negotiate the complex and dynamic pressures faced by humans, animals, and the environment in contemporary Arctic Canada. I argue that it is instructive for all Canadians to understand the central role of humans and animals, together, as active agents in political and colonial processes in northern Canada. By examining human-fish relationships, as they have unfolded in Paulatuuq over the last 50 years, we may develop a more nuanced understanding of the dynamic strategies that northern Indigenous people, including the Paulatuuqmiut (people from Paulatuuq), use to navigate shifting environmental, political, legal, social, cultural, and economic realities in Canada’s North. This article thus places fish and people, together, as central actors in the political landscape of northern Canada. I also hypothesize a relational framework for Indigenous-State reconciliation discourses in Canada today. This framework expands southern political and philosophical horizons beyond the human and toward a broader societal acknowledgement of complex and dynamic relationships between people, fish, and the land in Paulatuuq.

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.

Abstract: Nonconceptualists maintain that there are ways of representing the world that do not reflect the concepts a creature possesses. They claim that the content of these representational states is genuine content because it is subject to correctness conditions, but it is nonconceptual because the creature to which we attribute it need not possess any of the concepts involved in the specification of that content. Appeals to nonconceptual content have seemed especially useful in attempts to capture the representational properties of perceptual experiences, the representational states of pre-linguistic children and non-human animals, the states of subpersonal visual information-processing systems, and the subdoxastic states involved in tacit knowledge of the grammar of a language. Nonconceptual content is also invoked in the explanation of concept possession, concept acquisition, sensorimotor behaviour, and in the analysis of the notion of self-consciousness. The notion of nonconceptual content plays an important role in many discussions about the relationships between perception and thought.

Publisher's Note: The Japanese sense of beauty as actualized in innumerable works of art, both linguistic and non-linguistic, has often been spoken of as something strange to, and remote from, the Western taste. It is, in fact, so radically different from what in the West is ordinarily associated with aesthetic experience that it even tends to give an impression of being mysterious, enigmatic or esoteric. This state of affairs comes from the fact that there is a peculiar kind of metaphysics, based on a realization of the simultaneous semantic articulation of consciousness and the external reality, dominating the whole functional domain of the Japanese sense of beauty, without an understanding of which the so-called 'mystery' of Japanese aesthetics would remain incomprehensible. The present work primarily purports to clarify the keynotes of the artistic experiences that are typical of Japanese culture, in terms of a special philosophical structure underlying them. It consists of two main parts: (1) Preliminary Essays, in which the major philosophical ideas relating to beauty will be given a theoretical elucidation, and (2) a selection of Classical Texts representative of Japanese aesthetics in widely divergent fields of linguistic and extra-linguistic art such as the theories of waka-poetry, Noh play, the art of tea, and haiku. The second part is related to the first by way of a concrete illustration, providing as it does philological materials on which are based the philosophical considerations of the first part.