|
Books > Humanities > Philosophy > Topics in philosophy
The Futility of Philosophical Ethics puts forward a novel account
of the grounds of moral feeling with fundamental implications for
philosophical ethics. It examines the grounds of moral feeling by
both the phenomenology of that feeling, and the facts of moral
feeling in operation - particularly in forms such as moral luck,
vicious virtues, and moral disgust - that appear paradoxical from
the point of view of systematic ethics. Using an analytic approach,
James Kirwan engages in the ongoing debates among contemporary
philosophers within metaethics and normative ethics. Instead of
trying to erase the variety of moral responses that exist in
philosophical analysis under one totalizing system, Kirwan argues
that such moral theorizing is futile. His analysis counters
currently prevalent arguments that seek to render the origins of
moral experience unproblematic by finding substitutes for realism
in various forms of noncognitivism. In reasserting the problematic
nature of moral experience, and offering a theory of the origins of
that experience in unavoidable individual desires, Kirwan accounts
for the diverse manifestations of moral feeling and demonstrates
why so many arguments in metaethics and normative ethics are
necessarily irresolvable.
This second of a two-volume work provides a new understanding of
Western subjectivity as theorized in the Augustinian Rule. A
theopolitical synthesis of Antiquity, the Rule is a humble, yet
extremely influential example of subjectivity production. In these
volumes, Jodra argues that the Classical and Late-Ancient
communitarian practices along the Mediterranean provide historical
proof of a worldview in which the self and the other are not
disjunctive components, but mutually inclusive forces. The
Augustinian Rule is a culmination of this process and also the
beginning of something new: the paradigm of the monastic self as
protagonist of the new, medieval worldview. In the previous volume,
Jodra gave us the Mediterranean backstory to Augustine's Rule. In
this volume two, he develops his solution to socialism, through a
kind of Augustinian communitarianism for today, in full. These
volumes therefore restore the unity of the Hellenistic and Judaic
world as found by the first Christians, proving that the self and
the other are two essential pieces in the construction of our
world.
Bringing Jean Genet and Jacques Lacan into dialogue, James Penney
examines the overlooked similarities between Genet's literary
oeuvre and Lacanian psychoanalysis, uncovering in particular their
shared ontology of fragility and incompletion. This book exposes
the two thinkers' joint and unwavering ontological conviction that
the representations that make up the world of appearances are
inherently enigmatic: inscrutable, not only on the level of their
problematic link to knowledge and meaning, but also, more
fundamentally, as concerns the reliability of their existence.
According to Genet and Lacan, the signification of words and images
will forever remain unfulfilled, just like the whole of reality, as
if prematurely removed from the oven, under-baked. Genet, Lacan and
the Ontology of Incompletion reveals how, in the same manner as
Lacan's psychoanalytic act, Genet's acts of poetry further seek to
expose the fragile prop that holds our reality together, baring the
fissures in being for which fantasy normally compensates. Moving
away from scholarship that considers Genet's plays, novels,
sexuality and politics in isolation, Penney explores the whole span
of Genet's work, from his early novels to the
posthumously-published Prisoner of Love and, combining this with
psychoanalysis, opens up new avenues for thinking about Genet,
Lacan and our wanting being.
 |
To My Kids
(Hardcover)
Juan M Valenzuela
|
R656
R583
Discovery Miles 5 830
Save R73 (11%)
|
Ships in 10 - 15 working days
|
|
Is it ever morally wrong to enjoy fantasizing about immoral things?
Many video games allow players to commit numerous violent and
immoral acts. But, should players worry about the morality of their
virtual actions? A common argument is that games offer merely the
virtual representation of violence. No one is actually harmed by
committing a violent act in a game. So, it cannot be morally wrong
to perform such acts. While this is an intuitive argument, it does
not resolve the issue. Focusing on why individual players are
motivated to entertain immoral and violent fantasies, Video Games,
Violence, and the Ethics of Fantasy advances debates about the
ethical criticism of art, not only by shining light on the
interesting and under-examined case of virtual fantasies, but also
by its novel application of a virtue ethical account. Video games
are works of fiction that enable players to entertain a fantasy.
So, a full understanding of the ethical criticism of video games
must focus attention on why individual players are motivated to
entertain immoral and violent fantasies. Video Games, Violence, and
the Ethics of Fantasy engages with debates and critical discussions
of games in both the popular media and recent work in philosophy,
psychology, media studies, and game studies.
Pop art has traditionally been the most visible visual art within
popular culture because its main transgression is easy to
understand: the infiltration of the "low" into the "high". The same
cannot be said of contemporary art of the 21st century, where the
term "Gaga Aesthetics" characterizes the condition of popular
culture being extensively imbricated in high culture, and
vice-versa. Taking Adorno and Horkheimer's "The Culture Industry"
and Adorno's Aesthetic Theory as key touchstones, this book
explores the dialectic of high and low that forms the foundation of
Adornian aesthetics and the extent to which it still applied, and
the extent to which it has radically shifted, thereby 'upending
tradition'. In the tradition of philosophical aesthetics that
Adorno began with Lukacs, this explores the ever-urgent notion that
high culture has become deeply enmeshed with popular culture. This
is "Gaga Aesthetics": aesthetics that no longer follows clear
fields of activity, where "fine art" is but one area of critical
activity. Indeed, Adorno's concepts of alienation and the tragic,
which inform his reading of the modernist experiment, are now no
longer confined to art. Rather, stirring examples can be found in
phenomena such as fashion and music video. In addition to dealing
with Lady Gaga herself, this book traverses examples ranging from
Madonna's Madam X to Moschino and Vetements, to deliberate on the
strategies of subversion in the culture industry.
|
|