Widespread moral disagreement raises ethical, epistemological, political, and metaethical questions. Is the best explanation of our widespread moral disagreements that there are no objective moral facts and that moral relativism is correct? Or should we think that just as there is widespread disagreement about whether we have free will but there is still an objective fact about whether we have it, similarly, moral disagreement has no bearing on whether morality is objective? More practically, is it arrogant to stick to our guns in the face of moral disagreement? Must we suspend belief about the morality of controversial actions such as eating meat and having an abortion? And does moral disagreement affect the laws that we should have? For instance, does disagreement about the justice of heavily redistributive taxation affect whether such taxation is legitimate? In this thorough and clearly written introduction to moral disagreement and its philosophical and practical implications, Richard Rowland examines and assesses the following topics and questions: How does moral disagreement affect what we should do and believe in our day-to-day lives? Epistemic peerhood and moral disagreements with our epistemic peers. Metaethics and moral disagreement. Relativism, moral objectivity, moral realism, and non-cognitivism. Moral disagreement and normative ethics. Liberalism, democracy, and disagreement. Moral compromise. Moral uncertainty. Combining clear philosophical analysis with summaries of the latest research and suggestions for further reading, Moral Disagreement is ideal for students of ethics, metaethics, political philosophy, and philosophical topics that are closely related, such as relativism and scepticism. It will also be of interest to those in related disciplines such as public policy and philosophy of law.

Widespread moral disagreement raises ethical, epistemological, political, and metaethical questions. Is the best explanation of our widespread moral disagreements that there are no objective moral facts and that moral relativism is correct? Or should we think that just as there is widespread disagreement about whether we have free will but there is still an objective fact about whether we have it, similarly, moral disagreement has no bearing on whether morality is objective? More practically, is it arrogant to stick to our guns in the face of moral disagreement? Must we suspend belief about the morality of controversial actions such as eating meat and having an abortion? And does moral disagreement affect the laws that we should have? For instance, does disagreement about the justice of heavily redistributive taxation affect whether such taxation is legitimate? In this thorough and clearly written introduction to moral disagreement and its philosophical and practical implications, Richard Rowland examines and assesses the following topics and questions: How does moral disagreement affect what we should do and believe in our day-to-day lives? Epistemic peerhood and moral disagreements with our epistemic peers. Metaethics and moral disagreement. Relativism, moral objectivity, moral realism, and non-cognitivism. Moral disagreement and normative ethics. Liberalism, democracy, and disagreement. Moral compromise. Moral uncertainty. Combining clear philosophical analysis with summaries of the latest research and suggestions for further reading, Moral Disagreement is ideal for students of ethics, metaethics, political philosophy, and philosophical topics that are closely related, such as relativism and scepticism. It will also be of interest to those in related disciplines such as public policy and philosophy of law.

In this major reassessment of his subject, Richard Rowland restores Thomas Heywood-playwright, miscellanist and translator-to his rightful place in early modern theatre history. Rowland contextualizes and historicizes this important contemporary of Shakespeare, locating him on the geographic and cultural map of London through the business Heywood conducts in his writing. Arguing that Heywood's theatrical output deserves the same attention and study that has been directed towards Shakespeare, Jonson, and more recently Middleton, this book looks at three periods of Heywood's creativity: the end of the Elizabethan era and the beginning of the Jacobean, the mid 1620s, and the mid to late 1630s. By locating the works of those years precisely in the political and cultural conflicts to which they respond, Rowland initiates a major reassessment of the remarkable achievements of this playwright. Rowland also pays attention to Heywood in performance, seeing this writer as a jobbing playwright working in an industry that depended on making writing work. Finally, the author explores how Heywood participated in the civic life of London in his writings beyond the playhouse. Here Rowland examines pamphlets, translations, and the sequence of lord mayor's pageants that Heywood produced as the political crisis deepened. Offering close readings of Heywood that establish the range, quality and theatrical significance of the writing, Thomas Heywood's Theatre, 1599-1639 fits a fascinating piece into the emerging picture of the 'complete' early modern English theatre.

Edward IV (1599) was printed no less than six times up to 1626, and was one of the best loved plays of the early modern period, but this edition is the first since the 1870s. Controversy surrounds every aspect of the play. Disputes over the ownership of the inn-yard playhouse in which it was first played erupted into violence during performances. The little known troop which first acted Edward IV used it to challenge the domination of the two principal companies. The play premiered at a moment when the representation of medieval history in any format was coming under the hostile scrutiny of the Elizabethan government. Yet the playwright produced a text which was at once generically complex (the play blurs the distinction between chronicle history and 'domestic' tragedy), brilliantly assured in its dramatic craftsmanship, and politically explosive. The play depicts the streets and houses in which its original spectators lived and worked with a precision unprecedented in English writing. But this vividly realised London is under assault, first from rebels outside its walls, and subsequently (and more seriously) from the predations of two monarchs. The text of this edition has already been used by the actors at Shakespeare's Globe when they gave the first London performance of Edward IV for more than four centuries. By demonstrating the playwright's dextrous marshalling of a remarkable range of sources, and by examining afresh the dramatist's singular theatrical technique, this volume opens up an exciting if difficult play to a new generation of scholars and performers.

This book offers an entirely new reception history of the myth of Hercules and his wife/killer Deianira. The book poses, and attempts to answer, two important and related questions. First, why have artists across two millennia felt compelled to revisit this particular myth to express anxieties about violence at both a global and domestic level? Secondly, from the moment that Sophocles disrupted a myth about the definitive exemplar of masculinity and martial prowess and turned it into a story about domestic abuse, through to a 2014 production of Handel's Hercules that was set in the context of the 'war on terror', the reception history of this myth has been one of discontinuity and conflict; how and why does each culture reinvent this narrative to address its own concerns and discontents, and how does each generation speak to, qualify or annihilate the certainties of its predecessors in order to understand, contain or exonerate the aggression with which their governors - of state and of the household - so often enforce their authority, and the violence to which their nations, and their homes, are perennially vulnerable?

This book offers an entirely new reception history of the myth of Hercules and his wife/killer Deianira. The book poses, and attempts to answer, two important and related questions. First, why have artists across two millennia felt compelled to revisit this particular myth to express anxieties about violence at both a global and domestic level? Secondly, from the moment that Sophocles disrupted a myth about the definitive exemplar of masculinity and martial prowess and turned it into a story about domestic abuse, through to a 2014 production of Handel's Hercules that was set in the context of the 'war on terror', the reception history of this myth has been one of discontinuity and conflict; how and why does each culture reinvent this narrative to address its own concerns and discontents, and how does each generation speak to, qualify or annihilate the certainties of its predecessors in order to understand, contain or exonerate the aggression with which their governors - of state and of the household - so often enforce their authority, and the violence to which their nations, and their homes, are perennially vulnerable?

Marlowe's highly controversial Edward II concerns the conflicting claims of love and politics, the urgency of homoerotic desire, and the cruelty with which unscrupulous authority can exert control. The boldness with which the work confronts these issues makes it unique in the period, yet this is the first critical edition of the play with full scholarly apparatus for twenty-five years. Richard Rowland's edition presents an old-spelling text which adheres more closely to the first quarto of 1594 than any edition hitherto. The present volume is the third in the Oxford English Texts Complete Works of Christopher Marlowe. A full commentary and introduction contextualize the play and give an entirely original account of the relationship betweeen the play, Marlowe's own age, and events which immediately followed it. By re-examining textual cruces, new interpretative possibilities are opened up, and the play is related to the language and ideas of Marlowe's contemporaries. A generous selection from Holinshed, Marlowe's principal source, is also included. As critics and historians continue to debate attitudes to love, sexuality, and politics during the English Renaissance, this edition of Edward II extends that debate, offering a new understanding of the eroticism and violence of the play.

Comparisons between morality and other 'companion' disciplines - such as mathematics, religion, or aesthetics - are commonly used in philosophy, often in the context of arguing for the objectivity of morality. This is known as the 'companions in guilt' strategy. It has been the subject of much debate in contemporary ethics and metaethics. This volume, the first full length examination of companions in guilt arguments, comprises an introduction by the editors and a dozen new chapters by leading authors in the field. They examine the methodology of companions in guilt arguments and their use in responding to the moral error theory, as well as specific arguments that take mathematics, epistemic norms, or aesthetics as a 'companion', and the use of the companions in guilt strategy to vindicate claims to moral knowledge. Companions in Guilt Arguments in Metaethics is essential reading for advanced students and researchers working in moral theory and metaethics, as well as those in epistemology and philosophy of mathematics concerned with the intersection of these subjects with ethics.