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This collection of essays, memoirs, poems, stories, and artwork looks at globalization as a worldwide exchange of art and ideas. Writing the World focuses on the cultural realities of globalism—the opportunities it provides to learn from other cultures. This knowledge, argue David Rothenberg and Wandee Pryor in their introduction, can be power: “When all of us learn enough about our differences to respect the diversity that exists, we will be unable to pretend we are the same. We will never accept the old innocence and ignorance bred by oppression and exploitation.” For the contributors to Writing the World, to dream of the global village is to see the world not as a vast market but as a place of shared values and linked wonder.”It is time to listen to the many literate voices the world speaks,” say Rothenberg and Pryor. The voices of Writing the World range from Arundhati Roy on the “colonization of knowledge” in her essay “The Ladies Have Feelings, So… Shall We Leave It to the Experts?” to Naomi Klein’s meditation on fences, ownership, and property. They include Bill McKibben on women farmers in Bangladesh, Hannes Westberg’s account of being shot by Swedish police at a demonstration, James Barilla on invading and indigenous plant species in “The Aliens in the Garden,” and many other vivid, compelling, and provocative writings that celebrate—and illustrate—”the poetry of cultural contact.” Artists and photographers whose work appears in the book include Adam Clayman, Jenny Matthews, Richard Robinson, and Arpita Singh.
Do national boundaries have fundamental moral significance, or do we have moral obligations to foreigners that are equal to our obligations to our compatriots? The latter position is known as cosmopolitanism, and this volume brings together a number of distinguished political philosophers and theorists to explore cosmopolitanism and the positive arguments that can be made for it. Their essays provide a comprehensive overview of the current state of the debate as well as the alternative visions of cosmopolitanism that will interest a wide range of readers in philosophy, political theory, and law.
‘This is an outline of a coherence theory of law. Its basic ideas are: reasonable support and weighing of reasons. All the rest is commentary.’These words at the beginning of the preface of this book perfectly indicate what On Law and Reason is about. It is a theory about the nature of the law which emphasises the role of reason in the law and which refuses to limit the role of reason to the application of deductive logic.In 1989, when the first edition of On Law and Reason appeared, this book was ground breaking for several reasons. It provided a rationalistic theory of the law in the language of analytic philosophy and based on a thorough understanding of the results, including technical ones, of analytic philosophy. That was not an obvious combination at the time of the book’s first appearance and still is not. The result is an analytical rigor that is usually associated with positivist theories of the law, combined with a philosophical position that is not natural law in a strict sense, but which shares with it the emphasis on the role of reason in determining what the law is. If only for this rare combination, On Law and Reason still deserves careful study.On Law and Reason also foreshadowed and influenced a development in the field of Legal Logic that would take place in the nineties of the 20th century, namely the development of non-monotonic (‘defeasible’) logics for the analysis of legal reasoning. In the new Introduction to this second edition, this aspect is explored in some more detail.
Film & Ethics considers a range of films and texts of film criticism alongside disparate philosophical discourses of ethics by Levinas, Derrida, Foucault, Lacanian psychoanalysts and postmodern theorists. While an ethics of looking is implicitly posited in most strands of cinema theory, there is no established body of work that might be called ethical film criticism. This book, therefore, redresses the reluctance of many existing works to address cinema from an explicitly ethical perspective. Readings range across popular Hollywood films such as Thelma and Louise, Alfred Hitchcock’s canonical corpus, and films from European and World cinemas, including Dreyer’s The Passion of Joan of Arc and the little-known African film Bamako. The book engages with debates concerning censorship and pornography; the ethical implications of ‘positive representation’; the ethics of making and viewing images of atrocity and suffering; and the relationship between ethics and aesthetics. Lisa Downing and Libby Saxton re-invigorate debates in film studies by foregrounding the ethical dimensions of the moving image, and create dialogues between ostensibly incompatible philosophical and political trends of thought, without seeking to reconcile their differences.
ما از اخلاق چه انتظاری داریم؟ این سوال شاید تاحدودی برای عموم مردم و یا متخصصان این رشته قابل پاسخ باشد؛ اینکه خوب بودن را به ما بیاموزد و در تنظیم روابط فردی م...
جشن کتاب تهران به ایستگاه سی و یکم رسیده است. حال و احوال نشر کتاب خوب نیست و باید فرهنگدوستان را به خرید و هدیه دادن کتاب ترغیب نمود. خانه اخلاقپژوهان جوان ب...
بنیاد کتابهای اخلاق اسلامی عمدتا پالایش جان از آلودگیها و آراستن آن به زیباییها است. اندیشه محوری این قبیل کتابها آن است که انسان فعلی آنی نیست که باید باشد...
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