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This book explores the relationship between the law and pervasive and persistent reasonable disagreement about justice. It reveals the central moral function and creative force of reasonable disagreement in and about the law and shows why and how lawyers and legal philosophers should take reasonable conflict more seriously. Even though the law should be regarded as the primary mode of settlement of our moral conflicts, it can, and should, also be the object and the forum of further moral conflicts. There is more to the rule of law than convergence and determinacy and it is important therefore to question the importance of agreement in law and politics. By addressing in detail issues pertaining to the nature and sources of disagreement, its extent and significance, as well as the procedural, institutional and substantive responses to disagreement in the law and their legitimacy, this book suggests the value of a comprehensive approach to thinking about conflict, which until recently has been analysed in a compartmentalized way. It aims to provide a fully-fledged political morality of conflict by drawing on the analysis of topical jurisprudential questions in the new light of disagreement. Developing such a global theory of disagreement in the law should be read in the context of the broader effort of reconstructing a complete account of democratic law-making in pluralistic societies. The book will be of value not only to legal philosophers and constitutional theorists, but also to political and democratic theorists, as well as to all those interested in public decision-making in conditions of conflict.
Margaret Atwood has frequently been cited as one of the foremost writers of our time. Moral Disorder, her new work of fiction, could be seen as a collection of ten stories that is almost a novel … or a novel broken up into ten stories. It resembles a photograph album – a series of clearly observed moments that trace the course of a life, and the lives intertwined with it – those of parents, siblings, children, friends, enemies, teachers and even animals. And as in a photograph album, times change; every decade is here, from the 1930s through the 50s, 60s and 70s to the present day. The settings are equally varied: large cities, suburbs, farms, northern forests. The first story, ‘The Bad News,’ is set in the present, as a couple no longer young situate themselves in a larger world no longer safe. Then the narrative switches time, as the central character moves through childhood and adolescence, in ‘The Art of Cooking and Serving’, ‘The Headless Horseman’ and ‘My Last Duchess’. We follow her into young adulthood in ‘The Other Place’, and then through a complex relationship, traced in three of the stories – ‘Monopoly’, ‘Moral Disorder’ and ‘The Entities’. The last two stories, ‘The Labrador Fiasco’ and ‘The Boys at the Lab’, deal with the heartbreaking old age of parents, but circle back to childhood again, to complete the cycle. By turns funny, moving, lyrical, incisive, tragic, earthy, shocking and deeply personal, Moral Disorder displays Atwood’s celebrated storytelling gifts and inimitable style to their best advantage. As the New York Times has said, ‘Atwood has complete access to her people’s emotional histories, complete understanding of their hearts and imaginations.’
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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