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Explores aspects of responsibility, including moral accountability; hierarchy, rationality, and the real self; and ethical responsibility and alternative possibilities.
In this important study Nicholas Wolterstorff interprets and discusses the ethics of belief which Locke developed in the latter part of Book IV of his “Essay Concerning Human Understanding.” After lengthy discussion on the origin of ideas, the nature of language, and the nature of knowledge, Locke got around to arguing what he indicated in the opening Epistle to the Reader to be his overarching aim: how we ought to govern our belief, especially (though by no means only) on matters of religion and morality. Professor Wolterstorff shows that what above all placed this topic on Locke’s agenda was the collapse, in his day, of a once-unified moral and religious tradition in Europe into warring factions. Locke’s epistemology was thus a culturally and socially engaged one; it was his response to the cultural crisis of his day. Convinced also that of genuine knowledge we human beings have very little, Locke argued that instead of following tradition we ought to turn “to the things themselves” and let “Reason be your guide.” This view of Locke, in which centrality is given to the last book of the “Essay,” invites an interpretation of the origins of modern philosophy different from most of the current ones. Accordingly, after discussing Hume’s powerful attack on Locke’s recommended practice, Wolterstorff argues for Locke’s originality and discusses his contribution to the modernity of post-sixteenth-century philosophy.
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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