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In many areas of modern life rapid developments in science are overwhelming established norms. Brain biology, through DNA testing and advanced brain imaging techniques, has given medical scientists new insights into the functioning of the human mind. This erosion of long-standing beliefs has many implications for understanding and treating what society considers to be aberrant or immoral behavior. What medical science is indicating is that the focus of our emphasis on mental processes–particularly free will and intentionality–is shifting to recognition of the important role the physical brain plays on human thought and behavior. In Hardwired Behavior the author argues that social morality begins in the brain, for without the brain there would be no concept of morality. Individual responsibility, therefore, must be reconsidered in the light of biological brain processes. The question of whether new scientific findings destroy the relevance of free will, placing it in the context of biological forces that may operate outside the conscious control of the actor, is one of intense debate. Hardwired Behavior takes this question and moves it into the open by clearly detailing neuroscience discoveries and explaining how the ancient precepts of “morality” that have guided mankind throughout its history must now be seen through the new lens of brain biology.
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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