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Self-deception raises complex questions about the nature of belief and the structure of the human mind. In this book, Alfred Mele addresses four of the most critical of these questions: What is it to deceive oneself? How do we deceive ourselves? Why do we deceive ourselves? Is self-deception really possible?Drawing on cutting-edge empirical research on everyday reasoning and biases, Mele takes issue with commonplace attempts to equate the processes of self-deception with those of stereotypical interpersonal deception. Such attempts, he demonstrates, are fundamentally misguided, particularly in the assumption that self-deception is intentional. In their place, Mele proposes a compelling, empirically informed account of the motivational causes of biased beliefs. At the heart of this theory is an appreciation of how emotion and motivation may, without our knowing it, bias our assessment of evidence for beliefs. Highlighting motivation and emotion, Mele develops a pair of approaches for explaining the two forms of self-deception: the “straight” form, in which we believe what we want to be true, and the “twisted” form, in which we believe what we wish to be false.Underlying Mele’s work is an abiding interest in understanding and explaining the behavior of real human beings. The result is a comprehensive, elegant, empirically grounded theory of everyday self-deception that should engage philosophers and social scientists alike.
Art, Emotion, and Ethics is a systematic investigation of the relation of art to morality, a topic that has been of central and recurring interest to the philosophy of art since Plato. Berys Gaut explores the various positions that have been taken in this debate, and argues that an artwork is always aesthetically flawed insofar as it possesses a moral defect that is aesthetically relevant. Three main arguments are developed for this view; these involve showing how moral goodness is itself a kind of beauty, that artworks can teach us about morality and that this is often an aesthetic merit in them, and that our emotional responses to works of art are properly guided in part by moral considerations. Art, Emotion, and Ethics also contains detailed interpretations of a wide range of artworks, including Rembrandt’s Bathsheba and Nabokov’s Lolita, which show that ethical criticism can yield rich and plausible accounts of individual works. Gaut develops a new theory of the nature of aesthetic value, explores how art can teach us about the world and what we morally ought to do by guiding our imaginings, and argues that we can have genuine emotions towards people and events that we know are merely fictional. Characterised by its clarity and sustained argument, this book will be of interest to anyone who wants to understand the relation of art to morality.
Moral thinking today finds itself stranded between the particular and the universal. Alasdair MacIntyre’s work on narrative, discussed here along with that of Stanley Hauerwas and H. T. Engelhardt, aims to undo the perceived damage done by the Enlightenment by returning to narrative and abandoning the illusion of a disembodied reason that claims to be able give a coherent explanation for everything. It is precisely this – a theory that holds good for all cases – that John Rawls proposed, drawing on the heritage of Emmanuel Kant. Who is right? Must universality be abandoned? Must we only think about morality in terms that are relative, bound by space and time? Alexander Lucie-Smith attempts to answer these questions by examining the nature of narrative itself as well as the particular narratives of Rawls and St Augustine. Bound and rooted as they are in history and personal experience, narratives nevertheless strain at the limits imposed on them. It is Lucie-Smith’s contention that each narrative that points to a lived morality exists against the background of an infinite horizon; and thus it is that the particular and the rooted can also make us aware of the universal and unchanging.
۰۰ Unprecedented advances in medicine, genetic engineering, and demographic forecasting raise new questions that strain the categories and assumptions of traditional ethical theories. Heyd’s approach resolves many paradoxes in intergenerational justice, while offering a major test case for the profound problems of the limits of ethics and the nature of value. Unprecedented advances in medicine, genetic engineering, and demographic forecasting raise new questions that strain the categories and assumptions of traditional ethical theories. Heyd’s approach resolves many paradoxes in intergenerational justice, while offering a major test case for the profound problems of the limits of ethics and the nature of value.
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