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Articles 1 - 4 of 4
Full-Text Articles in Arts and Humanities
Direct And Indirect Belief, Curtis Brown
Direct And Indirect Belief, Curtis Brown
Philosophy Faculty Research
This paper discusses that one's being in a particular belief state is nevertheless best characterized by a set of propositions, namely those one would believe in any situation in which one were in that belief state. The main purpose in this paper is to develop and defend the distinction between direct and indirect belief.
The Absurdity Of Life, Steven Luper
The Absurdity Of Life, Steven Luper
Philosophy Faculty Research
In "The Absurd"1 Nagel claims that self-conscious human beings are necessarily absurd, so that to escape absurdity while remaining human we would have to cease being self-conscious. fifteen years later, in The View From Nowhere,2 he defends the same thesis, supplementing some of his old arguments with a battery of new ones. I want to suggest that Nagel has misdiagnosed, and exaggerated the inescapability of, our absurdity. He does so partly because the grounds on which he bases his conclusion are spurious, and partly because he does not acknowledge the extent to which we can eliminate absurdity …
Justice And Natural Resources, Steven Luper
Justice And Natural Resources, Steven Luper
Philosophy Faculty Research
Justice entitles everyone in the world, including future generations, to an equitable share of the benefits of the world's natural resources. I argue that even though both Rawls and his libertarian critics seem hostile to it, this resource equity principle, suitably clarified, is a major part of an adequate strict compliance theory of global justice whether or not we take a libertarian or a Rawlsian approach. I offer a defence of the resource equity principle from both points of view.
The Sounds Of Music: First Movement, Lawrence Kimmel
The Sounds Of Music: First Movement, Lawrence Kimmel
Philosophy Faculty Research
In his essay "Understanding Music," Roger Scruton has argued for a nonreductionist approach to aesthetics, emphasizing the contextually rich language and grammar that structure discourse about various forms of art. This accords with Wittgenstein's series of "reminders" about the importance of finding philosophical footholds in ordinary language. However refined artistic taste and aesthetic judgment may become, their fundamental source is in ordinary discourse about what surprises, pleases, and moves us. In what follows I will try to amplify these remarks and map the outlines of a conceptual investigation of the grammar of musical understanding. I will be less interested in …