Thesis (M.A. (English))--Rhodes University, 2003.

A strong version of the Humean theory of motivation (HTM) that includes two theses is defended here. First, desire is necessary for action, and no mental states are necessary for action other than a desire and an appropriate means-end belief. Second, desires can be changed as the conclusion of reasoning only if a desire is among the premises of the reasoning. Those who hold that moral judgments are beliefs with intrinsic motivational force cannot accept HTM, even as a contingent truth, since HTM implies that no beliefs have intrinsic motivational force. Many of them argue that there are cases where HTM fails to explain how we deliberate. The response is to develop a novel account of desire and show that HTM provides superior explanations even in their cases. On this account, desire necessarily motivates action when combined with an appropriate means-end belief. Desire necessarily causes pleasure when our subjective probability of satisfaction increases or when we vividly imagine satisfaction, and likewise causes displeasure when the subjective probability of satisfaction decreases or when we vividly imagine dissatisfaction. It is contingently true that desire directs attention towards things one associates with its object, is made more violent by vivid sensory or imaginative representations of its object, comes in the two flavors of positive desire and aversion, and satisfies the second principle above. This account of desire helps HTM provides superior explanations of deliberation even in the cases that its opponents offer as counterexamples. In response to Darwall’s proposed counterexample to the second principle and some 20th century writers discussing the feeling of obligation, it is shown that Humeans can provide superior explanations of agents’ emotions in their cases. In Searle’s case of akrasia, Scanlon’s case of bracketing, and Schueler’s case of deliberation, it is shown that Humeans can build the structures of deliberation more simply than their opponents can. Against Korsgaard, it is argued that agents cannot choose the aims for which they act. / text

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This document examines David Amram's (b. 1930) diverse compositional style, as represented by his Concerto for Violin and Orchestra (1974). Amram's unique background as a performer in various genres allows him to blend styles seamlessly. He highlights the use of a wide range of styles in this work, which makes this concerto a significant work in the twentieth century, American violin concerto repertoire as well as bridging the classical, jazz, and world genres creating a truly American style of music. This document examines how these influences--including classical, jazz, world music, and "Beat Generation" artists--have influenced David Amram's compositional style as represented in his Concerto for Violin and Orchestra. Biographical information about David Amram, including his life, compositional output, and a brief musical analysis with an emphasis on performance information useful to violinists are presented. In addition an interview with Amram was conducted, in which his compositional style and in particular his Concerto for Violin and Orchestra was discussed. A transcript of the interview is provided in the Appendix of this document.

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David Ray Griffin claims that the commonly perceived conflict between religion and science, or between religious and scientific assertions is primarily that of worldview, or philosophical stance. Science is predominantly associated with the philosophy of materialistic naturalism, whereas religion is predominantly associated with supernaturalism. Griffin believes that the conflict between these worldviews can be overcome by a mutual modification based upon the tenets of process philosophy, thus allowing for one integrated worldview. In science this modification involves the adoption of a minimal as opposed to a maximal form of naturalism. In religion, this modification involves the adoption of naturalistic as opposed to supernaturalistic theism. Griffin argues that each respective domain would be more coherent and fruitful if these modifications were to be made. This study examines the details of this argument, and considers whether Griffin's process offering is religiously and scientifically compelling, or whether it is simply potentially philosophically satisfying.

The choice of subject for a history painting, long considered motivated by dramatic considerations, appears to be also, in the light of numerous documents, the expression of the painter's craft. The following study will attempt to demonstrate this aspect in the oeuvre of Jacques-Louis David and, in particular, in The Oath of the Horatii.