Global ETD Search

1	The challenge to philosophy : morality after the holocaust Klaushofer, Alexandra January 1994 (has links) No description available. 100 Ethical philosophy
2	G.E. Moore: Common Sense, Science, and Ethics McKenna, David 09 1900 (has links) I begin by examining Moore's notion of common sense because it is my contention that his work is not neatly separated; rather, his ethical and non-ethical philosophy have common sense as an underlying theme. For Moore, common sense was not reducible to indubitable, cracker-barrel wisdom; it is popularized science, what would be a matter of common sense if we were to take the trouble to learn. Moore's allegiance to science is the cord that connects his ethical and non-ethical work. In Principia Ethica, he attempts to introduce the spirit of scientific investigation into ethics. The 'naturalistic fallacy', to which special attention is given, is shown to be a guide to avoiding the error of essentialism, that is, of presuming that there is a unique good-making property or quality, common to all good things. Essentialism is rejected because it leads away from the open investigation characteristic of science, toward dogmatism. From this perspective, several popular criticisms of Moore's ethics are shown to be misguided. In the last chapter, an interpretation of Moore's non-naturalism based on my understanding of the naturalistic fallacy is given, that is quite different from the one most commonly accepted. / Thesis / Master of Arts (MA)
3	The Objective Pluralism of Isaiah Berlin A Historical Approach to Ethical and Political Philosophy Ackroyd, John January 2021 (has links) Isaiah Berlin’s doctrine of objective pluralism has been criticised as amounting in fact to ethical and political relativism. Berlin has relied on two arguments in attempting to refute this charge, those from common intelligibility and from shared values. I propose that the former argument alone is sufficient to refute relativism, whilst the latter argument leads not to pluralism but to a broad or narrow monism, depending on the number of shared values, since it fatally undermines the strong sense of incommensurability which is the defining characteristic of pluralism as a distinct and radical doctrine. Alongside his view that values are commonly intelligible, Berlin retains a minimal ethical universalism, framed in terms of his concept of ‘negative liberty’, or freedom from unwarranted interference. Some have argued that this inviolable ‘core’ of human freedom constitutes a form of liberal universalism. Whilst I concede that Berlin’s objective pluralism does exhibit a decidedly Western character, I argue that his ‘core’ is in fact a rational and pragmatic assertion of the minimal conditions for any meaningful and sustainable human life, whatever its diverse forms, rather than an endorsement of any universalist claims of liberalism, even minimal ones. I further argue that the common intelligibility of values on which Berlin’s refutation of relativism can be thought convincingly to rest is possible only because there is an essence and continuity in human ideas of a kind which is denied by Quentin Skinner and the Cambridge School, and which enable the historical understanding we clearly can achieve. Objective pluralism Isaiah Berlin Ethical philosophy Political philosophy
4	Rubens and the Stoic Baroque: Classical Stoic Ethics, Rhetoric, and Natural Philosophy in Rubens’s Style Nutting, Catherine M. 18 January 2018 (has links) Rubens is known as a painter; he should also be defined as an art theorist. Following Robert Williams’ theory that Early Modern art became philosophical, I believe that style can connote art theoretical interests and philosophical models, and that in Rubens’s case, these included the classical Stoic. While it would be possible to trace Rubens’s commitment to Stoicism in his subject matter, I investigate it in his style, taking a Baxandalian approach to inferential criticism. I focus on Rubens’s formal choices, his varied brushwork, and his ability to create a vibrant picture plane. My study is divided into chapters on Ethics, Logic, and Physics. In Chapter One I treat Stoic moral philosophy as an influence in the design of Rubens’s paintings, consider similarities between classical and Early Modern interest in viewer/reader response, and argue that Baroque artists could use style to avoid dogma while targeting viewers’ personal transformation. In Chapter Two I focus on Rhetoric, a section of the Stoic philosophy of Logic. Stoic Logic privileged truth: that is, it centred on investigating existing reality. As such, Stoic rhetorical theory and the classical literature influenced by it promoted a style that is complex and nuanced. I relate this to the Early Modern interest in copia, arguing that this includes Rubens’s painterly style which, apropos copia, should be better termed the Abundant Style. In Chapter Three I explore similarities between Stoic Natural Philosophy and the Early Modern artistic interest in the unified visual field. The Stoics defined the natural world as eternally moving and mixing; with force fields, energy, and elements in constant relationships of cause/effect. The Stoic concept of natural sympathy was a notion of material/energetic interrelatedness in which the world was seen as a living body, and the divine inhered in matter. I consider ways that these classical Stoic concepts of transformation, realism, and vivified matter might be discerned in Rubens’s style. / Graduate / 2023-12-14 Art History Peter Paul Rubens Baroque Baroque Painting Seventeenth-Century Antwerp Seventeenth-Century Art Style Baroque Style Stoicism Stoicism and Art Early Modern NeoStoicism Antwerp NeoStoicism Flemish NeoStoicism Seventeenth-Cenury Flemish Art Seventeenth-Cenury Flemish Painting Flemish Baroque Painting Stoicism and Style Stoic Ethics Stoic Ethical Philosophy Stoic Rhetoric Stoic Rhetorical Philosophy Stoic Physics Stoic Natural Philosophy Roger de Piles Seneca Seneca Naturales Questiones Tacitus Tacitus's Style Tacitus and Stoicism Stoic continuum Baroque unity Justus Lipsius Early Modern Library Macchia Sententiae Style and Meaning Quintilian Diogenes Laertius Epictetus Chrysippus Marcus Aurelius Early Modern Art Theory Rubens as a Theorist Antwerp Humanism Flemish Humanism Humanism in Flanders and Brabant The Self The Early Modern Self Style for Truth The Continuum Nature Alive Stoic Optimism Seventeenth-Century Stoic Optimism

1

Page generated in 0.072 seconds