AN ARISTOTELIAN ACCOUNT OF VIRTUE ETHICS: AN ESSAY IN MORAL TAXONOMY

Abstract:  I argue that a virtue ethics takes virtue to be more basic than rightness and at least as basic as goodness. My account is Aristotelian because it avoids the excessive inclusivity of Martha Nussbaum's account and the deficient inclusivity of Gary Watson's account. I defend the account against the objection that Aristotle does not have a virtue ethics by its lights, and conclude with some remarks on moral taxonomy.     

ON LOSS AND MELANCHOLY: AN AUTOBIOGRAPHICAL ESSAY

One of the dominant motifs by social scientists dealing with issues of loss assumes an upsetting of balance or equilibrium as central to the experience - an upsetting that is in need of "restoration." This article challenges that motif both theoretically and experientially, drawing on autobiographical narrative to navigate the complex terrain of irrevocable loss. Our story tells of the lives of our two children, Aristéa and Kade, and of Kade's death in the depths of a Romanian orphanage. We offer the concept of "melancholy" to suggest that the incongruity or pain that we feel, as a result of Kade's death and our simultaneous struggle to "save" Aristéa, can never be alleviated.     

A CHALLENGE TO INTELLECTUAL VIRTUE FROM MORAL VIRTUE: THE CASE OF UNIVERSAL LOVE

Abstract: On the Aristotelian picture of virtue, moral virtue has at its core intellectual virtue. An interesting challenge for this orthodoxy is provided by the case of universal love and its associated virtues, such as the dispositions to exhibit grace, or to forgive, where appropriate. It is difficult to find a property in the object of such love, in virtue of which grace, for example, ought to be bestowed. Perhaps, then, love in general, including universal love, is not necessarily exhibited for reasons . This is the view that, with the help of Heidegger's notion of a fundamental emotional attunement ( Grundstimmung ), I defend. The problem is to show how universal love, and its manifestation in the virtues of universal love, can then be seen as rational. Showing this is the task of the essay.     

ONE BRAIN,TWO MINDS: AN ESSAY ON PRIMORDIAL AND ADVANCED MENTAL ACTIVITY

The Primordial Mind in Health and Illness: A Cross‐Cultural Perspective. By Michael Robbins. London/New York: Routledge, 2011. 240 pp.     

AN ESSAY ON DREAMING,PSYCHICAL WORKING OUT AND WORKING THROUGH2

In this paper the author attempts to expand the idea put forward by Freud who considered dreams as a special form of unconscious thinking. It is the author's contention that the psychical working‐out function performed by dreams is a form of unconscious thinking, which transforms affects into memories and mental structures. He also attempts to clarify the way in which meaning is built and transformed in mental life. In that respect the unconscious internal world is seen as a form of unconscious thinking, a private theatre where meaning is generated and transformed. He focuses on what happens to feelings in dreams in connection with the meanings as a result of and an expression of the several stages of working through. The dream world is described as the setting where the mind gives expressive pictorial representation to the emotions involved in a conflict: a first step towards thinkability. The dreamwork also constitutes a process through which meaning is apprehended, built on and transformed at an expressive non‐discursive level, based on representation through figurative/pictorial images. The author draws on Meltzer's formulation to conjecture that the working‐through function of dreams, mainly in response to interpretations, is performed by a process of progression in formal qualities of the representations made available by dreaming in the form he has called affective pictograms. It is through progression in formal qualities of the representation that the thinking capabilities of the affective life develop and become part of the process of what is called metaphorically the metabolisation of emotional life. This process takes place through migration of meaning across various levels of mental process. In this perspective the analyst'sinterpretations of dreams effect what linguists call transmutation of the symbolic basis, a process that is necessary to help the mind to improve its capacity to think. Something expressed on the evocative plane and condensed into a pictographic image is then transformed into verbal language that expresses meaning. These conceptions are illustrated by a detailed clinical case.     

RESPONSIBILITY AND RATIONAL ABILITIES: DEFENDING AN ASYMMETRICAL VIEW*

Abstract: In this paper, I defend a view according to which one is responsible for one's actions to the extent that one has the ability to do the right thing for the right reasons. The view is asymmetrical in requiring the ability to do otherwise when one acts badly or for bad reasons, but no such ability in cases in which one acts well for good ones. Despite its intuitive appeal, the view's asymmetry makes it a target of both of the main camps in the debate over responsibility. In addressing objections, I explore the relationship between fairness and responsibility, and the nature of the ability to do otherwise.     

FICTIONAL FORM AND SYMPHONIC STRUCTURE: AN ESSAY IN COMPARATIVE AESTHETICS

It is agreed on all hands that both fictional narratives and the familiar genres of classical music possess an inner structure that both can be perceived and be appreciated aesthetically. It is my argument here that this inner structure plays a crucially different role in fictional narrative than it does in classical music, confining myself here to 'absolute music' (which is to say, pure instrumental music without text, programme, dramatic setting, or other 'extra-musical' content). The argument, basically, is that whereas the sophisticated listener to the absolute music repertory is keenly, consciously aware of the inner structure, the sophisticated reader of fictional narrative, the principal exemplar being the novel, is not so aware. Therefore, whereas musical structure directly contributes to aesthetic satisfaction, narrative structure contributes only indirectly (which is not to deny that, at times, the reader is consciously aware of narrative structure, and that, at such times, it does contribute directly to aesthetic satisfaction).