Derek Matravers introduces students to the philosophy of art through a close examination of eight famous works of twentieth-century art. Each work has been selected in order to best illustrate and illuminate a particular problem in aesthetics. Each artwork forms the basis of a single chapter and readers are introduced to such issues as artistic value, intention, interpretation, and expression through a careful analysis of the artwork. Questions considered include what does art mean in contemporary art practice? Is the artistic value of a painting the same as how much you like it? If a painting isn't of anything, then how do we understand it? Can art be immoral? By grounding abstract and theoretical discussion in real examples the book provides an excellent way into the subject for readers new to the philosophical dimension of art appreciation.
How can we understand another person's feelings, thoughts, words or behaviour? Through empathy, it is hoped, we might use our imaginations to shift our perspective into another person's, thereby grasping their thoughts and emotions. In this insightful new book, Derek Matravers negotiates the evolution of this fascinating concept. He explores the roots of the term in the work of David Hume and Adam Smith, its re-emergence in a new form in nineteenth-century German philosophy, and its resurgence as something different again in contemporary Anglo-American philosophy. In doing so, he explores the important role empathy, in all its forms, has played in the study of the mind, the emotions and aesthetics, and in ethics. Empathy is an ideal introduction to one of the most absorbing contemporary philosophical debates.
In the third issue of the J. Paul Getty Trust Occasional Papers in Cultural Heritage Policy series, authors Helen Frowe and Derek Matravers pivot from the earlier tone of the series in discussing the appropriate response to attacks on cultural heritage with their paper, “Conflict and Cultural Heritage: A Moral Analysis of the Challenges of Heritage Protection.” While Frowe and Matravers acknowledge the importance of cultural heritage, they assert that we must more carefully consider the complex moral dimensions—the inevitable serious consequences to human beings—before formulating policy to forcefully protect it. A number of writers and thinkers working on the problem of preserving the world’s most treasured monuments, sites, and objects today cite what Frowe and Matravers call extrinsic and intrinsic justifications for the protection of cultural heritage. These are arguments that maintain that protecting heritage will be a key means to achieve other important goals, like the prevention of genocide, or arguments that heritage deserves to be forcefully protected for its own sake. Frowe and Matravers deconstruct both types of justifications, demonstrating a lack of clear evidence for a causal relationship between the destruction of cultural heritage and atrocities like genocide and arguing that the defense of heritage must not be treated with the same weight or urgency, or according to the same international policies, as the defense of human lives. By calling for expanded theory and empirical data and the consideration of morality in the crafting of international policy vis-à-vis cultural heritage protection, Frowe and Matravers present a thoughtful critique that enriches this important series and adds to the ongoing dialogue in the field.
For the past twenty years there has been a virtual consensus in philosophy that there is a special link between fiction and the imagination. In particular, fiction has been defined in terms of the imagination: what it is for something to be fictional is that there is some requirement that a reader imagine it. Derek Matravers argues that this rests on a mistake; the proffered definitions of 'the imagination' do not link it with fiction but with representations more generally. In place of the flawed consensus, he offers an account of what it is to read, listen to, or watch a narrative whether that narrative is fictional or non-fictional. The view that emerges, which draws extensively on work in psychology, downgrades the divide between fiction and non-fiction and largely dispenses with the imagination. In the process, he casts new light on a succession of issues: on the 'paradox of fiction', on the issue of fictional narrators, on the problem of 'imaginative resistance', and on the nature of our engagement with film.
How can we understand another person's feelings, thoughts, words or behaviour? Through empathy, it is hoped, we might use our imaginations to shift our perspective into another person's, thereby grasping their thoughts and emotions. In this insightful new book, Derek Matravers negotiates the evolution of this fascinating concept. He explores the roots of the term in the work of David Hume and Adam Smith, its re-emergence in a new form in nineteenth-century German philosophy, and its resurgence as something different again in contemporary Anglo-American philosophy. In doing so, he explores the important role empathy, in all its forms, has played in the study of the mind, the emotions and aesthetics, and in ethics. Empathy is an ideal introduction to one of the most absorbing contemporary philosophical debates.
This clear and thorough introduction provides students with the skills necessary to understand the main thinkers, texts and arguments of political philosophy and thought. Each chapter comprises a brief overview of a major political thinker, followed by an introduction to one or more of their most influential works and an introduction to key secondary readings. Key features include: * exercises * reading notes * guides for further reading The book introduces and assesses: Machiavelli's Prince; Hobbes' Leviathan; Locke's Second Treatise on Government; Rousseau's Social Contract; Marx and Engels' German Ideology (Part 1); Mill's On Liberty and The Subjection of Women. Reading Political Philosophy requires no previous knowledge of philosophy or politics and is ideal for newcomers to political philosophy and political thought.
The author's aim in this study is to show that what experiences of art and emotion have in common and what links them to the expression of emotion in non-artistic cases, is the role played by feeling.
The fate of heritage in war has attracted considerable attention in recent years, due in no small part to ISIS's campaign of destruction across the Middle East and, in 2012, the International Criminal Court's first prosecution of heritage destruction as a war crime. Regular armed forces have been criticised for both failing to protect and damaging heritage sites. In response, heritage organisations urge the better implementation of existing international laws on heritage protection in war. This book argues that any such law or policy will require combatants to choose between safeguarding heritage and safeguarding other goods, including human life. It thus challenges the view, repeatedly expressed by heritage professionals, that the choice between protecting heritage and protecting lives is a false dichotomy. Existing international law not only implies such choices but also, more worryingly, gives no indication of how they should be resolved. Drawing on contemporary work on the ethics of war, this book develops an account of the permissible protection of heritage in war. It argues that heritage is not morally special; rather, heritage is one of many goods that contribute to individuals' lives going well and that we routinely trade off against each other. By drawing on these more familiar dilemmas, we can make progress on how to balance the protection of heritage against risks to human life. Amongst other things, the book considers the different ways in which heritage might contribute to individual flourishing, the role of consent in justifying the imposition of risk on combatants and civilians, the permissibility of forcefully defending heritage and what, if anything, could compensate for the loss of heritage in war.
Do fictions depend upon imagination? Derek Matravers argues against the mainstream view that they do, and offers an original account of what it is to read, listen to, or watch a narrative. He downgrades the divide between fiction and non-fiction, largely dispenses with the imagination, and in doing so illuminates a succession of related issues.
Mayson, French & Ryan on Company Law' is the ideal companion for both students studying this topic and practitioners working in the field. Still the only textbook on company law to be updated annually, this edition continues to deliver dependable and fully up-to-date coverage of the law. The provision of accurate technical detail and examination of theory and quotations from key cases is paired with a straightforward written style and uncomplicated layout.
A well-known feature of great works of art is their power to “live on” long after the moment of their creation – to remain vital and alive long after the culture in which they were born has passed into history. This power to transcend time is common to works as various as the plays of Shakespeare, the Victory of Samothrace, and many works from early cultures such as Egypt and Buddhist India which we often encounter today in major art museums. What is the nature of this power and how does it operate? The Renaissance decided that works of art are timeless, “immortal” – immune from historical change – and this idea has exerted a profound influence on Western thought. But do we still believe it? Does it match our experience of art today which includes so many works from the past that spent long periods in oblivion and have clearly not been immune from historical change? This book examines the seemingly miraculous power of art to transcend time – an issue widely neglected in contemporary aesthetics. Tracing the history of the question from the Renaissance onwards, and discussing thinkers as various as David Hume, Hegel, Marx, Walter Benjamin, Sartre, and Theodor Adorno, the book argues that art transcends time through a process of metamorphosis – a thesis first developed by the French art theorist, André Malraux. The implications of this idea pose major challenges for traditional thinking about the nature of art.
The Work of Literature presents a fresh approach to the question of the value of literature, posing and responding to questions about the way we read and write about literature, its value to individuals and society, how it is best approached by readers and critics, and how it retains its power to give pleasure over decades and centuries.
There is a growing perception of ethical crisis in public life. This book articulates a new perspective on public morality in uncertain times by defending a radical re-orientation of civic ethics away from the pursuit of the good society and towards the prevention of the great evils of human existence.
As ice retreated from Britain 15,000 years ago, a host of large mammals including reindeer, wild horses, wooly mammoths, moose, wolves, brown bears, lynxes and wolverines established itself in Britain. The largest surviving wild land mammal today, the red deer, the largest contemporary land carnivore, the badger and another 65 or so extant wild mammals included about a quarter of the wild mammals that have been introduced in the last 15,000 years. The contemporary fauna, however, is largely dominated by domestic animals, such as cattle, sheep, pigs and humans. This book explores the fate of the large extinct species, as well as how, why, and when the introduced species appeared.
This book tells in non-technical language how the British Navy contributed to the development of naval radar in World War 2. Addressed to the general reader, it tells not only the technical story in simple terms, but also of the operational use of shipborne radar at sea - for warning, for fire control, for fighter direction, for navigation, in all theatres of war - and particularly about the people who designed and fitted the equipment, and those who used it at sea.
The fate of heritage in war has attracted considerable attention in recent years, due in no small part to ISIS's campaign of destruction across the Middle East and, in 2012, the International Criminal Court's first prosecution of heritage destruction as a war crime. Regular armed forces have been criticised for both failing to protect and damaging heritage sites. In response, heritage organisations urge the better implementation of existing international laws on heritage protection in war. This book argues that any such law or policy will require combatants to choose between safeguarding heritage and safeguarding other goods, including human life. It thus challenges the view, repeatedly expressed by heritage professionals, that the choice between protecting heritage and protecting lives is a false dichotomy. Existing international law not only implies such choices but also, more worryingly, gives no indication of how they should be resolved. Drawing on contemporary work on the ethics of war, this book develops an account of the permissible protection of heritage in war. It argues that heritage is not morally special; rather, heritage is one of many goods that contribute to individuals' lives going well and that we routinely trade off against each other. By drawing on these more familiar dilemmas, we can make progress on how to balance the protection of heritage against risks to human life. Amongst other things, the book considers the different ways in which heritage might contribute to individual flourishing, the role of consent in justifying the imposition of risk on combatants and civilians, the permissibility of forcefully defending heritage and what, if anything, could compensate for the loss of heritage in war.
In the third issue of the J. Paul Getty Trust Occasional Papers in Cultural Heritage Policy series, authors Helen Frowe and Derek Matravers pivot from the earlier tone of the series in discussing the appropriate response to attacks on cultural heritage with their paper, “Conflict and Cultural Heritage: A Moral Analysis of the Challenges of Heritage Protection.” While Frowe and Matravers acknowledge the importance of cultural heritage, they assert that we must more carefully consider the complex moral dimensions—the inevitable serious consequences to human beings—before formulating policy to forcefully protect it. A number of writers and thinkers working on the problem of preserving the world’s most treasured monuments, sites, and objects today cite what Frowe and Matravers call extrinsic and intrinsic justifications for the protection of cultural heritage. These are arguments that maintain that protecting heritage will be a key means to achieve other important goals, like the prevention of genocide, or arguments that heritage deserves to be forcefully protected for its own sake. Frowe and Matravers deconstruct both types of justifications, demonstrating a lack of clear evidence for a causal relationship between the destruction of cultural heritage and atrocities like genocide and arguing that the defense of heritage must not be treated with the same weight or urgency, or according to the same international policies, as the defense of human lives. By calling for expanded theory and empirical data and the consideration of morality in the crafting of international policy vis-à-vis cultural heritage protection, Frowe and Matravers present a thoughtful critique that enriches this important series and adds to the ongoing dialogue in the field.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.