Fittingness

Fittingness explores the nature, roles, and applications of the notion of fittingness in contemporary normative and metanormative philosophy. The fittingness relation is the relation in which a response stands to a feature of the world when that feature merits, or is worthy of, that response. In the late nineteenth to mid-twentieth century, this normative notion of fittingness played a prominent role in the theories of the period's most influential ethical theorists, and in recent years has regained prominence, promising to enrich the theoretical resources of contemporary theorists working in the philosophy of normativity. This volume is the first central discussion of the notion to date. It is composed of seventeen new essays covering a range of topics including the nature and epistemology of fittingness, the relation between fittingness and reasons, the normativity of fittingness, fittingness and value theory, and the role of fittingness in theorizing about responsibility. In addition to making important contributions to the debates in the philosophy of normativity with which they're concerned, the essays in the volume support the hypothesis that the notion of fittingness has great theoretical utility in investigating a range of normative matters, across a variety of domains.

Living Theodrama is a fresh, creative introduction to theological ethics. Offering an imaginative approach through dialogue with theatrical theory and practice, Vander Lugt demonstrates a new way to integrate actor-oriented and action-oriented approaches to Christian ethics within a comprehensive theodramatic model. This model affirms that life is a drama performed in the company of God and others, providing rich metaphors for relating theology to everyday formation and performance in this drama. Different chapters explore the role of the triune God, Scripture, tradition, the church, mission, and context in the process of formation and performance, thus dealing separately with major themes in theological ethics while incorporating them within an overarching model. This book contains not only a fruitful exchange between theological ethics and theatre, but it also presents a promising method for interdisciplinary dialogue between theology and the arts that will be valuable for students and practitioners across many different fields.

The prevailing view of nature has begun to move away from a traditionally Western humans-apart-from-nature attitude toward one that sees humans as a part of nature. Don E. Marietta describes these changes and what he perceives as a philosophical shift toward new holistic models of environmental ethics. He supports a critical holism that stresses the moral importance of the interrelationship of human beings, animals, plants, and non-living things in their common dependence on the ecosphere. Considering that this humanistic approach to ethics recognizes a shared responsibility to the whole system of nature, Marietta explores the apparent conflict between environmental holism and the interests of individuals, incorporating the perspectives of ecofeminism, anthropocentrism, contextualism, and pluralism. This approach produces an ecologically enlightened position that calls for a commitment to protecting planet Earth, while recognizing that "even though it may not be easy or simple, we can live according to a humanistic and holistic ethic, one which seeks the good for people and for the planet." Author note: Don E. Marietta, Jr. is Adelaide R. Snyder Distinguished Professor of Ethics and Professor of Philosophy at Florida Atlantic University.

A fresh, creative introduction to theological ethics. Offering an imaginative approach through dialogue with theatrical theory and practice, Vander Lugt demonstrates a new way to integrate actor-oriented and action-oriented approaches to Christian ethics within a comprehensive theodramatic model. This model affirms that life is a drama performed in the company of God and others, providing rich metaphors for relating theology to everyday formation and performance in this drama. This book contains not only a fruitful exchange between theological ethics and theatre, but it also presents a promising method for interdisciplinary dialogue between theology and the arts that will be valuable for students and practitioners across many different fields.

It is typically thought that the demandingness problem is specifically a problem for consequentialists because of the gradable nature of consequentialist theories. Shades of Goodness argues that most moral theories have a gradable structure and, more significantly, that this is an advantage, rather than a disadvantage, for those theories.

In this book, Matej Kohar demonstrates how the new mechanistic account of explanation can be used to support a non-representationalist view of explanations in cognitive neuroscience, and therefore can bring new conceptual tools to the non-representationalist arsenal. Kohar focuses on the explanatory relevance of representational content in constitutive mechanistic explanations typical in cognitive neuroscience. The work significantly contributes to two areas of literature: 1) the debate between representationalism and non-representationalism, and 2) the literature on mechanistic explanation. Kohar begins with an introduction to the mechanistic theory of explanation, focusing on the analysis of mechanistic constitution as the basis of explanatory relevance in constitutive mechanistic explanation. He argues that any viable analysis of representational contents implies that content is not constitutively relevant to cognitive phenomena. The author also addresses objections against his argument and concludes with an examination of the consequences of his account for both traditional cognitive neuroscience and non-representationalist alternatives. This book is of interest to readers in philosophy of mind, cognitive science and neuroscience.

Explores the problem of blame in moral philosophy, setting out a new theory of blame, free will, and moral responsibility.

Thomas Hurka presents the first full historical study of an important strand in the development of modern moral philosophy. His subject is a series of British ethical theorists from the late nineteenth century to the mid-twentieth century, who shared key assumptions that made them a unified and distinctive school. The best-known of them are Henry Sidgwick, G. E. Moore, and W. D. Ross; others include Hastings Rashdall, H. A. Prichard, C. D. Broad, and A. C. Ewing. They disagreed on some important topics, especially in normative ethics. Thus some were consequentialists and others deontologists: Sidgwick thought only pleasure is good while others emphasized perfectionist goods such as knowledge, aesthetic appreciation, and virtue. But all were non-naturalists and intuitionists in metaethics, holding that moral judgements can be objectively true, have a distinctive subject-matter, and are known by direct insight. They also had similar views about how ethical theory should proceed and what are relevant arguments in it; their disagreements therefore took place on common ground. Hurka recovers the history of this under-appreciated group by showing what its members thought, how they influenced each other, and how their ideas changed through time. He also identifies the shared assumptions that made their school unified and distinctive, and assesses their contributions critically, both when they debated each other and when they agreed. One of his themes is that that their general approach to ethics was more fruitful philosophically than many better-known ones of both earlier and later times.