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Authorial Ethics is a normative study that deals with the many ways in which writers abuse their commitment to truth and integrity. It is divided by academic discipline and includes chapters on journalism, history, literature, art, psychology, and science, among others. Robert Hauptman offers generalizations and theoretical remarks exemplified by specific cases. Two major abrogations are inadvertent error and purposeful misconduct, which is subdivided into falsification, fabrication, and plagiarism. All of these problems appear in most disciplines, although their negative impact is felt most potently in biomedical research and publication. Professor Mary Lefkowitz, the classicist, provides an incisive foreword.
The field of information ethics (IE)--a subdivision of ethics--was developed during the 1980s, originating and maturing in library science and slowly working its way into other disciplines and practical applications. Some years later, a secondary field emerged, emphasizing theoretical and philosophical concepts, with little focus on real-world applicability. The first of its kind, this comprehensive overview of IE evaluates the production, dissemination, storage, accessing and retrieval of information in an ethical context in areas including the humanities, sciences, medicine and business. A leading figure in the field, the author is concerned with misconduct (falsification, fabrication, plagiary), peer review, the law, privacy, imaging and robotics, among other matters.
Reader as Accomplice: Narrative Ethics in Dostoevsky and Nabokov argues that Fyodor Dostoevsky and Vladimir Nabokov seek to affect the moral imagination of their readers by linking morally laden plots to the ethical questions raised by narrative fiction at the formal level. By doing so, these two authors ask us to consider and respond to the ethical demands that narrative acts of representation and interpretation place on authors and readers. Using the lens of narrative ethics, Alexander Spektor brings to light the important, previously unexplored correspondences between Dostoevsky and Nabokov. Ultimately, he argues for a productive comparison of how each writer investigates the ethical costs of narrating oneself and others. He also explores the power dynamics between author, character, narrator, and reader. In his readings of such texts as “The Meek One” and The Idiot by Dostoevsky and Bend Sinister and Despair by Nabokov, Spektor demonstrates that these authors incite the reader’s sense of ethics by exposing the risks but also the possibilities of narrative fiction.
Public health has never been more important, or more controversial. What states do, and fail to do, makes a significant difference to the lives we are able to lead. Putting public health first would allow improvements to the health of everyone, especially the worst off. Yet many citizens actively oppose state interference to improve population health, complaining that it encroaches on personal liberty. How should policymakers reconcile these conflicting priorities? This groundbreaking book argues that philosophy is not just useful, but vital, for thinking coherently about priorities in health policy and public policy. Novel, theoretically rigorous, yet practical, Philosophy for Public Health and Public Policy examines why it is so common for public policies to fail in practice to improve the problems they aim to solve, and what to do about this. It argues that a shift to complex systems approaches to policymaking is overdue. Philosophers need to become much more attuned to the contingency and messiness of real world policymaking, and to the ways in which philosophical tools such as thought experiments are frequently unreliable. This book also provides an ethical framework for public health policy. It argues that public health is a right of citizens, alongside more familiar rights such as liberty and security. Public health should not be thought of merely as interference with the rights that individuals have, but as necessary to protect these rights. Chapters explore implications for resource allocation, personal responsibility, health equity, and the control of communicable disease.
The ethical question is the question of our times. Within critical theory, it has focused on the act of reading. This original and courageous study reverses the terms of inquiry to analyse the ethical composition of the act of writing.
Laurence Lockridge argues that a focus on the ethical dimension of literature is the single most powerful strategy for structuring a writer's work as a whole, and that it can even prove congenial. He gives original, interrelated readings of eight major British Romantic writers.
Artistic Creation and Ethical Criticism, a study in philosophical aesthetics, investigates an idea that underpins the ethical criticism of art but that is rarely acknowledged and poorly understood - namely, that the ethical criticism of art involves judgments not only of the attitudes a work endorses or solicits, but of what artists do to create the work. The book pioneers an innovative production-oriented approach to the study of the ethical criticism of art - one that will provide a detailed philosophical account of the intersection of ethics and artistic creation as well as conceptual tools that can guide future philosophizing and criticism. Ted Nannicelli offers three arguments concerning the ethical criticism of art. First, he argues that judgments of an artwork's ethical value are already often made in terms of how it was created, and examines why some art forms more readily lend themselves to this form of ethical appraisal than others. He then asserts that production-oriented evaluations of artworks are less contested than other sorts of ethical criticism and so lead to certain practical consequences-from censure, dismissal, and prosecution to shifts in policy and even legislation. Finally, Nannicelli defends the production-oriented approach, arguing that it is not only tacit in many of our art appreciative practices, but is in fact rationally warranted. There are many cases in which we should ethically critique artworks in terms of how they are created because this approach handles cases that other approaches cannot and results in plausible judgments about the works' relative ethical and artistic value. The concise, powerful arguments presented here will appeal to moral philosophers, philosophers of art and aesthetics, and critics interested in the intersection of artistic production and criticism and ethics.
This book is about the metanarrative and metafictional elements of J. M. Coetzee’s novels. It draws together authorship, readership, ethics, and formal analysis into one overarching argument about how narratives work the boundary between art and life. On the basis of Coetzee’s writing, it reconsiders the concept of metalepsis, challenges common understandings of self-reflexive discourse, and invites us to rethink our practice as critics and readers. This study analyzes Coetzee’s novels in three chapters organized thematically around the author’s relation with character, reader, and self. Author and character are discussed on the basis of Foe, Slow Man, and Coetzee’s Nobel lecture, 'He and His Man'. Stories featuring the character Elizabeth Costello, or the figuration Elizabeth Curren, serve to elaborate the relation of author and reader. The study ends on a reading of Summertime, Diary of a Bad Year, and Dusklands as Coetzee’s engagement with autobiographical writing, analyzing the relation of author and self. It will appeal to readers with an interest in literary and narrative theory as much as to Coetzee scholars and advanced students.
Ethics and Aesthetics in Toni Morrison’s Fiction investigates Morrison’s aesthetics in terms of narrative’s ethical import. Morrison’s writing is concerned with ethically debatable issues and it offers a problematic representation of human experiences in African American history. Whilst previous critical studies consider ethics in relation to events in the story, Palladino explores its intersection with aesthetics. Narrativizing the moral law, Morrison’s imperative is to relate the past, and to find ways to tell what is often unspeakable. The quest for ways to narrate horrific facts is a quest for an aesthetics which includes an appeal to the reader and thus necessarily engages with the ethical. This study foregrounds the equivocal as a key feature of narrative ethics.
This is an original reading of Mikhail Bakhtin in the context of Western philosophical traditions and counter-traditions. The book portrays Bakhtin as a Modernist thinker torn between an ideological secularity and a profound religious sensibility, invariably concerned with questions of ethics and impelled to turn from philosophy to literature as another way of knowing. Most major studies of Bakhtin highlight the fragmented and apparently discontinuous nature of his work. Erdinast-Vulcan emphasizes, instead, the underlying coherence of the Bakhtinian project, reading its inherent ambivalences as an intersection of philosophical, literary, and psychological insights into the dynamics of embodied subjectivity. Bakhtin's turn to literature and poetry, as well as the dissatisfactions that motivated it, align him with three other "exilic" Continental philosophers who were his contemporaries: Bergson, Merleau-Ponty, and Levinas. Adopting Bakhtin's own open-ended approach to the human sciences, the book stages a series of philosophical encounters between these thinkers, highlighting their respective itineraries and impasses, and generating a Bakhtinian synergy of ideas.