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We make moral judgments about all sorts of things, both mundane and momentous. But are any of these moral judgments actually true? The moral error theorist argues that they are not. According to this view, when people make moral judgments (e.g.,"Stealing is morally wrong") although they purport to say true things about the world, in fact the world does not contain any of the properties or relations that would be necessary to render such judgments true. Nothing is morally right; nothing is morally wrong. The first part of this book argues in favor of this version of moral skepticism. Moral properties, it is claimed, have features that cannot be accommodated within the naturalistic worldview. Some of these problematic features pertain to the “reason-giving” nature of moral properties; some pertain to puzzles surrounding the notion of moral responsibility. Suppose, then, that we decided that this radical skepticism about morality is correct-what, then, should we do with our faulty moral discourse? The abolitionist presents the most obvious answer: that we should just do away with morality (in the way that in the past we eliminated talk of bodily humors, say). The fictionalist presents a less obvious answer: that we should retain moral discourse even though we know (at some level) that it is false. The second part of this book advocates an ambitious version of moral fictionalism. This book is a sequel to the author's 2001 work The Myth of Morality.
“Fearless, illuminating” criticism from a New York Times–bestselling author and legendary teacher, “proving . . . that true art is moral and not trivial” (Los Angeles Times). Novelist John Gardner’s thesis in On Moral Fiction is simple: “True art is by its nature moral.” It is also an audacious statement, as Gardner asserts an inherent value in life and in art. Since the book’s first publication, the passion behind Gardner’s assertion has both provoked and inspired readers. In examining the work of his peers, Gardner analyzes what has gone wrong, in his view, in modern art and literature, and how shortcomings in artistic criticism have contributed to the problem. He develops his argument by showing how artists and critics can reintroduce morality and substance to their work to improve society and cultivate our morality. On Moral Fiction is an essential read in which Gardner presents his thoughtfully developed criteria for the elements he believes are essential to art and its creation. This ebook features an illustrated biography of John Gardner, including original letters, rare photos, and never-before-seen documents from the Gardner family and the University of Rochester Archives.
In The Myth of Morality, Richard Joyce argues that moral discourse is hopelessly flawed. At the heart of ordinary moral judgements is a notion of moral inescapability, or practical authority, which, upon investigation, cannot be reasonably defended. Joyce argues that natural selection is to blame, in that it has provided us with a tendency to invest the world with values that it does not contain, and demands that it does not make. Should we therefore do away with morality, as we did away with other faulty notions such as witches? Possibly not. We may be able to carry on with morality as a 'useful fiction' - allowing it to have a regulative influence on our lives and decisions, perhaps even playing a central role - while not committing ourselves to believing or asserting falsehoods, and thus not being subject to accusations of 'error'.
Moral realists maintain that morality has a distinctive subject matter. Specifically, realists maintain that moral discourse is representational, that moral sentences express moral propositions - propositions that attribute moral properties to things. Noncognitivists, in contrast, maintain that the realist imagery associated with morality is a fiction, a reification of our noncognitive attitudes. The thought that there is a distinctively moral subject matter is regarded as somethingto be debunked by philosophical reflection on the way moral discourse mediates and makes public our noncognitive attitudes. The realist fiction might be understood as a philosophical misconception of a discourse that is not fundamentally representational but whose intent is rather practical.There is, however, another way to understand the realist fiction. Perhaps the subject matter of morality is a fiction that stands in no need of debunking, but is rather the means by which our attitudes are conveyed. Perhaps moral sentences express moral propositions, just as the realist maintains, but in accepting a moral sentence competent speakers do not believe the moral proposition expressed but rather adopt the relevant non-cognitive attitudes. Noncognitivism, in its primary sense, is aclaim about moral acceptance: the acceptance of a moral sentence is not moral belief but is some other attitude. Standardly, non-cognitivism has been linked to non-factualism - the claim that the content of a moral sentence does not consist in its expressing a moral proposition. Indeed, the terms'noncognitivism' and 'nonfactualism' have been used interchangeably. But this misses an important possibility, since moral content may be representational but the acceptance of moral sentences might not be belief in the moral proposition expressed. This possibility constitutes a novel form of noncognitivism, moral fictionalism. Whereas nonfactualists seek to debunk the realist fiction of a moral subject matter, the moral fictionalist claims that that fiction stands in no need of debunking butis the means by which the noncognitive attitudes involved in moral acceptance are conveyed by moral utterance. Moral fictionalism is noncognitivism without a non-representational semantics.
Jonas Olson presents a critical survey of moral error theory, the view that there are no moral facts and so all moral claims are false. Part I explores the historical context of the debate; Part II assesses J. L. Mackie's famous arguments; Part III defends error theory against challenges and considers its implications for our moral thinking.
A distinguished religious leader's stirring case for reconstructing a shared framework of virtues and values. With liberal democracy embattled, public discourse grown toxic, family life breaking down, and drug abuse and depression on the rise, many fear what the future holds. In Morality, respected faith leader and public intellectual Jonathan Sacks traces today's crisis to our loss of a strong, shared moral code and our elevation of self-interest over the common good. We have outsourced morality to the market and the state, but neither is capable of showing us how to live. Sacks leads readers from ancient Greece to the Enlightenment to the present day to show that there is no liberty without morality and no freedom without responsibility, arguing that we all must play our part in rebuilding a common moral foundation. A major work of moral philosophy, Morality is an inspiring vision of a world in which we can all find our place and face the future without fear.
Justice, equality, and righteousness these are some of our greatest moral convictions. Yet in times of social conflict, morals can become rigid, making religious war, ethnic cleansing, and political purges possible. Morality, therefore, can be viewed as pathology-a rhetorical, psychological, and social tool that is used and abused as a weapon. An expert on Eastern philosophies and social systems theory, Hans-Georg Moeller questions the perceived goodness of morality and those who claim morality is inherently positive. Critiquing the ethical "fanaticism" of Western moralists, such as Immanuel Kant, Lawrence Kohlberg, John Rawls, and the utilitarians, Moeller points to the absurd fundamentalisms and impracticable prescriptions arising from definitions of good. Instead he advances a theory of "moral foolishness," or moral asceticism, extracted from the "amoral" philosophers of East Asia and such thinkers as Ludwig Wittgenstein and Niklas Luhmann. The moral fool doesn't understand why ethics are necessarily good, and he isn't convinced that the moral perspective is always positive. In this way he is like most people, and Moeller defends this foolishness against ethical pathologies that support the death penalty, just wars, and even Jerry Springer's crude moral theater. Comparing and contrasting the religious philosophies of Christianity, Daoism, and Zen Buddhism, Moeller presents a persuasive argument in favor of amorality.
This provocative contribution to ethics and epistemology argues that virtue attributions are self-fulfilling prophecies.
According to the moral error theorist, all moral judgments are mistaken. The world just doesn’t contain the properties and relations necessary for these judgments to be true. But what should we actually do if we decided that we are in this radical and unsettling predicament—that morality is just a widespread and heartfelt illusion? One suggestion is to eliminate all talk and thought of morality (abolitionism). Another is to carry on believing it anyway (conservationism). And yet another is to treat morality as a kind of convenient fiction (fictionalism). We tend to think of moral thinking as valuable and useful (e.g., for motivating cooperative behavior), but we can also recognize that it can be harmful (e.g., hindering compromise) and even disastrous (e.g., inspiring support for militaristic propaganda). Would we be better off or worse off if we stopped basing decisions on moral considerations? This is a collection of twelve brand new chapters focused on a critical examination of the options available to the moral error theorist. After a general introduction outlining the topic, explaining key terminology, and offering suggestions for further reading, the chapters address questions like: • Is it true that the more that people are motivated by moral concerns, the more likely it is that society will be elitist, authoritarian, and dishonest? • Is an appeal to moral values a useful tool for helping resolve conflicts, or does it actually exacerbate conflicts? • Would it even be possible to abolish morality from our thinking? • If we were to accept a moral error theory, would it be feasible to carry on believing in morality in everyday contexts? • Might moral discourse be usefully modeled on familiar metaphorical language, where we can convey useful and important truths by uttering falsehoods? • Does moral thinking support or undermine a commitment to feminist goals? • What role do moral judgments play in addressing important decisions affecting climate change? The End of Morality: Taking Moral Abolitionism Seriously is the first book to thoroughly address these and other questions, systematically investigating the harms and benefits of moral thought, and considering what the world might be like without morality.
The 25 Best Thriller Books of the Summer—New York Post Best New Books Coming Out Summer 2018 —Southern Living 46 Great Books to Read This Summer—Nylon Dazzling Debuts"—WYPR, "The Weekly Reader" Summer Thrillers That Will Have You at the Edge of Your Chaise Lounge—Refinery29 8 New Books You Should Read This June—vulture.com What We Read, Watched, and Listened to in May—Outside “Furious and electric . . . a fever dream."—Publishers Weekly, *Starred Review!* Breaking Bad meets No Country for Old Men... Ever since their father's untimely death five years before, Wyatt Smith and his inseparably close twin sister, Lucy, have scraped by alone on their family's isolated ranch in Box Elder County, Utah. That is until one morning when, just after spotting one of their steers lying dead in the field, Wyatt is hit in the arm by a hail of gunfire that takes four more cattle with it. The shooter: a fever-eyed, fearsome girl-child with a TEC-9 in her left hand and a worn shotgun in her right. They hold the girl captive, but she breaks loose overnight and heads south into the desert. With the dawning realization that the loss of cattle will mean the certain loss of the ranch, Wyatt feels he has no choice but to go after her and somehow find restitution for what's been lost. Wyatt's decision sets him on an epic twelve-day odyssey through a nightmarish underworld he only half understands; a world that pitches him not only against the primordial ways of men and the beautiful yet brutally unforgiving landscape, but also against himself. As he winds his way down from the mountains of Box Elder to the mesas of Monument Valley and back, Wyatt is forced to look for the first time at who he is and what he’s capable of, and how those hard truths set him irrevocably apart from the one person he’s ever really known and loved. Steeped in a mythic, wildly alive language of its own, and gripping from the first gunshot to the last, Rough Animals is a tour de force from a powerful new voice.