Howard Wettstein

Many of us are inclined to accept something like the following principle: We can only be properly morally assessed for what is in our control. And yet our ordinary practices seem to frequently violate this principle. The resulting tension, and the attempt to resolve it, is the problem of moral luck. For example, we tend to punish and think worse of the negligent driver who kills a child than we do the equally negligent driver who was lucky there was no child in his path. Thus, the lucky outcomes of our actions do seem to affect the extent to which we hold and are held responsible, but these are not things over which we exercise control. And, as Thomas Nagel famously illustrated in his response to Bernard Williams (the two of which papers form the founding documents of the moral luck debate), the influence of luck is not limited to outcomes. For the circumstances in which we find ourselves and, indeed, our very constitution are also shaped by luck. Since the publication of Williams's and Nagel's papers, the existence and breadth of moral luck has been hotly debated. This debate is not a mere intellectual trifle but, as the essays in this volume illustrate, a debate which lies at the heart of free will, responsibility, identity, causation, and self-creation.

_Contemporary Perspectives on the History of Philosophy _ was first published in 1983. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. The authors of the 27 appears in Volume 8, _Midwest Studies in Philosophy_,have established reputations as historians of philosophy, but their vantage point, here, is from "contemporary perspectives" - they use contemporary analytic skills to examine problems and issues considered by past philosophers. The papers, arranged in historical order, fall into six groups: ancient philosophy (the Pythagoreans, Plato, and Aristotle); the seventeenth-century rationalists (Descartes, Leibniz and Spinoza); the empiricists (Locke, Berkeley, and Hume); Kant; the nineteenth century (Hegel, Schopenhauer, and Mill); and, in conclusion, an essay on Wittgenstein's _Tractatus _and two broad, retrospective papers entitled "Old Analyses of the Physical World and new Philosophies of Language" and "Moral Crisis and the History of Ethics."

The late 20th century saw great movement in the philosophy of language, often critical of the fathers of the subject-Gottlieb Frege and Bertrand Russell-but sometimes supportive of (or even defensive about) the work of the fathers. Howard Wettstein's sympathies lie with the critics. But he says that they have often misconceived their critical project, treating it in ways that are technically focused and that miss the deeper implications of their revolutionary challenge. Wettstein argues that Wittgenstein-a figure with whom the critics of Frege and Russell are typically unsympathetic-laid the foundation for much of what is really revolutionary in this late 20th century movement. The subject itself should be of great interest, since philosophy of language has functioned as a kind of foundation for much of 20th century philosophy. But in fact it remains a subject for specialists, since the ideas are difficult and the mode of presentation is often fairly technical. In this book, Wettstein brings the non-specialist into the conversation (especially in early chapters); he also reconceives the debate in a way that avoids technical formulation. The Magic Prism is intended for professional philosophers, graduate students, and upper division undergraduates

This Volume illuminates the notion of meaning in the arts-in literature, painting, music, and dance. Specific topics include theory in the arts; interpretations of meaning; objectivity in meaning; and the consumer as a participant in art. Brings together articles from prominent philosophers and practitioners of the arts, which illuminate the notion of meaning in the arts. Addresses meaning in literature, painting, music, and dance. Explores the relationship between authorial intentions and the viewer's interpretation of meaning; the possibility of objective meaning; and the role of the consumer as a participant in the work of art.

The nature of reference, or the relation of a word to the object to which it refers, has been perhaps the dominant concern of twentieth-century analytic philosophy. Extremely influential arguments by Gottlob Frege around the turn of the century convinced the large majority of philosophers that the meaning of a word must be distinguished from its referent, the former only providing some kind of direction for reaching the latter. In the last twenty years, this Fregean orthodoxy has been vigorously challenged by those who argue that certain important kinds of words, at least, refer directly without need of an intermediate meaning or sense. The essays in this volume record how a long-term study of Frege has persuaded the author that Frege's pivotal distinction between sense and reference, and his attendant philosophical views about language and thought, are unsatisfactory. Frege's perspective, he argues, imposes a distinctive way of thinking about semantics, specifically about the centrality of cognitive significance puzzles for semantics. Freed from Frege's perspective, we will no longer find it natural to think about semantics in this way.