Andrea Sauchelli

Alcune opere d'arte manifestano (o suggeriscono di assumere) prospettive morali dubbie e, in certi casi, chiaramente deprecabili. Ad esempio, il documentario propagandista Il Trionfo della Volontà di Leni Riefensthal esprime (e cerca di evocare) ammirazione nei confronti di Adolf Hitler. Nonostante ciò, Il Trionfo della Volontà è considerato un capolavoro nel genere dei documentari. Questo e molti altri esempi simili suggeriscono le seguenti domande: É possibile considerare un'opera d'arte un capolavoro artistico e, allo stesso tempo, un esempio di immoralità? La valutazione morale di un'opera d'arte influisce o dovrebbe influire sulla valutazione artistica dell'opera?

I provide a simple solution to the problem of determining the characterising feature(s) of the simple approach to personal identity, sometimes also called the simple view: instead of focusing on claims regarding the analysability, reducibility, or triviality of the concepts used in simple theories of personal identity, I propose instead a metaphysical criterion to define this approach. In particular, I claim that the simple approach is (best seen as) that family of theories according to which personal identity is a relation that essentially depends on a mereologically simple (or impartite) entity the existence and features of which may be known directly (e.g., by introspection) or indirectly (e.g., by deduction from a series of other premises).

This paper takes up a series of basic philosophical questions about the nature and existence of fictional characters. We begin with realist approaches that hinge on the thesis that at least some claims about fictional characters can be right or wrong because they refer to something that exists, such as abstract objects. Irrealist approaches deny such realist postulations and hold instead that fictional characters are a figment of the human imagination. A third family of approaches, based on work by Alexius Meinong, seeks an alternative to the realist/irrealist dilemma. Neo-Meinongian theories rely upon a distinction between being and existence, the key contention being that unlike human beings, fictional characters have only the former. Having surveyed relevant work by contemporary metaphysicians and philosophers of language, this paper discusses issues related to the distinction between characters and other aspects of the content of fictions, including the relation between personality theory and literary conceptions of character

The Acquaintance Principle is the principle according to which judgements concerning the aesthetic value of a work of art proffered by a critic must be based on the critic’s experience(s) or acquaintance with the work itself. The possible exception to this principle would be experiences obtained through other means of transmissibility, related in a particular way to the work in question, that can eventually provide the critic with an adequate basis for judging the artwork. However, recent philosophers claimed that some works of conceptual art show the principle to be false. I argue that, if properly understood, the Acquaintance Principle is a truism, that works of conceptual art do not pose any particular problem to it, and also suggest some implications of the principle.

I propose a new account of the limits of aesthetic testimony. One of this new account's main claims is that, among the kinds of aesthetic cognitive achievements, it is useful to distinguish aesthetic understanding. In particular, I suggest that the aesthetic understanding of X involves an understanding of why X is aesthetically valuable. In turn, aesthetic understanding is essentially connected to the deployment of aesthetic concepts. Given the fine-grained structure of some of these concepts, certain forms of testimony are not adequate to acquire them.

Accounts of modality in terms of fictional possible worlds face an objection based on the idea that when modal claims are analysed in terms of fictions, the connection between analysans and analysandum seems artificial. Strong modal fictionalism, the theory according to which modal claims are analysed in terms of a fiction, has been defended by, among others, Seahwa Kim, who has recently claimed that the philosophical objection that the connection between modality and fictions is artificial can be met. I propose a new way of spelling out the intuition of artificiality and show that strong modal fictionalism should be rejected.

Making an adequate aesthetic judgment about an object or an aesthetic property requires first-hand experience of that object or property. Many have suggested that this principle is a valid epistemic norm in the epistemology of the aesthetic. However, some recent philosophers have argued that certain works of conceptual art and other counterexamples disprove the principle in question, even suitably modified. In this paper, I argue that these philosophers are mistaken and that, when properly qualified, the acquaintance principle (in some of its versions) is not threatened by their examples and arguments.

I advance an objection to Graham Priest’s account of fictional entities as nonexistent objects. According to Priest, fictional characters do not have, in our world, the properties they are represented as having; for example, the property of being a bank clerk is possessed by Joseph K. not in our world but in other worlds. Priest claims that, in this way, his theory can include an unrestricted principle of characterization for objects. Now, some representational properties attributed to fictional characters, a kind of fictional entities, involve a crucial reference to the world in which they are supposed to be instantiated. I argue that these representational properties are problematic for Priest’s theory and that he cannot accept an unrestricted version of the principle of characterization. Thus, while not refuting Priest’s theory, I show that it is no better off than other Meinongian theories.

I explore some of the reasons why, under specific circumstances, it may be rational to make-believe or imagine certain religious beliefs. Adopting a jargon familiar to certain contemporary philosophers, my main concern here is to assess what reasons can be given for adopting a fictionalist stance towards some religious beliefs. My understanding of fictionalism does not involve solely a propositional attitude but a broader stance, which may include certain acts of pretence. I also argue that a plausible reason to be fictionalist about a specific set of religious beliefs and practices has to do with the value of some artistic creations; namely, those that require the adoption of a religious point of view for their understanding.

Derek Parfit (1942–2017) is widely considered to be one of the most important moral philosophers of the twentieth century. Reasons and Persons is arguably the most influential of the two books published in his lifetime and hailed as a classic work of ethics and personal identity. Derek Parfit’s Reasons and Persons: An Introduction and Critical Inquiry is an outstanding introduction to and assessment of Parfit’s book, with chapters by leading scholars of ethics, metaphysics and of Parfit’s work. Part I provides a much-needed introduction to key topics and themes in Reasons and Persons that will be useful for those new to Parfit’s complex work. These include Parfit’s idea of self-defeating theories, rationality and time, personal identity, future generations and well-being. Part II explores various debates generated by Reasons and Persons, including its connections with Buddhism, metaethics, theory of rationality, transformative choices and further developments in personal identity and metaphysics such as conativism. Combining clear exposition of the major topics and arguments in Reasons and Persons with scholarly perspectives on more advanced themes, this book is ideal for students of ethics, metaethics, metaphysics and anyone interested in Derek Parfit’s philosophy.

The aims of this paper are (1) to reconstruct the dialectic between two rival theories on the relation between art and morality, (2) to argue against Berys Gaut’s recent defense of ethicism, and (3) to elaborate some of my critical remarks and propose new considerations in favor of immoralism. To a first approximation, an ethicist maintains that the moral value of a work of art, when relevant, is an important element of its artistic value. In particular, assuming that the moral value of a work, w, is relevant for its artistic value, if w has an immoral character (in a sense to be specified), then its aesthetic value is lessened. In addition, if w has a morally positive character, then w is also artistically more ..

‘Soul’, ‘self’, ‘substance’ and ‘person’ are just four of the terms often used to refer to the human individual. Cutting across metaphysics, ethics, and religion the nature of personal identity is a fundamental and long-standing puzzle in philosophy. Personal Identity and Applied Ethics introduces and examines different conceptions of the self, our nature, and personal identity and considers the implications of these for applied ethics. A key feature of the book is that it considers a range of different approaches to personal identity; philosophical, religious, and cross-cultural, including perspectives from non-Western traditions. Within this comparative framework, Andrea Sauchelli examines the following topics: -Early views of the soul in Plato, Christianity, and Descartes -The Buddhist ‘no-self’ views and the self as a fiction -Confucian ideas of our nature and the importance of self-cultivation as constitutive of the self -Locke’s theory of personal identity as continuity of consciousness and memory and objections to Locke’s argument by Butler and Reid as well as contemporary critics -The theory of ‘animalism’ and arguments concerning embodied concepts of personal identity -Practical and narrative theories of personal identity and moral agency -Personal identity and issues in applied ethics, including abortion, organ transplantation, and the idea of life after death -Implications of life-extending technologies for personal identity. Throughout the book Sauchelli also considers the views of important recent philosophers of personal identity such as Sydney Shoemaker, Bernard Williams, Derek Parfit, Marya Schechtman, and Christine Korsgaard, placing these in helpful historical context. Chapter summaries, a glossary of key terms, and suggestions for further reading make this a refreshing, approachable introduction to personal identity and applied ethics. It is an ideal text for courses on personal identity that consider both Western and non-Western approaches and that apply theories of personal identity to ethical problems. It will also be of interest to those in related subjects such as religious studies and history of ideas.

Some bioethicists have questioned the desirability of a line of biomedical research aimed at extending the length of our lives over what some think to be its natural limit. In particular, Leon Kass has argued that living longer is not such a great advantage, and that mortality is not a burden after all. In this essay, I evaluate his arguments in favour of such a counterintuitive view by elaborating upon some critical remarks advanced by John Harris. Ultimately, I argue that nothing substantial has been said by Kass to undermine the desirability of life-extending technologies.

A great number of works of art, it is commonly claimed, are aesthetically valuable. Some philosophers have even argued that providing an aesthetically pleasing experience is their only proper function. However, some of these artworks display or invite us to adopt an immoral point of view. Even worse, they even seem to make immoral situations delightful and appealing. The following questions thus arise: Does the alleged immorality of these works count as an aesthetic or artistic defect? Can an immoral movie or novel ever be a great example of its kind? In addition to these concerns related to art evaluation, the connection between various forms of art and morality has been investigated by discussing the capacity of works of art to move us emotionally

Frank Sibley's ideas have been particularly influential among contemporary philosophers interested in aesthetics. Most studies, however, have focused only on his earlier works. In this essay, I explore Sibley's account of the adjectives ‘beautiful’ and ‘ugly’, paying particular attention to three papers that have only recently been published and that have not yet received adequate attention. In particular, I discuss his account of the adjective ‘beautiful’, which relies on the controversial notion of an aesthetic ideal. In addition, I discuss an account of how aesthetic judgements may change in relation to our coming to know the kind of object being judged and whether, as Sibley maintains, ‘beautiful’ and ‘ugly’ are asymmetric in the sense specified by the author.

I argue that a form of animalism that does not include the belief that ‘human animal’ is a substance-sortal has a dialectical advantage over other versions of animalism. The main reason for this advantage is that Phase Animalism, the version of animalism described here, has the theoretical resources to provide convincing descriptions of the outcomes of scenarios problematic for other forms of animalism. Although Phase Animalism rejects the claim that ‘human animal’ is a substance-sortal, it is still appealing to those who believe that our nature is continuous or of a similar kind to that of other physical entities

The notion of architectural experience has been explored by Roger Scruton in an essay in which he provides an account of both its structure and content, along with clarifications of certain key concepts in architectural criticism, such as architectural success and architectural beauty. In this article, I introduce Scruton’s theory and argue that, despite its intuitive appeal, some crucial elements for the appreciation of buildings as works of architecture are not adequately addressed there. I then propose various ways of addressing these criticisms