James Foster

According to Arthur Danto, the crisis of modern art is not the abandonment of representation, nor an attempt at intentional “uglification,” but a struggle to escape the aesthetic objectification of artworks.1 This attempt at escape has led modern artists to hold an indifferent attitude toward beauty, an attitude that has resulted in the readymade: in Duchamp’s famous urinal and snow shovel, and Warhol’s perhaps more famous soup can. Danto’s account of this crisis in art is plausible—for what is one to say vis-à-vis the beauty of objects in art galleries whose twins reside in washrooms and cupboards?—and if accepted identifies a related crisis in philosophy. From Plato to Schopenhauer, philosophers have largely ..

In issue 6.1 of the Journal of Scottish Philosophy, James Van Cleve describes Thomas Reid's understanding of double vision and then presents a challenge to his direct realism found in works of David Hume based on double vision. The challenge is as follows: When we press one eye with a finger, we immediately perceive all the objects to become double, and one half of them to be remov'd from their common and natural position. But as we do not attribute a continu'd existence to both these perceptions, and as they are both of the same nature, we clearly perceive, that all our perceptions [i.e., all the things we perceive] are dependent on our organs, and the disposition of our nerves and animal spirits. (THN: 210–211)

Herdt's Putting On Virtue has two chief aims. The first is to champion the virtue tradition against Christian moral quietism and modern deontological ethics. The second is to facilitate reconciliation between Augustinian and Emersonian virtue. To accomplish these tasks Herdt constructs a counter-narrative to Schneewind's Invention of Autonomy, in which Luther's resignation and Kant's innovation are tragic consequences of “hyper-Augustinianism”—a competitive conception of divine and human agency, which leads to excessive suspicion of acquired virtue. This review argues that Putting On Virtue succeeds in its first aim but leaves its second intriguingly uncompleted. Despite this deficiency, however, this essay also argues that Putting On Virtue makes plausible Herdt's audacious suggestion that Augustinian and Emersonian perfectionism may be reconciled by bringing acquired and infused virtue under a single term

Herdt's Putting On Virtue has two chief aims. The first is to champion the virtue tradition against Christian moral quietism and modern deontological ethics. The second is to facilitate reconciliation between Augustinian and Emersonian virtue. To accomplish these tasks Herdt constructs a counter‐narrative to Schneewind's Invention of Autonomy, in which Luther's resignation and Kant's innovation are tragic consequences of “hyper‐Augustinianism”—a competitive conception of divine and human agency, which leads to excessive suspicion of acquired virtue. This review argues that Putting On Virtue succeeds in its first aim but leaves its second intriguingly uncompleted. Despite this deficiency, however, this essay also argues that Putting On Virtue makes plausible Herdt's audacious suggestion that Augustinian and Emersonian perfectionism may be reconciled by bringing acquired and infused virtue under a single term.

The Scottish Enlightenment provided the fledgling United States of America and its emerging universities with a philosophical orientation. For a hundred years or more, Scottish philosophers were both taught and emulated by professors at Princeton, Harvard and Yale, as well as newly founded colleges stretching from Rhode Island to Texas. This volume in the Library of Scottish Philosophy demonstrates the remarkable extent of this philosophical influence. Selections from William Smith, John Witherspoon, Samuel Stanhope Smith, Archibald Alexander, Alexander Campbell, W.E. Channing, James McCosh, and C.S. Peirce, together with the editor's introductory and explanatory material, provide the modern reader with unprecedented access to this period of intellectual formation.