Though the interaction of philosophy with pop culture has so far mostly taken the form of books for nonphilosophers that use various shows and movies as sources of examples to illustrate “traditional” philosophical issues, this article contends that serious engagement with the informal philosophical discussions expressed in popular entertainments constitutes a kind of “ethnophilosophy” and should be considered an important part of the discipline. Our disciplinary responsibility for maintaining and considering the history of philosophy ought to include even the philosophical (...) conversations that occur outside the academy; however unlike “proper” philosophy this material may be, it nonetheless represents engagement—sometimes substantial engagement—with the same issues that concern those of us who are considered “professional” philosophers, and thus is legitimately of interest to us. (shrink)

Beginning from an analysis of what factors disqualify a person from complaining about a given moral breach, I show that the prima facie presumption that a complaint is justified in the face of non-moral offense in the context of a business transaction must be balanced against the potential consequences to the object of the complaint, especially given the particular realities of popular employment practices. In particular, I will identify three cases in which complamts are justified, presuming unjust employment arrangements, as (...) a way of showing that complaints in other situations should be, contrary to naive intuition, considered inappropriate. (shrink)

In this dissertation, I argue that aesthetic experience is a kind of valuing experience that has certain, objective features not dependent on the psychological state of the subject. Accounts of aesthetic experience can generally be divided into two categories: internalist and externalist. The former pick out aesthetic experience as a being a certain kind of psychological state on the part of the subject, whereas the latter specify it based on features external to the experience itself, usually by reference to the (...) object. My account is neither strictly internalist nor externalist, but combines features of both. Like an internalist account, it requires that the subject be in a certain mental state – the subject must be having a valuational experience. Like an externalist account, it insists that there are features of aesthetic experience that are not part of the phenomenal character of the experience – that is, the type of value assigned is in fact subjective, regardless of how the subject perceives it. It is my contention that such a hybrid account is broadly explanatory while avoiding the problems that plague other accounts. (shrink)

Don didn’t grasp what would eventually come to be one of the most successful ad campaigns ever because he didn’t recognise the person presenting the evidence as being appropriately trustworthy. He failed to know because Dr Guttman’s say-so was not enough to provide justification for a belief. But why would he think that? To get to the bottom of this, we need the help of an analytical approach known as standpoint theory.

Don didn’t grasp what would eventually come to be one of the most successful ad campaigns ever because he didn’t recognise the person presenting the evidence as being appropriately trustworthy. He failed to know because Dr Guttman’s say-so was not enough to provide justification for a belief. But why would he think that? To get to the bottom of this, we need the help of an analytical approach known as standpoint theory.