Spring

Human rights are claims of justice that hold merely in virtue of our shared humanity. In this course we will explore philosophical theories of this elementary and crucial form of justice. Among topics to be considered are the role that dignity and humanity play in grounding such rights, their relation to political and economic institutions, and the distinction between duties of justice and claims of charity or humanitarian aid. Finally we will consider the application of such theories to concrete, problematic and pressing problems, such as global poverty, torture and genocide. (A) (I)

Why be moral? Is there any principled distinction between matters of fact and matters of value?  What is the character of obligation?  What is a virtue?  In this course we will read, think, and write about twentieth century Anglo-North American philosophical attempts to give a systematic account of morality. (I) (A) 

The academic study of opera all too often considers the score and libretto in a void, ignoring performance. But opera is a multi-dimensional art-form in which performance (staging, scene design, costume, musical direction, and of course the artistic interpretations of singers) makes an enormous contribution to the realization of the work. This course will study opera as drama in performance, asking how performance both realizes and renders determinate a musical and textual blueprint. Visitors to the class will include expert contributors in each of the major areas of operatic performance. The tentative list of operas to be studied includes: Monteverdi’s L’Incoronazione di Poppaea, Mozart’s Don Giovanni, Beethoven’s Fidelio, Verdi’s Don Carlo and Otello, Wagner’s Lohengrin, and Strauss’s Elektra.

This course will examine two main questions: what bearing or importance does narrative film have on philosophy? Could film be said to be a form of philosophical thought? a form moral reflection? of social critique? Second, what sort of aesthetic object is a film? This question opens on to several others: what is the goal of an interpretation of a film? Is there a distinct form of cinematic intelligibility? What difference does it make to such questions that Hollywood films are commercial products, made for mass consumer societies? What role does the “star” system play in our experience of a film? We will raise these questions by attempting close readings of the films of Alfred Hitchcock. Films to be discussed: Shadow of a Doubt; Notorious; Strangers on a Train; Rear Window; Vertigo; North by Northwest; Psycho; Marnie. Selected critical readings will also be discussed. (I)

By a “final end” we mean any purpose, pursued by a human being, whose attainment is not viewed as instrumental to any further purpose. In the philosophical tradition there have been controversies about a set of issues surrounding that notion, and this class is going to introduce you to the most important ones. 1) Is the pursuit of a final end inevitably determined by your desire and nothing else (as Humeans and preference utilitarians think), or are final ends determined / imposed on us by any objective standard / requirement (as assumed by Kantians and classical utilitarians as well as ancient and medieval philosophers)? 2) Does the teleological structure of human agency imply that there must be a final end, and precisely one? 3) If - as many philosophers, including Plato, Aristotle, Aquinas, Kant and Mill, assume - a single overall end is imposed on us by an objective determinant, what is this determinant? Is it represented by a conception of human nature (rationality?), of well-being, happiness, of moral or some other type of perfection? Is it individual or social? Is it state or activity? 4) How can the answer to such questions be known? 5) In what sense can an objective end be “imposed on us”, or “binding”? 6) Does the existence of a final end - whether determined by desire or independently of it - imply that all practical reasoning should, at least implicitly, start from a conception of it? Or should you pursue such ends obliquely (Kierkegaard: The door to happiness opens outward)? - The lectures will be complemented by preparatory readings from classical and contemporary texts as well as by your own contributions to the discussion of that vital question: Can we say what we live for?

Students writing senior essays register once for PHIL 29901, in either the Autumn or Winter Quarter, and once for PHIL 29902, in either the Winter or Spring Quarter. (Students may not register for both PHIL 29901 and 29902 in the same quarter.) The senior seminar meets all three quarters, and students writing essays are required to attend throughout.

What does it mean to be free? What is a free action? Is freedom an absolute term or actions could be more or less free? Can we act ethically but not freely, i.e., do the right thing, without being free? Can one act freely but not ethically, i.e. freely do the wrong? The relation between the notion of free action and ethics has been central to practical philosophy since antiquity and different ways to answer these questions are at the heart of the main traditions in ethics. We will explore these questions in the writings of Plato, Aristotle, Hume, Kant as well as contemporary texts by Korsgaard, Boyle, Rödl and Thompson.

What does it mean to be free? What is a free action? Is freedom an absolute term or actions could be more or less free? Can we act ethically but not freely, i.e., do the right thing, without being free? Can one act freely but not ethically, i.e. freely do the wrong? The relation between the notion of free action and ethics has been central to practical philosophy since antiquity and different ways to answer these questions are at the heart of the main traditions in ethics. We will explore these questions in the writings of Plato, Aristotle, Hume, Kant as well as contemporary texts by Korsgaard, Boyle, Rödl and Thompson.

The philosophical ideas and methods of Immanuel Kant’s “critical” philosophy set off a revolution that reverberated throughout the 19th century. The only reaction it did not elicit was one of indifference. His revolution polarized the philosophical community, meeting with eager forms of inheritance as well as intense and varied resistance — and, as we shall see, usually both within a single thinker’s response to Kant. This class will seek to understand the nature of Kant’s philosophical innovations and the principle sources of his successors’ (dis-)satisfaction with them. This class will seek to introduce students to the outlines of Kant’s “critical” philosophy, well as its subsequent reception, as the first two generations of post-Kantian thinkers grappled with and reacted to his ideas. The first half of the course will be devoted to a careful reading of portions of Kant’s Critique of Pure Reason; while the second half will focus on various aspects of its reception, transformation, and rejection at the hands of Hegel, Kierkegaard, and Nietzsche. The course as a whole will focus on the following five topics: (1) the dialectical relation between skepticism and dogmatism in philosophy, (2) the difference between our theoretical and practical cognitive powers, (3) the proper account of the “finititude” of these powers, (4) the tendency of human reflection to overstep the boundaries of its legitimate employment, (5) what a satisfying treatment of the four preceding topics reveals about what philosophy is and what it can and cannot accomplish.