Results 201 to 210 of about 393,650 (291)

How Theists Can Answer the “Why be Moral?” Question: An Indirect Reason‐Generation Account

open access: yesAnalytic Philosophy, EarlyView.
ABSTRACT In this paper, I give a new type of theistic answer to the “Why be moral?” question. After briefly clarifying the version of the question I'm concerned with, as well as extant theistic answers to the question, I argue for a new kind of answer. Roughly, while on standard answers, future (post death) benefits directly generate present reason to ...
Justin Morton
wiley   +1 more source

Forgive, Because You Were Forgiven

open access: yesPhilosophy and Phenomenological Research, EarlyView.
ABSTRACT Philosophical orthodoxy has it that forgiveness is always discretionary—a gift we are free to extend to those who wrong us, but one that we are never morally required to offer. I dispute this orthodoxy, arguing that forgiveness is sometimes obligatory, even though wrongdoers can never demand or otherwise extract it from us.
Abraham Mathew
wiley   +1 more source

Argumentatively Navigating Deep Disagreements

open access: yesPhilosophy and Phenomenological Research, EarlyView.
ABSTRACT When disagreements cut deep, epistemic agents face a predicament. Although disagreements have been widely hailed for their epistemic benefits, deep disagreements are often plagued with argumentative hurdles preventing the attainment of such epistemic goods.
Jordi Fairhurst
wiley   +1 more source

‘I'm Dead!’: Action, Homicide and Denied Catharsis in Early Modern Spanish Drama

open access: yesRenaissance Studies, EarlyView.
Abstract In early modern Spanish drama, the expression ‘¡Muerto soy!’ (‘I'm dead!’) is commonly used to indicate a literal death or to figuratively express a character's extreme fear or passion. Recent studies, even one collection published under the title of ‘¡Muerto soy!’, have paid scant attention to the phrase in context, a serious omission when ...
Ted Bergman
wiley   +1 more source

What Does Intarsia Say? Materiality and Spirituality in the Urbino Studiolo☆

open access: yesRenaissance Studies, EarlyView.
Abstract Upon entering the Urbino studiolo of Federico da Montefeltro, the visitor is struck by a material‐charged environment. Surprisingly, only a few scholars have addressed one prominent aspect of the decorative scheme, namely, the feature of intarsia as a medium. Even so, it remains on the sidelines of the discussion.
Matan Aviel
wiley   +1 more source

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