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Natural Theology (the study of God, including the nature of religion and
the world, existence of the divine, questions about the creation, and
the various other religious or spiritual issues)
Does the Divine intervene directly in the world (Theism), or is its sole
function to be the first cause of the universe (Deism)?
in some possible world, even if not in the actual world. This idea of possible
worlds was first introduced by Gottfried Leibniz, although others have dealt
with it in much more detail since, notably the American analytic
philosopher David Lewis (1941 - 2001) in his theory of Modal Realism.
The concept of necessity and contingency (another term used in philosophy
to describe the possibility of something happening or not happening) is also
central to some of the arguments used to justify the existence or nonexistence of God, notably the Cosmological Argument from Contingency (see
the section on Philosophy of Religion for more details).
Abstract Objects and Mathematics
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Cosmology is the branch of metaphysics that deals with the world as the
totality of all phenomena in space and time. Historically, it was often founded
in religion; in modern use it addresses questions about the world and the
universe which arebeyond the scope of physical science. Cosmogony deals
specifically with the origin of the universe, but the two concepts are closely
related.
Pantheists, such as Spinoza, believe that God and the universe are one and
the same. Panentheists, such as Plotinus, believe that the entire universe
is part of God, but that God is greater than the universe. Deists, such
as Voltaire, believe that Godcreated the universe, set everything in motion,
and then had nothing more to do with it. See the section on Philosophy of
Religion for more details.
BRANCHES OF EPISTEMOLOGY
Epistemology is the study of
the nature and scope of knowledge and justified belief. It analyzes the nature
of knowledge and how it relates to similar notions such
as truth, belief and justification. It also deals with the means of production of
knowledge, as well as skepticism about different knowledge claims. It is
essentially about issues having to do with the creation and dissemination of
knowledge in particular areas of inquiry. The kind of knowledge usually
discussed in Epistemology is propositional knowledge, "knowledge-that" as
opposed to "knowledge-how" (for example, the knowledge that "2 + 2 = 4",
as opposed to the knowledge of how to go about adding two numbers).
What Is Knowledge?
Knowledge is the awareness and understanding of particular aspects
of reality. It is the clear, lucid information gained through the process
of reason applied to reality. The traditional approach is that knowledge
requires three necessary and sufficient conditions, so that knowledge can
then be defined as "justified true belief":
belief: because one cannot know something that one doesn't even
believe in, the statement "I know x, but I don't believe that x is true" is
contradictory.
The most contentious part of all this is the definition of justification, and
there are several schools of thought on the subject:
Yet another school, Infallibilism, holds that a belief must not only be
true and justified, but that the justification of the belief
must necessitate its truth, so that the justification for the belief must
be infallible.
BRANCHES OF ETHICS
Ethics (or Moral Philosophy) is concerned with questions of how people
ought to act, and the search for a definition of right conduct (identified as the
one causing the greatest good) and the good life (in the sense of a life worth
living or a life that is satisfying or happy).
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Moral Realism:
Moral Realism (or Moral Objectivism) holds that there are objective
moral values, so that evaluative statements are essentially factual
claims, which are either true or false, and that their truth or falsity
are independent of our beliefs, feelings or other attitudes towards the
things being evaluated. It is a cognitivist view in that it holds
that ethical sentencesexpress valid propositions and are
therefore truth-apt.
There are two main variants:
o Ethical Naturalism
This doctrine holds that there are objective moral properties of
which we have empirical knowledge, but that these properties
are reducible to entirely non-ethical properties. It
assumes cognitivism (the view that ethical sentences
express propositions and can therefore be true or false), and that
the meanings of these ethical sentences can be expressed
as natural properties without the use of ethical terms.
o Ethical Non-Naturalism
This doctrine (whose major apologist is G. E. Moore) holds that
ethical statements express propositions (in that sense it is also
cognitivist) that cannot be reduced to non-ethical
statements (e.g. "goodness" is indefinable in that it cannot be
defined in any other terms). Moore claimed that a naturalistic
fallacy is committed by any attempt to prove a claim about
ethics by appealing to a definition in terms of one or
more natural properties (e.g. "good" cannot be defined interms
of "pleasant", "more evolved", "desired", etc).
Ethical Intuitionism is a variant of Ethical Non-Naturalism which
claims that we sometimes have intuitive awareness of moral
properties or of moral truths.
Moral Anti-Realism:
Moral Anti-Realism holds that there are no objective moral values, and
comes in one of three forms, depending on whether ethical statements
are believed to be subjective claims (Ethical Subjectivism), not genuine
claims at all (Non-Cognitivism) or mistaken objective claims (Moral
Nihilism or Moral Skepticism):
o Ethical Subjectivism, which holds that there are no objective
moral properties and that moral statements are made true or
false by the attitudes and/or conventions of the observers, or
Moral Absolutism:
The ethical belief that there are absolute standards against which
moral questions can be judged, and that certain actions
are right or wrong, regardless of the context of the act.
Moral Universalism:
The meta-ethical position that there is a universal ethic which applies
to all people, regardless of culture, race, sex, religion, nationality,
sexuality or other distinguishing feature, and all the time.
Moral Relativism:
The position that moral or ethical propositions do not
reflect objective and/or universal moral truths, but instead make
claims relative to social, cultural, historical or personal circumstances.
Descriptive Ethics
Descriptive Ethics is a value-free approach to ethics which examines ethics
from the perspective of observations of actual choices made by moral agents
in practice. It is the study of people's beliefs about morality, and implies the
existence of, rather than explicitly prescribing, theories of value or of
conduct. It is not designed to provide guidance to people in making moral
decisions, nor is it designed to evaluate the reasonableness of moral norms.
It is more likely to be investigated by those working in the fields
of evolutionary biology, psychology, sociology, history or anthropology,
Applied Ethics
Applied Ethics is a discipline of philosophy that attempts to apply ethical
theory to real-life situations. Strict, principle-based ethical approaches often
result in solutions to specific problems that are not universally
acceptable or impossible to implement. Applied Ethics is much more ready to
include the insights of psychology, sociology and other relevant areas of
knowledge in its deliberations. It is used in determining public policy.
The following would be questions of Applied Ethics: "Is getting an abortion
immoral?", "Is euthanasia immoral?", "Is affirmative action right or wrong?",
"What are human rights, and how do we determine them?" and "Do animals
have rights as well?"
Some topics falling within the discipline include:
Medical Ethics: the study of moral values and judgments as they apply
to medicine. Historically, Western medical ethics may be traced to
guidelines on the duty of physicians in antiquity, such as
the Hippocratic Oath (at its simplest, "to practice and prescribe to the
best of my ability for the good of my patients, and to try to avoid
harming them"), and early rabbinic, Muslim and Christian teachings.
Six of the values that commonly apply to medical ethics discussions
are: Beneficence (a practitioner should act in the best interest of the
patient, Non-malfeasance ("first, do no harm"),Autonomy (the patient
has the right to refuse or choose their treatment), Justice (concerning
the distribution of scarce health resources, and the decision of who
gets what treatment), Dignity (both the patient and the practitioner
have the right to dignity), Honesty (truthfulness and respect for the
concept of informed consent).
Media Ethics: deals with the specific ethical principles and standards
of media in general, including the ethical issues relating
to journalism, advertising and marketing, and entertainment media.
BRANCHES OF POLITICS
Political philosophy is the study of fundamental questions about
the state, government, politics, liberty, justice and the enforcement of a legal
code by authority. It is Ethics applied to a group of people, and discusses
how a society should be set up and how one should act within a society.
Individual rights (such as the right to life, liberty, property, the pursuit of
happiness, free speech, self-defence, etc) state explicitly the requirements
for a person to benefit rather than suffer from living in a society.
BRANCHES OF ESTHETICS
Aesthetics is the branch of philosophy concerned with the nature and
appreciation of art, beauty and good taste. It has also been defined as
"critical reflection on art, culture and nature". The word "aesthetics" derives
from the Greek "aisthetikos", meaning "of sense perception". Along
with Ethics, aesthetics is part of axiology (the study of values and value
judgements).
In practise we distinguish between aesthetic judgements (the appreciation of
any object, not necessarily an art object) andartistic judgements (the
appreciation or criticism of a work of art). Thus aesthetics is broader in scope
than the philosophy of art. It is also broader than the philosophy of beauty, in
that it applies to any of the responses we might expect works of art or
entertainment to elicit, whether positive or negative.
Aestheticians ask questions like "What is a work of art?", "What makes a
work of art successful?", "Why do we find certain things beautiful?", "How
can things of very different categories be considered equally beautiful?", "Is
there a connection between art and morality?", "Can art be a vehicle of
truth?", "Are aesthetic judgements objective statements or purely subjective
expressions of personal attitudes?", "Can aesthetic judgements be improved
or trained?"
In very general terms, it examines what makes
something beautiful, sublime, disgusting, fun, cute, silly, entertaining,pretent
ious, discordant, harmonious, boring, humorous or tragic.
Aesthetic Judgements
Judgements of aesthetic value rely on our ability to discriminate at
a sensory level, but they usually go beyond that. Judgments of beauty
are sensory, emotional, and intellectual all at once.
According to Immanuel Kant, beauty is objective and universal (i.e. certain
things are beautiful to everyone). But there is a second concept involved in a
viewer's interpretation of beauty, that of taste, which is subjective and varies
according to class,cultural background and education.
In fact, it can be argued that all aesthetic judgements are culturally
conditioned to some extent, and can change over time(e.g. Victorians in
Britain often saw African sculpture as ugly, but just a few decades later,
Edwardian audiences saw the same sculptures as being beautiful).
Judgments of aesthetic value can also become linked to judgements
of economic, political or moral value (e.g. we might judge an expensive car
to be beautiful partly because it is desirable as a status symbol, or we might
judge it to be repulsive partly because it signifies for us over-consumption
and offends our political or moral values.)
Aestheticians question how aesthetic judgements can be unified across art
forms (e.g. we can call a person, a house, a symphony, a fragrance and a
mathematical proof beautiful, but what characteristics do they share which
give them that status?)
It should also be borne in kind that the imprecision and ambiguity arising
from the use of language in aesthetic judgements can lead to
much confusion (e.g. two completely different feelings derived from two
different people can be represented by an identical expression, and
conversely a very similar response can be articulated by very different
language).
What is Art?
In recent years, the word art is roughly used as an abbreviation for creative
art or fine art, where some skill is being used to express the artists
creativity, or to engage the audiences aesthetic sensibilities, or to draw the
audience towards consideration of the finer things. If the skill being used is
more lowbrow or practical, the word "craft" is often used instead of art.
Similarly, if the skill is being used in a commercial or industrial way, it may
be considered "design" (or "applied art"). Some have argued, though, that
the difference between fine art and applied art or crafts has more to do
with value judgments made about the art than any clear definitional
difference.
Since the Dadaist art movement of the early 20th Century, it can no
longer even be assumed that all art aims at beauty. Some have argued that
whatever art schools and museums and artists get away with should be
considered art, regardless of formal definitions (the so-called institutional
definition of art).
Some commentators (including John Dewey) suggest that it is the process by
which a work of art is created or viewed that makes it art, not
any inherent feature of an object or how well received it is by the institutions
of the art world (e.g. if a writerintended a piece to be a poem, it is one
whether other poets acknowledge it or not, whereas if exactly the same set
of words was written by a journalist as notes, these would not constitute a
poem).
Others, including Leo Tolstoy (1828 - 1910), claim that what makes
something art (or not) is how it is experienced by its audience, not the
intention of its creator.
Functionalists like Monroe Beardsley (1915 - 1985) argue that whether or not
a piece counts as art depends on what function it plays in a
particular context (e.g. the same Greek vase may play a non-artistic function
in one context - carrying wine - and anartistic function in another context).
At the metaphysical and ontological level, when we watch, for example, a
play being performed, are we judging one work of art (the whole
performance), or are we judging separately the writing of the play, the
direction and setting, the performances of the various actors, the costumes,
etc? Similar considerations also apply to music, painting, etc. Since the rise
of conceptual art in the 20th Century, the problem is even more acute (e.g.
what exactly are we judging when we look at Andy Warhol's Brillo Boxes?)
Aestheticians also question what the value of art is. Is art a means of gaining
some kind of knowledge? Is it a tool
ofeducation or indoctrination or enculturation? Is it perhaps just politics by
other means? Does art give us an insight into thehuman condition? Does it
make us more moral? Can it uplift us spiritually? Might the value of art for
the artist be quite different than its value for the audience? Might the value
of art to society be different than its value to individuals?
Aesthetic Universals
The contemporary American philosopher Denis Dutton (1944 - ) has
identified seven universal signatures in human aesthetics. Although there are
possible exceptions and objections to many of them, they represent a
useful starting point for the consideration of aesthetics:
Non-Utilitarian Pleasure (people enjoy art for art's sake, and don't
demand practical value of it)
Special Focus (art is set aside from ordinary life and made a dramatic
focus of experience)
History of Aesthetics
The Ancient Greek philosophers initially felt that aesthetically appealing
objects were beautiful in and of themselves. Plato felt that beautiful objects
incorporated proportion, harmony and unity among their
parts. Aristotle found that the universal elements of beauty
were order, symmetry and definiteness.
According to Islam, human works of art are inherently flawed compared to
the work of Allah, and to attempt to depict in a realistic form any animal or
person is insolence to Allah. This has had the effect of narrowing the field of
Muslim artistic possibility to such forms
as mosaics, calligraphy, architecture and geometric and floral patterns.
Indian art evolved with an emphasis on inducing special spiritual or
philosophical states in the audience, or with representing them symbolically.
As long as go as the 5th Century B.C., Chinese philosophers were already
arguing about aesthetics. Confucius (551 - 479 B.C.) emphasized the role of
the arts and humanities (especially music and poetry) in broadening human
nature. His near contemporaryMozi (470 - 391 B.C.), however, argued that
music and fine arts were classist and wasteful, benefiting the rich but not the
common people.
Western Medieval art (at least until the revival of classical ideals during
the Renaissance) was highly religious in focus, and was typically funded by
the Church, powerful ecclesiastical individuals, or wealthy secular patrons. A
religiously uplifting message was considered more important than figurative
accuracy or inspired composition. The skills of the artisan were
considered gifts from God for the sole purpose of disclosing God to mankind.
With the shift in Western philosophy from the late 17th Century
onwards, German and British thinkers in particular emphasizedbeauty as the
key component of art and of the aesthetic experience, and saw art as
necessarily aiming at beauty. For Friedrich Schiller (1759 - 1805), aesthetic
appreciation of beauty is the most perfect reconciliation of
the sensual and rational parts of human nature. Hegel held that art is the
first stage in which the absolute spirit is immediately manifest to senseperception, and is thus an objective rather than a subjective revelation of
beauty. For Schopenhauer, aesthetic contemplation of beauty is the
most free that the pure intellect can be from the dictates of will.
British Intuitionists like the 3rd Earl of Shaftesbury (1671 - 1713) claimed
that beauty is just the sensory equivalent of moral goodness. More analytic
theorists like Lord Kames (1696 - 1782), William Hogarth (1697 - 1764)
and Edmund Burke hoped to reduce beauty to some list of attributes, while
others like James Mill (1773 - 1836) and Herbert Spencer (1820 - 1903)
strove to link beauty to some scientific theory of psychology or biology.
REFERENCES
www.philosophybasics.com/branch_aesthetics.html
www.philosophybasics.com/branch_metaphysics.html
www.philosophybasics.com/branch_political.html
www.philosophybasics.com/branch_epistemology.html
www.philosophybasics.com/branch_ethics.html