Anthony O'Hear – författare

What is moral philosophy? That is the question with which this important volume grapples. Its starting point is the famous critique made in 1958 by Elizabeth Anscombe, who argued that moral philosophy begins from a mistake: that it is fundamentally wrong about the sort of concept that the word 'moral' represents. Anscombe rejected moral philosophy as it was then (and mostly now still is) practised. She offered instead a blueprint for the task moral philosophers must embrace if they are to speak intelligibly to society about good and bad, right and wrong, duty and obligation. The chapters in this book are inspired by Anscombe's classic text. One of the most powerful voices here, among many authoritative voices, is that of Philippa Foot - Anscombe's lifelong friend - who asserts that 'any account of practical reason evacuated of an understanding of what human beings need to flourish is inadequate and must be rejected.'

The book of Revelation has been a source of continual fascination for nearly two thousand years. Concepts such as The Lamb of God, the Four Horsemen, the Seventh Seal, the Beasts and Antichrist, the Whore of Babylon, Armageddon, the Millennium, the Last Judgement, the New Jerusalem, and the ubiquitous Angel of the Apocalypse have captured the popular imagination. One can hardly open a newspaper or click on a news web site without reading about impending financial or climate change Armageddon, while the concept of the Four Horsemen pervades popular music, gaming, and satire. Yet few people know much about either the basic meaning or original context of these concepts or the multiplicity of different ways in which they have been interpreted by visual artists in particular. The visual history of this most widely illustrated of all the biblical books deserves greater attention.This book fills these gaps in a striking and original way by means of ten concise thematic chapters which explain the origins of these concepts from the book of Revelation in an accessible way. These explanations are augmented and developed via a carefully selected sample of the ways in which the concepts have been treated by artists through the centuries. The 120 visual examples are drawn from a wide range of time periods and media including the ninth-century Trier Apocalypse, thirteenth-century Anglo-Norman Apocalypse Manuscripts such as the Lambeth and Trinity Apocalypses, the fourteenth-century Angers Apocalypse Tapestry, fifteenth-century Apocalypse altarpieces by Van Eyck and Memling, Dürer and Cranach''s sixteenth-century Apocalypse woodcuts, and more recently a range of works by William Blake, J. M. W. Turner, Max Beckmann, as well as film posters and stills, cartoons, and children''s book illustrations. The final chapter demonstrates the continuing resonance of all the themes in contemporary religious, political, and popular thinking, while throughout the book a contrast will be drawn between those readers of Revelation who have seen it in terms of earthly revolutions in the here and now, and those who have adopted a more spiritual, otherworldly approach.

The book of Revelation has been a source of continual fascination for nearly two thousand years. Concepts such as The Lamb of God, the Four Horsemen, the Seventh Seal, the Beasts and Antichrist, the Whore of Babylon, Armageddon, the Millennium, the Last Judgement, the New Jerusalem, and the ubiquitous Angel of the Apocalypse have captured the popular imagination. One can hardly open a newspaper or click on a news web site without reading about impending financial or climate change Armageddon, while the concept of the Four Horsemen pervades popular music, gaming, and satire. Yet few people know much about either the basic meaning or original context of these concepts or the multiplicity of different ways in which they have been interpreted by visual artists in particular. The visual history of this most widely illustrated of all the biblical books deserves greater attention.This book fills these gaps in a striking and original way by means of ten concise thematic chapters which explain the origins of these concepts from the book of Revelation in an accessible way. These explanations are augmented and developed via a carefully selected sample of the ways in which the concepts have been treated by artists through the centuries. The 120 visual examples are drawn from a wide range of time periods and media including the ninth-century Trier Apocalypse, thirteenth-century Anglo-Norman Apocalypse Manuscripts such as the Lambeth and Trinity Apocalypses, the fourteenth-century Angers Apocalypse Tapestry, fifteenth-century Apocalypse altarpieces by Van Eyck and Memling, Dürer and Cranach''s sixteenth-century Apocalypse woodcuts, and more recently a range of works by William Blake, J. M. W. Turner, Max Beckmann, as well as film posters and stills, cartoons, and children''s book illustrations. The final chapter demonstrates the continuing resonance of all the themes in contemporary religious, political, and popular thinking, while throughout the book a contrast will be drawn between those readers of Revelation who have seen it in terms of earthly revolutions in the here and now, and those who have adopted a more spiritual, otherworldly approach.

Anthony O'Hear takes a stand against the fashion for explaining human behaviour in terms of evolution. He maintains, controversially, that while the theory of evolution is successful in explaining the development of the natural world in general, it is of limited value when applied to the human world. Because of our reflectiveness and our rationality we take on goals and ideals which cannot be justified in terms of survival-promotion or reproductive advantage. O'Hear examines the nature of human self-consciousness, and argues that evolutionary theory cannot give a satisfactory account of such distinctive facets of human life as the quest for knowledge, moral sense, and the appreciation of beauty; in these we transcend our biological origins. It is our rationality that allows each of us to go beyond not only our biological but also our cultural inheritance: as the author says in the Preface, `we are prisoners neither of our genes nor of the ideas we encounter as we each make our personal and individual way through life'.

This book is a balanced and up-to-date introduction to the philosophy of science. It covers all the main topics in the area, as well as introducing the student to the moral and social reality of science. The author's style is free from jargon, and although he makes use of scientific examples, these should be intelligible to those without much scientific background. At the same time the questions he raises are not merely abstract, so the book will be of interest and concern to scientists as well as philosophers.The author discusses the growth of knowledge of science, the status of scientific theories and their relationship to observational data, the extent to which scientific theories rest on unprovable paradigms, and the nature of scientific explanations. In later chapters he considers probability, scientific reductionism, the relationship between science and technology, and the relationship between scientific and other values.

Anthony O'Hear takes a stand against the fashion for explaining human behaviour in terms of evolution. He maintains, controversially, that while the theory of evolution is successful in explaining the development of the natural world in general, it is of limited value when applied to the human world. Because of our reflectiveness and our rationality we take on goals and ideals which cannot be justified in terms of survival-promotion or reproductive advantage. O'Hear examines the nature of human self-consciousness, and argues that evolutionary theory cannot give a satisfactory account of such distinctive facets of human life as the quest for knowledge, moral sense, and the appreciation of beauty; in these we transcend our biological origins. It is our rationality that allows each of us to go beyond not only our biological but also our cultural inheritance: as the author says in the Preface, 'we are prisoners neither of our genes nor of the ideas we encounter as we each make our personal and individual way through life'.

The book of Revelation has been a source of continual fascination for nearly two thousand years. Concepts such as The Lamb of God, the Four Horsemen, the Seventh Seal, the Beasts and Antichrist, the Whore of Babylon, Armageddon, the Millennium, the Last Judgement, the New Jerusalem, and the ubiquitous Angel of the Apocalypse have captured the popular imagination. One can hardly open a newspaper or click on a news web site without reading about impending financial or climate change Armageddon, while the concept of the Four Horsemen pervades popular music, gaming, and satire. Yet few people know much about either the basic meaning or original context of these concepts or the multiplicity of different ways in which they have been interpreted by visual artists in particular. The visual history of this most widely illustrated of all the biblical books deserves greater attention.This book fills these gaps in a striking and original way by means of ten concise thematic chapters which explain the origins of these concepts from the book of Revelation in an accessible way. These explanations are augmented and developed via a carefully selected sample of the ways in which the concepts have been treated by artists through the centuries. The 120 visual examples are drawn from a wide range of time periods and media including the ninth-century Trier Apocalypse, thirteenth-century Anglo-Norman Apocalypse Manuscripts such as the Lambeth and Trinity Apocalypses, the fourteenth-century Angers Apocalypse Tapestry, fifteenth-century Apocalypse altarpieces by Van Eyck and Memling, Dürer and Cranach's sixteenth-century Apocalypse woodcuts, and more recently a range of works by William Blake, J. M. W. Turner, Max Beckmann, as well as film posters and stills, cartoons, and children's book illustrations. The final chapter demonstrates the continuing resonance of all the themes in contemporary religious, political, and popular thinking, while throughout the book a contrast will be drawn between those readers of Revelation who have seen it in terms of earthly revolutions in the here and now, and those who have adopted a more spiritual, otherworldly approach.

The book of Revelation has been a source of continual fascination for nearly two thousand years. Concepts such as the Lamb of God, the Four Horsemen, the Seventh Seal, the Beasts and Antichrist, the Whore of Babylon, Armageddon, the Millennium, the Last Judgement, the New Jerusalem, and the ubiquitous angels of the Apocalypse have captured the popular imagination. One can hardly open a newspaper or click on a news site without reading about impending financial or climate-change Armageddon, while the concept of the Four Horsemen pervades popular music, gaming, and satire. Yet few people know much about either the basic meaning or original context of these concepts or the multiplicity of different ways in which they have been interpreted by visual artists in particular. The visual history of this most widely illustrated of all the biblical books deserves greater attention. This book fills these gaps in a striking and original way by means of ten concise thematic chapters which explain the origins of these concepts from the book of Revelation in an accessible way. These explanations are augmented and developed via a carefully selected sample of the ways in which the concepts have been treated by artists through the centuries. The 120 visual examples are drawn from a wide range of time periods and media including the ninth-century Trier Apocalypse, thirteenth-century Anglo-Norman Apocalypse Manuscripts such as the Lambeth and Trinity Apocalypses, the fourteenth-century Angers Apocalypse Tapestry, fifteenth-century Apocalypse altarpieces by Van Eyck and Memling, Dürer and Cranach's sixteenth-century Apocalypse woodcuts, and more recently a range of works by William Blake, J.M.W. Turner, Max Beckmann, as well as film posters and film stills, cartoons, and children's book illustrations. The final chapter demonstrates the continuing resonance of all the themes in contemporary religious, political, and popular thinking, while throughout the book a contrast will be drawn between those readers of Revelation who have seen it in terms of earthly revolutions in the here and now, and those who have adopted a more spiritual, other-worldly approach.

This book expounds and analyses notions of transcendence, creation and incarnation reflectively and personally, combining both philosophical and religious insights. Preferring tender-minded approaches to reductively materialistic ones, it shows some ways in which reductive approaches to human affairs can distort the appreication of our lives and activities.In the book’s first half it examines a number of aspects of human life and experience in the thought of Darwin, Ruskin, and Scruton with a view to exploring the extent to which there could be intimations of transcendence. The second half is then devoted to outlining an account of divine creation and incarnation, deriving initially, though not uncritically, from the thought of Simone Weil. The text concludes by examining the extent to which grace is needed to engage in religious practice and belief.Taking in art, literature, music and classical Greek writings, this is a multifaceted thesis on transcendence. It will, therefore, will be of keen interest to any scholar of Philosophy of Religion, Theology, Aesthetics and Metaphysics.

This book expounds and analyses notions of transcendence, creation and incarnation reflectively and personally, combining both philosophical and religious insights. Preferring tender-minded approaches to reductively materialistic ones, it shows some ways in which reductive approaches to human affairs can distort the appreication of our lives and activities.In the book’s first half it examines a number of aspects of human life and experience in the thought of Darwin, Ruskin, and Scruton with a view to exploring the extent to which there could be intimations of transcendence. The second half is then devoted to outlining an account of divine creation and incarnation, deriving initially, though not uncritically, from the thought of Simone Weil. The text concludes by examining the extent to which grace is needed to engage in religious practice and belief.Taking in art, literature, music and classical Greek writings, this is a multifaceted thesis on transcendence. It will, therefore, will be of keen interest to any scholar of Philosophy of Religion, Theology, Aesthetics and Metaphysics.

Born in Austria, Karl Popper (1902-1994) was one of the dominant philosophical thinkers of the 20th century. A ground-breaking thinker, he saw the essence of true science as being the readiness to submit theories to severe testing and to reject them when refuted by test. His first major book in 1935, The Logic of Scientific Discovery, marked him as a major analyst of science and was to have an enormous influence on the way people, including major scientists, came to think about the field.This collection is a timely assessment of the reactions to and abiding influence of Popper's work and the controversy it caused across many academic and political fields. The set includes early responses to Popper's work from sources difficult to obtain, and also two early reviews (by Carnap and Grelling) in translations specially prepared for this set. It is organised thematically and includes a substantial new introduction by the editor.

First Published in 1999. The purpose of this series is to provide a contemporary assessment and history of the entire course of philosophical thought. Each book constitutes a detailed, critical introduction to the work of a philosopher of major influence and significance. This is a critical account of the main philosophical positions taken up by Sir Karl Popper in his published writings.

First Published in 1999. The purpose of this series is to provide a contemporary assessment and history of the entire course of philosophical thought. Each book constitutes a detailed, critical introduction to the work of a philosopher of major influence and significance. This is a critical account of the main philosophical positions taken up by Sir Karl Popper in his published writings.

Intended primarily for education students this book provides an introduction to the philosophy of education that tackles educational problems and at the same time relates them to the mainstream of philosophical analysis. Among the educational topics the book discusses are the aims of education, the two cultures debate, moral education, equality as an ideal and academic elitism. It examines the limitations of a purely technological education, and suggests the shape of a balanced curriculum. It critically analyses important educational theses in the work of Rousseau, Dewey, R S Peters, P H Hirst, F R Leavis, Ronald Dworkin and G H Bantock, among many others, and considers the philosophical copics of relativism, the nature of knowledge, the basis of moral choice, the value of democracy and the status of religious claims.

First published in 1988, the aim of this book can be stated in Nietzsche’s words: ‘To look at science from the perspective of the artist, but at art from that of life’. The title contests the notions that science alone can provide us with the most objective truth about the world, and that artistic endeavour can produce nothing more valuable than entertainment. O’Hear argues that art and the study of art are not indispensable aspects of human life, and that this is equally as important as the investigation of the natural world.

First published in 1988, the aim of this book can be stated in Nietzsche’s words: ‘To look at science from the perspective of the artist, but at art from that of life’. The title contests the notions that science alone can provide us with the most objective truth about the world, and that artistic endeavour can produce nothing more valuable than entertainment. O’Hear argues that art and the study of art are not indispensable aspects of human life, and that this is equally as important as the investigation of the natural world.

In this book Anthony O’Hear examines the reasons that are given for religious faith. His approach is firmly within the classical tradition of natural theology, but an underlying theme is the differences between the personal Creator of the Bible or the Koran and a God conceived of as the indeterminate ground of everything determinate. Drawing on several religious traditions and on the resources of contemporary philosophy, specific chapters analyse the nature of religious faith and of religious experience. They examine connections between religion and morality, and religion and human knowledge – the cosmological, teleological and ontological arguments, process thought, and the problem that evil presents for religion. The final chapter returns to the inherently dogmatic nature of religious faith and concludes that rational people should look beyond religion for the fulfilment of their spiritual needs.

Where is philosophy at the year 2000 and where should it be going in the new millennium? Based on the Royal Institute of Philosophy Annual Lecture Series 1999-2000, this book is written by leading international philosophers and covers the broad range of philosophical enquiry including ethics, aesthetics, philosophy of mind and consciousness, philosophy of time, philosophy of language, philosophy of science, and philosophy and environment.

Is philosophy capable of establishing truths scientifically? If not, what can it do? What is its standing and what are its credentials? Is philosophy an essential element in humane study? Can philosophy establish anything at all? Philosophy asks questions about all areas of experience, but what about philosophy itself? In 2007-8, The Royal Institute of Philosophy, in its annual lecture series, asked distinguished philosophers to reflect on the nature, scope and possibility of philosophy. Contributors include Peter van Inwagen, Stephen Clark, John Cottingham, P. M. S. Hacker, Michela Massimi, Stephen Mullhall, Herman Philipse and Bryan Magel.

Based on the London Lecture Series of the Royal Institute of Philosophy for 2006-7, this collection brings together essays from leading figures in a rapidly developing field of philosophy. Contributors include: Alvin Goldman, Timothy Williamson, Duncan Pritchard, Miranda Fricker, Scott Sturgeon, Jose Zalabardo, and Quassin Casay.

Much contemporary philosophical debate centres on the topics of logic, thought and language, and on the connections between these topics. This collection of articles is based on the Royal Institute of Philosophy's annual lecture series for 2000-2001. Its contributors include a number of those working at the forefront of the field, and in their papers they reflect their own current pre-occupations. As such, the volume will be of interest to all philosophers, whether their own work is within the areas of language and thought or not.

Few philosophers in this century have had either Karl Popper's range or his influence, inside and outside philosophy. This collection of essays by fifteen distinguished philosophers, several of whom have been closely associated with Popper and his work, provides a timely assessment of Popper's contributions in a number of key areas: the methodology and philosophy of science; probability and determinism; quantum theory; biology; the theory of evolution; and the theory and practice of politics. The volume offers the specialist and the general reader alike fresh insights into the life and work of one of the twentieth century's most original thinkers.

This 1997 collection of essays addresses topics that are of crucial importance to the lives of us all. Is there a mode of thinking peculiar to human life and its concerns, which is different from and irreducible to scientific rationality? Is historical understanding different from scientific understanding? Do psychology, religion and aesthetics have their own forms of rationality? Can you be rational about human life without being scientific? The contributors address these and related questions, some focusing on the history of the development of the notion of Verstehen, others examining particular areas of discourse and practice.

Although this collection of articles is not formally a commentary on Elizabeth Anscombe's famous article of the same title, in which she criticised the moral philosophy prevalent in 1958, a number of the contributors do take Anscombe's work as a starting point. Taken together the collection could be seen as a demonstration of the extent to which moral philosophers have since attempted to answer Anscombe's challenge, and to develop an approach to their subject which, while psychologically plausible, is neither based on divine law nor permissive of the impermissible.

What is the mind? How does it relate to the body and the world? What is consciousness? What is experience? How free are we? Do we have special insights into ourselves? These perennial questions are at the forefront of the philosophical concerns today. Much of the most exciting and innovative work in philosophy at the present time is being done in the philosophy of mind. The best of this work is represented in this collection, based on the Royal Institute of Philosophy's annual lecture series for 1996/7. It brings together leading figures in the area from Britain and the US, who lay out their thoughts on key issues in an accessible way. The book will be of great interest both to those working in the field and to those keen to discover just where philosophy and the philosophy of mind is moving at the end of the twentieth century.

This collection of essays from the Royal Institute of Philosophy shows the connections and interrelations between the analytic and hermeneutic strains in German philosophy since Kant, partly to challenge the idea that there are two separate, non-communicating traditions. The distinguished contributors include Robert Solomon writing on Nietzsche, Michael Inwood on Heidegger, P. M. S. Hacker on Frege and Wittgenstein, Christopher Janaway on Schopenhauer, Thomas Uebel on Neurath and the Vienna Circle, and Jay Bernstein on Adorno. The collection is rounded off by a paper by Jürgen Habermas specifically on hermeneutic and analytic philosophy.

It has been claimed that following the decline of Marxism and Freudianism, Darwinism has become the dominant intellectual paradigm of our day. In the mass media there are many bitter disputes between today's new Darwinians and their opponents, often over religion. But the 'neo-Darwinian paradigm' is not as simple or as seamless as either its advocates or its opponents would sometimes have us believe. Biology is in a state of development which defies the standard stereotypes. The papers in this volume, written by some of the leading philosophers in the field, bring out many of the fascinating and complex issues which arise in current attempts to account for life and its development.

This collection of essays from the Royal Institute of Philosophy, first published in 2007, looks at a wide range of topics in political philosophy ranging from issues such as terrorism, egalitarianism and the just war to considerations of the political philosophy of Edmund Burke, of philosophical liberalism and of the current state of utilitarianism in political thought. There are also treatments of the role of innocence and of emotion in political discourse.

Discussions of value play a central role in contemporary philosophy. This book considers the role of values in truth seeking, in morality, in aesthetics and also in the spiritual life. We have got beyond the simplistic view that values are simply expressions of feeling, but their precise ontological and epistemological status remains controversial. The essays in this book indicate in an accessible way the state of the discussion as it is at the end of the second millennium. The distinguished contributors include Simon Blackburn, Jonathan Dancy, Paul Horwich, John Leslie, Timothy Sprigge, David Wiggins and others who have made significant contributions in this field.