Derek Matravers – författare

The world responded with horror to ISIS's campaign of destruction of cultural heritage across the Middle East, including with calls for an international response to prevent such damage. At the same time, newspapers and screens were filled with images of human destruction, devastated cities, and thousands of refugees fleeing the conflict. This juxtaposition caused a backlash against those voicing their concerns about the destruction of ancient ruins, popularly framed as dispute about 'stone versus lives'. In the face of so much human suffering, it can seem inappropriate to worry about anything but the urgent, basic needs of people. Heritage and War addresses this issue within the context of a wider debate, amidst a range of moral questions. Eleven original essays investigate a variety of philosophical and moral questions arising from the phenomenon of heritage destruction in war, such how we ought to respond to heritage that is damaged in war, the nature of the harm caused by such damage, and the morally appropriate treatment of sites of war and conflict that have themselves become heritage sites. Such issues are philosophically rich, and yet they have been largely neglected by academic philosophers. This book makes a substantial contribution to developing this new philosophical territory and identifying the role that philosophers have to play in developing our understanding of and responses to these important issues.

For the past twenty years there has been a virtual consensus in philosophy that there is a special link between fiction and the imagination. In particular, fiction has been defined in terms of the imagination: what it is for something to be fictional is that there is some requirement that a reader imagine it. Derek Matravers argues that this rests on a mistake; the proffered definitions of 'the imagination' do not link it with fiction but with representations more generally. In place of the flawed consensus, he offers an account of what it is to read, listen to, or watch a narrative whether that narrative is fictional or non-fictional. The view that emerges, which draws extensively on work in psychology, downgrades the divide between fiction and non-fiction and largely dispenses with the imagination. In the process, he casts new light on a succession of issues: on the 'paradox of fiction', on the issue of fictional narrators, on the problem of 'imaginative resistance', and on the nature of our engagement with film.

The fate of heritage in war has attracted considerable attention in recent years, due in no small part to ISIS's campaign of destruction across the Middle East and, in 2012, the International Criminal Court's first prosecution of heritage destruction as a war crime. Regular armed forces have been criticised for both failing to protect and damaging heritage sites. In response, heritage organisations urge the better implementation of existing international laws on heritage protection in war. This book argues that any such law or policy will require combatants to choose between safeguarding heritage and safeguarding other goods, including human life. It thus challenges the view, repeatedly expressed by heritage professionals, that the choice between protecting heritage and protecting lives is a false dichotomy. Existing international law not only implies such choices but also, more worryingly, gives no indication of how they should be resolved. Drawing on contemporary work on the ethics of war, this book develops an account of the permissible protection of heritage in war. It argues that heritage is not morally special; rather, heritage is one of many goods that contribute to individuals' lives going well and that we routinely trade off against each other. By drawing on these more familiar dilemmas, we can make progress on how to balance the protection of heritage against risks to human life. Amongst other things, the book considers the different ways in which heritage might contribute to individual flourishing, the role of consent in justifying the imposition of risk on combatants and civilians, the permissibility of forcefully defending heritage and what, if anything, could compensate for the loss of heritage in war.

Derek Matravers examines how emotions form a bridge between our experience of art and of life. We often find that a particular poem, painting, or piece of music carries an emotional charge; and we may experience emotions towards, or on behalf of, a particular fictional character. These experiences are philosophically puzzling, for their causes seem quite different from the causes of emotion in the rest of our lives. Matravers shows that what these experiences have in common, and what links them to the expression of emotion in non-artistic cases, is the role played by feeling. He carries out a critical survey of various accounts of the nature of fiction, attacks contemporary cognitivist accounts of expression, and offers an uncompromising defence of a controversial view about musical expression: that music expresses the emotions it causes its listeners to feel.

For the past twenty years there has been a virtual consensus in philosophy that there is a special link between fiction and the imagination. In particular, fiction has been defined in terms of the imagination: what it is for something to be fictional is that there is some requirement that a reader imagine it. Derek Matravers argues that this rests on a mistake; the proffered definitions of 'the imagination' do not link it with fiction but with representations more generally. In place of the flawed consensus, he offers an account of what it is to read, listen to, or watch a narrative whether that narrative is fictional or non-fictional. The view that emerges, which draws extensively on work in psychology, downgrades the divide between fiction and non-fiction and largely dispenses with the imagination. In the process, he casts new light on a succession of issues: on the 'paradox of fiction', on the issue of fictional narrators, on the problem of 'imaginative resistance', and on the nature of our engagement with film.

This clear and thorough introduction provides students with the skills necessary to understand the main thinkers, texts and arguments of political philosophy and thought. Each chapter comprises a brief overview of a major political thinker, followed by an introduction to one or more of their most influential works and an introduction to key secondary readings.Key features include:* exercises* reading notes* guides for further readingThe book introduces and assesses: Machiavelli's Prince; Hobbes' Leviathan; Locke's Second Treatise on Government; Rousseau's Social Contract; Marx and Engels' German Ideology (Part 1); Mill's On Liberty and The Subjection of Women. Reading Political Philosophy requires no previous knowledge of philosophy or politics and is ideal for newcomers to political philosophy and political thought.

This clear and thorough introduction provides students with the skills necessary to understand the main thinkers, texts and arguments of political philosophy and thought. Each chapter comprises a brief overview of a major political thinker, followed by an introduction to one or more of their most influential works and an introduction to key secondary readings.Key features include:* exercises* reading notes* guides for further readingThe book introduces and assesses: Machiavelli's Prince; Hobbes' Leviathan; Locke's Second Treatise on Government; Rousseau's Social Contract; Marx and Engels' German Ideology (Part 1); Mill's On Liberty and The Subjection of Women. Reading Political Philosophy requires no previous knowledge of philosophy or politics and is ideal for newcomers to political philosophy and political thought.

This textbook reflects the buoyant state of contemporary political philosophy, and the development of the subject in the past two decades. It includes seminal papers on fundamental philosophical issues such as:the nature of social explanationdistributive justice liberalism and communitarianismcitizenship and multiculturalismnationalismdemocracy criminal justice.A range of views is represented, demonstrating the richness of the philosophical contribution to some of the most contested areas of public policy and political decision making. Each section has an introduction by the editors that situates the papers in the ongoing debate. Further Reading sections feature at the end of each chapter.Readings from the following thinkers are included:Steven Lukes, Robert Nozick, John Rawls, Bhikhu Parekh, Antony Duff, G.A. Cohen, Derek Parfit, Roger Scruton, Michael Sandel, Alasdair MacIntrye.Debates in Contemporary Political Philosophy will be a valuable resource for upper-level students interested in current thinking in this area.

This textbook reflects the buoyant state of contemporary political philosophy, and the development of the subject in the past two decades. It includes seminal papers on fundamental philosophical issues such as:the nature of social explanationdistributive justice liberalism and communitarianismcitizenship and multiculturalismnationalismdemocracy criminal justice.A range of views is represented, demonstrating the richness of the philosophical contribution to some of the most contested areas of public policy and political decision making. Each section has an introduction by the editors that situates the papers in the ongoing debate. Further Reading sections feature at the end of each chapter.Readings from the following thinkers are included:Steven Lukes, Robert Nozick, John Rawls, Bhikhu Parekh, Antony Duff, G.A. Cohen, Derek Parfit, Roger Scruton, Michael Sandel, Alasdair MacIntrye.Debates in Contemporary Political Philosophy will be a valuable resource for upper-level students interested in current thinking in this area.

How can we understand another person's feelings, thoughts, words or behaviour? Through empathy, it is hoped, we might use our imaginations to shift our perspective into another person's, thereby grasping their thoughts and emotions.In this insightful new book, Derek Matravers negotiates the evolution of this fascinating concept. He explores the roots of the term in the work of David Hume and Adam Smith, its re-emergence in a new form in nineteenth-century German philosophy, and its resurgence as something different again in contemporary Anglo-American philosophy. In doing so, he explores the important role empathy, in all its forms, has played in the study of the mind, the emotions and aesthetics, and in ethics.Empathy is an ideal introduction to one of the most absorbing contemporary philosophical debates.

How can we understand another person's feelings, thoughts, words or behaviour? Through empathy, it is hoped, we might use our imaginations to shift our perspective into another person's, thereby grasping their thoughts and emotions.In this insightful new book, Derek Matravers negotiates the evolution of this fascinating concept. He explores the roots of the term in the work of David Hume and Adam Smith, its re-emergence in a new form in nineteenth-century German philosophy, and its resurgence as something different again in contemporary Anglo-American philosophy. In doing so, he explores the important role empathy, in all its forms, has played in the study of the mind, the emotions and aesthetics, and in ethics.Empathy is an ideal introduction to one of the most absorbing contemporary philosophical debates.

"Aesthetics and film" is a philosophical study of the art of film. Its motivation is the recent surge of interest among analytic philosophers in the philosophical implications of central issues in film theory and the application of general issues in aesthetics to the specific case of film. Of particular interest are questions concerning the distinctive representational capacities of film art, particularly in relation to realism and narration, the influence of the literary paradigm in understanding film authorship and interpretation, and our imaginative and affective engagement with film. For all of these questions, Katherine Thomson-Jones critically compares the most compelling answers, driving home key points with a wide range of film examples. Students and scholars of aesthetics and cinema will find this an illuminating, accessible and highly enjoyable investigation into the nature and power of a technologically evolving art form.

"The Continuum Aesthetics" series looks at the aesthetic questions and issues raised by all major art forms. Stimulating, engaging and highly readable, the series offers food for thought not only for students of aesthetics, but also for anyone with an interest in philosophy and the arts. "Aesthetics and Literature" places philosophical aesthetics at the heart of thinking about literature. The book takes concrete examples from the traditional and contemporary literary arts and uses them to introduce all the central philosophical issues in literature. David Davies considers, with stimulating insight and great clarity, the nature of literature and fiction, artistic uses of language, and the nature of fictional characters. He goes on to explore our emotional responses to literature, the cognitive value and ethical values of literature and the accountability of the literary arts. The book offers a clear, non-technical analysis of each key issue, its broader significance and the principal positions that philosophers have taken on it. Davies presents the relevant philosophical background in a manner that is accessible to philosophy students and lay readers alike.Anyone interested in the philosophy of literature will find this book a rich source of ideas, insight and information. Combining a clear and engaging style with a sophisticated treatment of a fascinating subject, "Aesthetics and Literature" is a valuable contribution to contemporary aesthetics.

Empathy—our capacity to cognitively or affectively connect with other people’s thoughts and feelings—is a concept whose definition and meaning varies widely within philosophy and other disciplines. Philosophical Perspectives on Empathy advances research on the nature and function of empathy by exploring and challenging different theoretical approaches to this phenomenon.The first section of the book explores empathy as a historiographical method, presenting a number of rich and interesting arguments that have influenced the debate from the Nineteenth Century to the present day. The next group of essays broadly accepts the centrality of perspective-taking in empathy. Here the authors attempt to refine and improve this particular conception of empathy by clarifying the intentionality of the perspective taker’s emotion, the perspective taker’s meta-cognitive capacities, and the nature of central imagining itself. Finally, the concluding section argues for the re-evaluation, or even rejection, of empathy. These essays advance alternative theories that are relevant to current debates, such as narrative engagement and competence, attunement or the sharing of mental states, and the "second-person" model of empathy.This book features a wide range of perspectives on empathy written by experts across several different areas of philosophy. It will be of interest to researchers and upper-level students working on the philosophy of emotions across ethics, philosophy of mind, philosophy of psychology, and the history of philosophy.

The visual arts have long been held to have an intimate link with emotions. Despite this, the topic remains underexplored; when the expression of emotion is discussed, it is usually in relation to music.This volume corrects this lacuna and presents a variety of perspectives on the expression of emotion in the visual arts with contributions from both established and early career academics. There are chapters on the empathy theory of beauty; enaction and artistic expression; emotion and experimental psychology; a ‘persona’ theory of visual expression; and self-expression in portraiture. There are also chapters discussing the contributions to the topic by Susanne Langer and Richard Wollheim as well as a chapter comparing the work of R.G. Collingwood and Maurice Merleau-Ponty.The Expression of Emotion in the Visual Arts will be of interest to students and researchers in the philosophy of art and aesthetics, as well as those interested in conceptual issues in the visual arts.

The visual arts have long been held to have an intimate link with emotions. Despite this, the topic remains underexplored; when the expression of emotion is discussed, it is usually in relation to music.This volume corrects this lacuna and presents a variety of perspectives on the expression of emotion in the visual arts with contributions from both established and early career academics. There are chapters on the empathy theory of beauty; enaction and artistic expression; emotion and experimental psychology; a ‘persona’ theory of visual expression; and self-expression in portraiture. There are also chapters discussing the contributions to the topic by Susanne Langer and Richard Wollheim as well as a chapter comparing the work of R.G. Collingwood and Maurice Merleau-Ponty.The Expression of Emotion in the Visual Arts will be of interest to students and researchers in the philosophy of art and aesthetics, as well as those interested in conceptual issues in the visual arts.

Empathy—our capacity to cognitively or affectively connect with other people’s thoughts and feelings—is a concept whose definition and meaning varies widely within philosophy and other disciplines. Philosophical Perspectives on Empathy advances research on the nature and function of empathy by exploring and challenging different theoretical approaches to this phenomenon.The first section of the book explores empathy as a historiographical method, presenting a number of rich and interesting arguments that have influenced the debate from the Nineteenth Century to the present day. The next group of essays broadly accepts the centrality of perspective-taking in empathy. Here the authors attempt to refine and improve this particular conception of empathy by clarifying the intentionality of the perspective taker’s emotion, the perspective taker’s meta-cognitive capacities, and the nature of central imagining itself. Finally, the concluding section argues for the re-evaluation, or even rejection, of empathy. These essays advance alternative theories that are relevant to current debates, such as narrative engagement and competence, attunement or the sharing of mental states, and the "second-person" model of empathy.This book features a wide range of perspectives on empathy written by experts across several different areas of philosophy. It will be of interest to researchers and upper-level students working on the philosophy of emotions across ethics, philosophy of mind, philosophy of psychology, and the history of philosophy.

Aesthetics and Music is a fresh, provocative exploration of the key concepts and arguments in musical aesthetics. It makes an eloquent case for a humanistic, meritocratic and genuinely aesthetic conception of music and musical understanding. Anyone interested in what contemporary philosophy has to say about music as an art will find this thought-provoking and highly enjoyable book required reading.Thinkers discussed range from Pythagoras and Plato to Kant, Nietzsche and Adorno. Areas of music covered include classical, popular and traditional music, and jazz. This updated edition features new material, including three new chapters on the evolutionary perspective, words and music and music and language. There are guides to further reading, and new dialogues with some contemporary thinkers and musicians.

Aesthetics and Music is a fresh, provocative exploration of the key concepts and arguments in musical aesthetics. It makes an eloquent case for a humanistic, meritocratic and genuinely aesthetic conception of music and musical understanding. Anyone interested in what contemporary philosophy has to say about music as an art will find this thought-provoking and highly enjoyable book required reading.Thinkers discussed range from Pythagoras and Plato to Kant, Nietzsche and Adorno. Areas of music covered include classical, popular and traditional music, and jazz. This updated edition features new material, including three new chapters on the evolutionary perspective, words and music and music and language. There are guides to further reading, and new dialogues with some contemporary thinkers and musicians.

Aesthetics and Video Games introduces current issues and ideas in philosophical aesthetics that help us to better understand why video games are different from cinema, animation and other types of fiction.Addressing two foundational issues, the notion of the aesthetic and the value of play, it asks what the aesthetic is and investigates how value arises from different forms of play. Introducing the history and theory surrounding these questions, this book:- Offers an account of the value of games that places gameplay and interactivity at its core- Acknowledges the importance of both ethical and feminist criticisms of games- Offers a novel account of how video games can be valued as competitions, narratives, and toys- Suggests ways in which a theory of the aesthetics of games must move beyond traditional approaches in aesthetics.Drawing from work in philosophy, media studies, psychology, and gender studies, it not only demonstrates how theories from these areas can helpfully come into conversation with each other, it explores new paradigms, models, and concepts that aid our knowledge of video games in today's culture.

Aesthetics and Video Games introduces current issues and ideas in philosophical aesthetics that help us to better understand why video games are different from cinema, animation and other types of fiction.Addressing two foundational issues, the notion of the aesthetic and the value of play, it asks what the aesthetic is and investigates how value arises from different forms of play. Introducing the history and theory surrounding these questions, this book:- Offers an account of the value of games that places gameplay and interactivity at its core- Acknowledges the importance of both ethical and feminist criticisms of games- Offers a novel account of how video games can be valued as competitions, narratives, and toys- Suggests ways in which a theory of the aesthetics of games must move beyond traditional approaches in aesthetics.Drawing from work in philosophy, media studies, psychology, and gender studies, it not only demonstrates how theories from these areas can helpfully come into conversation with each other, it explores new paradigms, models, and concepts that aid our knowledge of video games in today's culture.

What can philosophy reveal about painting and how might it deepen our understanding of this enduring art form? Philosophy of Painting investigates the complex relationship between the painted surface and the depicted subject, opening up current debates to address questions concerning the historicality of art. Embracing contemporary painting, it examines topics such as the post-medium condition and the digital divide, and the work of artists such as Lynette Yiadom-Boakye, Amy Sillman and Katharina Grosse.Illustrated with 24 colour plates and highly readable throughout, Philosophy of Painting provides a philosophically rigorous defence of the relevance of painting in the 21st century, making an original contribution to the major ideas informing painting as an art. Here is a clear and coherent account of the contemporary significance of painting and the pressures and possibilities that distinguish it from other art forms.

What can philosophy reveal about painting and how might it deepen our understanding of this enduring art form? Philosophy of Painting investigates the complex relationship between the painted surface and the depicted subject, opening up current debates to address questions concerning the historicality of art. Embracing contemporary painting, it examines topics such as the post-medium condition and the digital divide, and the work of artists such as Lynette Yiadom-Boakye, Amy Sillman and Katharina Grosse.Illustrated with 24 colour plates and highly readable throughout, Philosophy of Painting provides a philosophically rigorous defence of the relevance of painting in the 21st century, making an original contribution to the major ideas informing painting as an art. Here is a clear and coherent account of the contemporary significance of painting and the pressures and possibilities that distinguish it from other art forms.

The appreciation of nature and natural beauty demands our attention as environmental issues become ever more urgent. In this timely introduction, Glenn Parsons provides an overview of philosophical work on the aesthetics of nature, identifying key conceptual questions, clarifying central theories, and analyzing the ethical ramifications of our experience of natural beauty.Outlining five major approaches to understanding the aesthetic value of nature, this second edition explores the aesthetic appreciation of nature as it occurs in wilderness, in gardens, and in the context of appreciating environmental art. Now updated to cover recent developments in the field, it includes:· A new chapter on the sublime, the picturesque, and the beautiful· Expanded discussion of empirical and evolutionary accounts of nature appreciation, as well as the appreciation of the environment in non-Western cultures· A new chapter on the aesthetic appreciation of animals· An in-depth analysis of the appreciation of nature through cinema and photography· Discussion of the relation between environmental appreciation and climate change Combining a clear and engaging style with a sophisticated treatment of a fascinating subject, Aesthetics and Nature explores the aesthetic dimension of humanity's relationship with our physical surroundings. This a must-read for anyone who cares about nature and the future of our environment.

The appreciation of nature and natural beauty demands our attention as environmental issues become ever more urgent. In this timely introduction, Glenn Parsons provides an overview of philosophical work on the aesthetics of nature, identifying key conceptual questions, clarifying central theories, and analyzing the ethical ramifications of our experience of natural beauty.Outlining five major approaches to understanding the aesthetic value of nature, this second edition explores the aesthetic appreciation of nature as it occurs in wilderness, in gardens, and in the context of appreciating environmental art. Now updated to cover recent developments in the field, it includes:· A new chapter on the sublime, the picturesque, and the beautiful· Expanded discussion of empirical and evolutionary accounts of nature appreciation, as well as the appreciation of the environment in non-Western cultures· A new chapter on the aesthetic appreciation of animals· An in-depth analysis of the appreciation of nature through cinema and photography· Discussion of the relation between environmental appreciation and climate change Combining a clear and engaging style with a sophisticated treatment of a fascinating subject, Aesthetics and Nature explores the aesthetic dimension of humanity's relationship with our physical surroundings. This a must-read for anyone who cares about nature and the future of our environment.

Building upon her previous work on everyday aesthetics, Yuriko Saito argues in this book that the aesthetic and ethical concerns are intimately connected in our everyday life. Specifically, she shows how aesthetic experience embodies a care relationship with the world and how the ethical relationship with others, whether humans, non-human creatures, environments, or artifacts, is guided by aesthetic sensibility and manifested through aesthetic means.Weaving together insights gained from philosophy, art, design, and medicine, as well as artistic and cultural practices of Japan, she illuminates the aesthetic dimensions of various forms of care in our management of everyday life. Emphasis is placed on the experience of interacting with others including objects, a departure from the prevailing mode of aesthetic inquiry that is oriented toward judgment-making from a spectator’s point of view. Saito shows that when everyday activities, ranging from having a conversation and performing a care act to engaging in self-care and mending an object, are ethically grounded and aesthetically informed and guided, our experiences lead to a good life.

Building upon her previous work on everyday aesthetics, Yuriko Saito argues in this book that the aesthetic and ethical concerns are intimately connected in our everyday life. Specifically, she shows how aesthetic experience embodies a care relationship with the world and how the ethical relationship with others, whether humans, non-human creatures, environments, or artifacts, is guided by aesthetic sensibility and manifested through aesthetic means.Weaving together insights gained from philosophy, art, design, and medicine, as well as artistic and cultural practices of Japan, she illuminates the aesthetic dimensions of various forms of care in our management of everyday life. Emphasis is placed on the experience of interacting with others including objects, a departure from the prevailing mode of aesthetic inquiry that is oriented toward judgment-making from a spectator’s point of view. Saito shows that when everyday activities, ranging from having a conversation and performing a care act to engaging in self-care and mending an object, are ethically grounded and aesthetically informed and guided, our experiences lead to a good life.