S/P/136. Critically discuss Nietzsche's distinction between "master" and "slave" moralities. Is his criticism of morality in general convincing?

The paper examines the ideas of Nietzsche about the morality of masters and slaves reviewing his definitions of the concepts 'master', 'master morality', 'slave', and 'slave morality' and critically analysing Nietzsche's philosophical stance with regard to moral values.

S/P/133. What do slippery slope arguments show about the morality of legalising voluntary euthanasia?

The paper reports on the debate over euthanasia critically reviewing the ideas of John Keown about the legalisation of euthanasia. The ethical aspects of voluntary and non-voluntary euthanasia are discussed focusing on the doctor's role in euthanasia and analysing the objections to Keown's ideas.

S/P/118. Sartre and Mental Imagery: The Phenomenon of 'Quasi-Observation'

This paper deals with Sartre's analysis of the imagination. It particularly deals with the nature of mental imagery and the phenomenon Sartre called 'quasi-observation'. Quasi-observation refers to the fact that mental imagery entertained in the imaginative faculty appears to share some properties with basic perception. Sartre delineates the differences between that which is perceived and that which is imagined. This paper offers a critical analysis of Sartre's account, particularly two central claims. First that one is always certain of the object of one's imagination. Second, that one can never be surprised by that which one imagines.

E/P/24. Ethical aspects of healthcare in Hospice practices

The paper looks at the ethical aspects of healthcare in the US end-of-life care system examining the features of the hospice service, reviewing the theory of distribution of justice, and discussing it in the context of the access to health care in the hospice program. Cultural issues of hospice practices are addressed.

S/P/105. Can the doctrine of double effect aid us in understanding what makes actions morally permissible?

In this essay I will look at whether the doctrine of double effect can help us in understanding what makes actions morally permissible. I will present two arguments that show that although there is a distinction between the intended on the one hand, and foreseen on the other, action, such a distinction may have no relevance on the moral permissibility of an action. Before going on to show that the moral permissibility of an action rather has its basis on the considerations we hold important in each individual and independent conflicting moral case.

S/P/104. Can we solve moral dilemmas?

In this essay I will be looking at whether it is possible to solve moral dilemmas. First of all the paper looks at three views which deny moral dilemmas are irresolvable, the first of these views reinstating the moral dilemma as a practical matter rather than moral one. The second solving the dilemma in terms of defeasible reasons, and final looking to an ethical theory to solve the dilemma. The essay then concludes by showing how such views are wrong in holding that moral dilemmas can be solved, the critic having its basis on both the incommensurability theory and the fact that one is unable to reject a conflicting ought in a moral dilemma.

P/P/348. Post human civilisation: progress or regress?

The paper addresses the issue of the post human civilization brought about by the technological advances. The possibility of manufacturing ËpeopleÌ is argued considering its outcomes, a shift in traditional values, etc. Examples of Ëpost-humanÌ culture representations in literature and films are discussed.

P/L/188. Artificial life and problem of robotsÌ rights

The paper examines ethical and legal issues of artificial intelligence focusing on human life simulation in androids. Various hypothetical approaches to the issue of robotsÌ rights are presented arguing whether robots deserve the same form of rights as humans.

P/B/843. Theoretical and legal approaches to race discrimination

The paper addresses the issue of racial discrimination in the workplace reviewing academic approaches to the ethical aspects of the problem, i.e. RawlsÌs theory of justice, the consequentialist and non-consequentialist theories, KantÌs theory of the ethics of duty, etc. The companyÌs responsibility in promoting race equality is discussed with reference to the Race Relation Act.

S/P/93. Evaluate the view that ethical conservation policy should promote work directed at the protection of habitats rather than species.

This paper looks at whether ethical conservation policy should promote work directed at the protection of habitats or species. Different ethical positions are presented: holistic, life-centred, animal-centred and anthropocentric ethics are all discussed. The viability of habitat protection is also considered.

P/P/322. Philosophic approaches to faith

The paper looks at the theory of Johannes de Silentio concerning various types of characters in relation to faith, i.e. the tragic hero, the knight of infinite resignation, and the knight of faith. The ideas of Silentio are discussed on the basis of his story about a lad and a princess critically reviewing philosophical approaches to ‘selfless care’, marriage, etc.

P/H/83. Attitude to the poor in medieval society

The paper examines the historical processes of the fifteenth century that led to an attitudinal shift towards the poor. Medieval ideas related to poverty, charity, piety, etc. are discussed. Actions supporting the needy in Florentine society are reviewed arguing whether they were aimed at the salvation in the eyes of God rather than at the actual help for the poor.

S/P/66. Do literary works have objective meanings?

In order to accept literary works have objective meanings we must take an intentionalist view, identifying textual meaning with authorial meaning. In this essay, I have argued that the intentionalist viewpoint is subject to much difficulty, and though a role in surely played by intention, it is not to the extent that it would support an objective view of literary work. The argument is supported through discussions of Beardsley’s dismissal of intentionality, and arguments for the alternatives such as IAI (Currie - ‘implied author intentionalism’) and ‘criticism as response’ (Scruton).

S/P/65. What is the role of resemblance in representation?

This essay attempts to differentiate between resemblance and representation in terms their artistic role, and analyses the extent to which the former entails the latter. It argues that resemblance has a relatively limited role to play in the representative qualities of an artwork. This case is made in two ways; firstly, by examining ‘unclear’ cases of representation such as music, and second through the arguments of Goodman. Heidegger’s ‘Idealisation view of Representation’ is also discussed.

S/P/64. In what sense, if any, can a work of music express an emotion?

This essay examines the special place of music in aesthetics, and most importantly where its’ ability to express emotion comes from. Rather than agreeing with Scruton (who claims music is unanalysable), I argue that Budd’s analysis may provide some insights in to the power of music, even if they are not sufficient for a complete theory of expression. The paper also discusses the biographical and evocation arguments for expression theory, before going on to explain Budd’s analysis.

S/P/63. Are works of art physical objects?

This essay examines the debate over whether art exists as a physical or mental object and argues that for any complete description of what a work of art is, there must be at least one conditional characteristic mentioned. Wollheim’s discussion and criticism of the ‘physical object hypothesis’ is outlined, as is the ‘aesthetic object’ formulation. There is further discussion of mentalistic theories as applied to the case of music and ‘sound structures’.

S/P/62. What is the relation between the aesthetic and non-aesthetic properties of an object?

This paper discusses the question of what precisely the relation between the aesthetic and non-aesthetic properties of an artwork is, should some relation exist at all. It argues that the nature of such a relation is very unclear, because of the ambiguity surrounding a definition of an ‘aesthetic quality’. Without a clear definition of such a concept it is therefore very difficult to argue forcefully either for or against supervenience of non-aesthetic properties on aesthetic ones. The thoughts of Hume, Kant, Sibley, Stahl and Goodman on this subject are all discussed.

S/P/61. 'Beauty - reason or sentiment?' Discuss.

This paper discusses David Hume’s position on aesthetics, and specifically his views on the respective roles of reason and passion/sentiment in criticism. The main difficulty for Hume is squaring his subjectivist position with the realisation that reason must have some role to play in analysing beauty. His solution is the formation of a ‘Standard of Taste’, and this essay argues that his arguments for such a standard run in to a number of problems.

S/P/56. Are there any good reasons for thinking that the aesthetic attitude is a myth?

This paper discusses the cases for and against the existence of an aesthetic attitude or ‘appropriate’ manner of attending to art. It discusses the views of Schopenhauer and Kant in terms of their emphasis on ‘disinterest’, contrasting these views with more contemporary philosophical standpoints. I have argued that Scruton’s ‘readiness of imagination’ ideas and the institutional perspective of Dickie are also crucial elements in the story of any aesthetic attitude, and go to show that such a concept is at best limited.

S/P/55. Are there any limits as to what can count as a work of art?

This paper argues that there is no convincing ‘definition’ for art in a classificatory sense, and as such we are not able to conclusive set limits on what can be termed as art. However, perhaps by involving an evaluative sense to a definition of an artwork, clearer boundaries could be postulated. In making this argument, various tactics for defining art are discussed; Wollheim’s ‘common characteristics’, Bell’s ‘formalist theory’, intuitionist theory and Dickie’s ‘institutional theory of art’. The strengths and flaws of each are discussed and compared.

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