Authorial Ethics is a normative study that deals with the many ways in which writers abuse their commitment to truth and integrity. It is divided by academic discipline and includes chapters on journalism, history, literature, art, psychology, and science, among others. Robert Hauptman offers generalizations and theoretical remarks exemplified by specific cases. Two major abrogations are inadvertent error and purposeful misconduct, which is subdivided into falsification, fabrication, and plagiarism. All of these problems appear in most disciplines, although their negative impact is felt most potently in biomedical research and publication. Professor Mary Lefkowitz, the classicist, provides an incisive foreword.
The ethics of literature, formalists have insisted, resides in the moral quality of a character, a story, perhaps the relation between author and reader. But in the wake of deconstruction and various forms of criticism focusing on difference, the ethical question has been freshly negotiated by literary studies, and to this approach Adam Newton brings a startling new thrust. His book makes a compelling case for understanding narrative as ethics. Assuming an intrinsic and necessary connection between the two, Newton explores the ethical consequences of telling stories and fictionalizing character, and the reciprocal claims binding teller, listener, witness, and reader in the process. He treats these relations as defining properties of prose fiction, of particular import in nineteenth- and twentieth-century texts. Newton's fresh and nuanced readings cover a wide range of authors and periods, from Charles Dickens to Kazuo Ishiguro and Julian Barnes, from Herman Melville to Richard Wright, from Joseph Conrad and Henry James to Sherwood Anderson and Stephen Crane. An original work of theory as well as a deft critical performance, Narrative Ethics also stakes a claim for itself as moral inquiry. To that end, Newton braids together the ethical-philosophical projects of Emmanuel Levinas, Stanley Cavell, and Mikhail Bakhtin as a kind of chorus for his textual analyses--an elegant bridge between philosophy's ear and literary criticism's voice. His work will generate enormous interest among scholars and students of English and American literature, as well as specialists in narrative and literary theory, hermeneutics, and contemporary philosophy. Table of Contents: Acknowledgments Abbreviations Narrative as Ethics Toward a Narrative Ethics We Die in a Last Word: Conrad's Lord Jimand Anderson's Winesburg, Ohio Lessons of (for) the Master: Short Fiction by Henry James Creating the Uncreated Features of His Face: Monstration in Crane, Melville, and Wright Telling Others: Secrecy and Recognition in Dickens, Barnes, and Ishiguro Conclusion Notes Index Reviews of this book: Newton's book will become a pivotal text in our discussions of the ethical implications of reading. He has taken into account a great deal of prior work, and written with judgment and wisdom. --Daniel Schwartz, Narrative Reviews of this book: Newton offers elegant, provocative readings of texts ranging from The Rime of the Ancient Mariner to Winesburg, Ohio, The Remains of the Day, and Bleak House...Newton's book is a rich vein of critical ore that can be mined profitably. --Choice Reading Narrative Ethics is a powerful experience, for it engages not just the intellect, but the emotions, and dare I say, the spirit. It stands apart from recent books on ethics in literature by virtue of its severe insistence o its allegiance to an alternative ethical tradition. This alternative way of thinking--and living--has its roots in the work of the Jewish philosopher Emmanuel Levinas and finds support in the writings of Mikhail Bakhtin and Stanley Cavell...Stories, Newton asserts, are not ethical because of their morals or because of their normative logic. They are ethical because of the work they perform, in the social world, of binding teller, listener, witness, and reader to one another...This is a work of passion, integrity, commitment, and mission. --Jay Clayton, Vanderbilt University Newton probes with admirable subtlety the key question: what do we gain--and what dangers do we run--when we fully enter the life of an 'other' through that 'other's' story? We have here a rare combination of deep and learned critical acumen with passionate love for literature and sensitivity to its nuances. --Wayne C. Booth, University of Chicago Adam Zachary Newton writes with illuminating passion. Drawing on writers as diverse as Conrad and Henry James, Melville and Sherwood Anderson, Bakhtin and Levinas, he asks what it is to turn one's life into a story for another, and what it is to respond to, or avoid the claim of, another person's narration. He has written a wonderful, important book. --Martha Nussbaum, University of Chicago
The ethical question is the question of our times. Within critical theory, it has focused on the act of reading. This original and courageous study reverses the terms of inquiry to analyse the ethical composition of the act of writing.
Reader as Accomplice: Narrative Ethics in Dostoevsky and Nabokov argues that Fyodor Dostoevsky and Vladimir Nabokov seek to affect the moral imagination of their readers by linking morally laden plots to the ethical questions raised by narrative fiction at the formal level. By doing so, these two authors ask us to consider and respond to the ethical demands that narrative acts of representation and interpretation place on authors and readers. Using the lens of narrative ethics, Alexander Spektor brings to light the important, previously unexplored correspondences between Dostoevsky and Nabokov. Ultimately, he argues for a productive comparison of how each writer investigates the ethical costs of narrating oneself and others. He also explores the power dynamics between author, character, narrator, and reader. In his readings of such texts as “The Meek One” and The Idiot by Dostoevsky and Bend Sinister and Despair by Nabokov, Spektor demonstrates that these authors incite the reader’s sense of ethics by exposing the risks but also the possibilities of narrative fiction.
The field of information ethics (IE)--a subdivision of ethics--was developed during the 1980s, originating and maturing in library science and slowly working its way into other disciplines and practical applications. Some years later, a secondary field emerged, emphasizing theoretical and philosophical concepts, with little focus on real-world applicability. The first of its kind, this comprehensive overview of IE evaluates the production, dissemination, storage, accessing and retrieval of information in an ethical context in areas including the humanities, sciences, medicine and business. A leading figure in the field, the author is concerned with misconduct (falsification, fabrication, plagiary), peer review, the law, privacy, imaging and robotics, among other matters.
"My primary concern is with the ethics of representing vulnerable subjects—persons who are liable to exposure by someone with whom they are involved in an intimate or trust-based relationship, unable to represent themselves in writing, or unable to offer meaningful consent to their representation by someone else.... Of primary importance is intimate life writing—that done within families or couples, close relationships, or quasi-professional relationships that involve trust—rather than conventional biography, which can be written by a stranger. The closer the relationship between writer and subject, the greater the vulnerability or dependency of the subject, the higher the ethical stakes, and the more urgent the need for ethical scrutiny."—from the Preface Vulnerable Subjects explores a range of life-writing scenarios-from the "celebrity" to the "ethnographic"—and a number of life-writing genres from parental memoir to literary case studies by Oliver Sacks. G. Thomas Couser addresses complex contemporary issues; he investigates the role of disability in narratives of euthanasia and explores the implications of the Human Genome Project for life-writing practices in any age when many regard DNA as a code that "scripts" lives and shapes identity. Throughout, his book is concerned with the ethical implications of the political and economic, as well as the mimetic, aspects of life writing.
Public health has never been more important, or more controversial. What states do, and fail to do, makes a significant difference to the lives we are able to lead. Putting public health first would allow improvements to the health of everyone, especially the worst off. Yet many citizens actively oppose state interference to improve population health, complaining that it encroaches on personal liberty. How should policymakers reconcile these conflicting priorities? This groundbreaking book argues that philosophy is not just useful, but vital, for thinking coherently about priorities in health policy and public policy. Novel, theoretically rigorous, yet practical, Philosophy for Public Health and Public Policy examines why it is so common for public policies to fail in practice to improve the problems they aim to solve, and what to do about this. It argues that a shift to complex systems approaches to policymaking is overdue. Philosophers need to become much more attuned to the contingency and messiness of real world policymaking, and to the ways in which philosophical tools such as thought experiments are frequently unreliable. This book also provides an ethical framework for public health policy. It argues that public health is a right of citizens, alongside more familiar rights such as liberty and security. Public health should not be thought of merely as interference with the rights that individuals have, but as necessary to protect these rights. Chapters explore implications for resource allocation, personal responsibility, health equity, and the control of communicable disease.
Laurence Lockridge argues that a focus on the ethical dimension of literature is the single most powerful strategy for structuring a writer's work as a whole, and that it can even prove congenial. He gives original, interrelated readings of eight major British Romantic writers.
Artistic Creation and Ethical Criticism investigates an idea that underpins the ethical criticism of art but is rarely acknowledged and poorly understood - namely, that the ethical criticism of art involves judgments not only of the attitudes a work endorses or solicits, but of what artists do to create the work. The book pioneers an innovative production-oriented approach to the study of the ethical criticism of art, one that will provide a refined philosophical account of this important topic as well as conceptual tools that can guide future philosophizing and criticism.
Simon Critchley's first book, 'The Ethics of Deconstruction', was originally published to great acclaim in 1992. It was the first book to argue for the ethical turn in Derrida's work and to show as powerfully as possible how deconstruction has persuasive ethical consequences that are vital to our thinking through of questions of politics and democracy. This new edition contains three new appendixes and a new preface where Critchley reflects upon the origins, motivation and reception of 'The Ethics of Deconstruction'.
