Gabriele Taylor presents a philosophical investigation of the 'ordinary' vices traditionally seen as 'death to the soul': sloth, envy, avarice, pride, anger, lust, and gluttony. This complements recent work by moral philosophers on virtue, and opens up the neglected topic of the vices for further study. Whilst in a mild form the vices may be ordinary and common failings, Deadly Vices makes the case that for those wholly in their grip they are fatally destructive, preventingthe flourishing of the self and of a worthwhile life. An agent therefore has a powerful reason to avoid such states and dispositions and rather to cultivate those virtues that counteract a deadly vice.In dealing with individual vices, their impact on the self, and their interrelation, Deadly Vices offers a unified account of the vices that not only encompasses the healing virtues but also engages with issues in the philosophy of mind as well as in moral philosophy, and shows the connection between them. Literary examples are used to highlight central features of individual vices and set them in context.

Drawing on centuries of wisdom from the Christian ethical tradition, this book takes readers on a journey of self-examination, exploring why our hearts are captivated by glittery but false substitutes for true human goodness and happiness. The first edition sold 35,000 copies and was a C. S. Lewis Book Prize award winner. Now updated and revised throughout, the second edition includes a new chapter on grace and growth through the spiritual disciplines. Questions for discussion and study are included at the end of each chapter.

These essays examine the seven deadly sins as cultural constructions in the Middle Ages and beyond, focusing on the way concepts of the sins are used in medieval communities, the institution of the Church, and by secular artists and authors.

Compelling basic principles of economics every citizen should know to enable better personal decision-making and better evaluation of public policy.

This volume opens with the bold suggestion that the seven deadly sins constitute a key to the structure of Inferno and Paradiso, as well as Purgatorio. It ends with a discussion of cowardice (not strictly a deadly sin) in Inferno iii, followed by a look at Dante himself in the light of all the capital vices. In between, each of the seven is focused on in turn. Intellectual pride is cited as the reason for Cavalcanti's absence from the Commedia, while-separately-the pride cantos in Purgatorio are read as a reconstruction of the individual's passage from pride to piety. Envy is located in the political sphere and shown to be almost always figured in conjunction with other vices whose sinful acts it prompts. It is then argued that Dante clarifies problems encountered in medieval attempts to distinguish between just and unjust anger. Sloth in The Divine Comedy is explored next, with particular attention to the poet Statius, its only named exponent. The poet's understanding of avarice is placed in the context of the revived money economy and the papacy's inflated temporal pretensions, while that understanding is, secondly, viewed in relation to the ancient Romans. Gluttony occasions reflection about analogies between the body and the book, as well as remarks about illustrations of the gluttons' aerial bodies in The Divine Comedy's early printed editions. The ambivalence of Dante's principal representations of lust is seen to imply a tension in his great poem between love poetry and spirituality, a tension he seeks to resolve in Beatrice. (Series: UCD Foundation for Italian Studies) [Subject: Literary Criticism, Dante, Italian Studies, The Divine Comedy, Renaissance Italy]

Lust, says Simon Blackburn, is furtive, headlong, always sizing up opportunities. It is a trail of clothing in the hallway, the trashy cousin of love. But be that as it may, the aim of this delightful book is to rescue lust "from the denunciations of old men of the deserts, to deliver it from the pallid and envious confessor and the stocks and pillories of the Puritans, to drag it from the category of sin to that of virtue." Blackburn, author of such popular philosophy books as Think and Being Good, here offers a sharp-edged probe into the heart of lust, blending together insight from some of the world's greatest thinkers on sex, human nature, and our common cultural foibles. Blackburn takes a wide ranging, historical approach, discussing lust as viewed by Aristophanes and Plato, lust in the light of the Stoic mistrust of emotion, and the Christian fear of the flesh that catapulted lust to the level of deadly sin. He describes how philosophical pessimists like Schopenhauer and Sartre contributed to our thinking about lust and explores the false starts in understanding lust represented by Freud, Kinsey, and modern "evolutionary psychology." But most important, Blackburn reminds us that lust is also life-affirming, invigorating, fun. He points to the work of David Hume (Blackburn's favorite philosopher) who saw lust not only as a sensual delight but also "a joy of the mind." Written by one of the most eminent living philosophers, attractively illustrated and colorfully packaged, Lust is a book that anyone would lust over.

Sin, like death, is an unassailable fact of life. It is also one of the last great taboos for public debate. In this compelling book, the Henry Fairlie shows that it is possible and necessary to talk about sin in ways that enrich our societies and our personal lives. Fairlie relates these ancient sins to the central issues of contemporary life: liberal vs. conservative politics, discrimination, pornography, abortion, the vistas of modern science, and especially the pop-psychologies that confirm the narcissism of our age.