This essay suggests that common themes in recent feminist ethical thought can dislodge the guiding assumptions of traditional theories of free agency and thereby foster an account of freedom which might be more fruitful for feminist discussion of moral and political agency. The essay proposes constructing that account around a condition of normative-competence. It argues that this view permits insight into why women's labor of reclaiming and augmenting their agency is both difficult and possible in a sexist society.

How can any of my actions genuinely be my own? How can they be more than just intentional performances, with whatever investment of my will that involves, but also belong to me in the special way that makes me autonomous in performing them? How, in other words, can any of my actions be my own in such a way that they arise from or manifest my capacities for self-governance? -/- The literature on autonomous agency employs a number of metaphors to (...) characterize the difference between merely intentional action and action that is, in the fullest sense, the agent's own. Harry Frankfurt's metaphors are among the most vivid and compelling. A person who acts autonomously genuinely “participates” in the operation of her will, as opposed to being “estranged” from herself or being “a helpless or passive bystander to the forces that move” her. Agents who act intentionally but without autonomy do not do what they “really want” to do; their effective volitions are “external to” or “outside” them. The pervasive notion in this literature that persons who are autonomous in acting act upon wills that are fully their own or that really belong to them suggests an initial answer to the questions with which the chapter opened. I am autonomous in acting just when I take ownership of my actions, or at least have the unimpeded capability to take ownership of what I do and regularly exercise that capability. (shrink)

We can understand much, perhaps most, of our thinking and speaking about persons’ powers, capabilities, capacities, skills, and competences to act as employing a particular concept of ability. This concept is so pervasive in discourse about these matters that it is appropriately called the ordinary notion of ability. However, the pervasiveness of this concept does not mean that we clearly comprehend its content or readily distinguish it from the many other senses of ability with which we can be concerned.The ordinary (...) notion of ability is properly distinguished by two features. First, one's performing an action intentionally at a certain time is sufficient for one's having the ordinary ability at that time to perform that action. The ordinary ability to do something is an ability to do it intentionally. (shrink)

This essay attempts to develop an account of the abilities which free action involves. I argue that the notion of ability which is especially relevant for the purpose of understanding free action is correctly given a compatibilist interpretation. More importantly, it turns out that persons who act freely have the ability to do otherwise than they do. Acting with the ability to do otherwise is not a distinctive mark of free action, however, since anyone who merely acts intentionally possesses that (...) ability. The central idea of this essay emerges as a result of this conclusion: I suggest that we will better understand free action if we abandon the traditional emphasis on free agents' ability to do otherwise and look instead to their ability to criticize courses of action in light of applicable normative standards. ;This suggestion yields two conditions of freedom. The first is that persons act freely only if they competently criticize the courses of action they perform or have control over their failure to do so. The second condition states that persons act freely only if they have control over whether or not they act as they do. They have this control just in case their conduct is counterfactually controllable through certain practical judgments they might arrive at were they to reflect critically on their actions. ;The first condition of freedom is particularly interesting because it shows freedom of action to be a normative notion. The second condition and the accompanying account of control are of especial interest in virture of the challenges which the possibilities of overdetermined action and weak-willed action pose for them. I use the notion of linked counterfactual dependence to address the challenge of overdetermination. The necessarily exceptional character of weak-willed action allows my account to distinguish weakness of will from psychological compulsion. ;I further propose that the two conditions of freedom afford a fruitful characterization of responsibility as liability to one sort of criticism. (shrink)

We can understand much, perhaps most, of our thinking and speaking about persons’ powers, capabilities, capacities, skills, and competences to act as employing a particular concept of ability. This concept is so pervasive in discourse about these matters that it is appropriately called the ordinary notion of ability. However, the pervasiveness of this concept does not mean that we clearly comprehend its content or readily distinguish it from the many other senses of ability with which we can be concerned.The ordinary (...) notion of ability is properly distinguished by two features. First, one's performing an action intentionally at a certain time is sufficient for one's having the ordinary ability at that time to perform that action. The ordinary ability to do something is an ability to do it intentionally. (shrink)

Through engaging interviews, testimonials, and anecdotes from photographers, curators, printers, and colleagues, Object Lesson: On the Influence of Richard Benson pays homage to a legendary figure whose name is synonymous with the evolving history and philosophy of photographic reproduction. From making platinum prints for Paul Strand and books with Lee Friedlander to his own experiments with inkjet and digital offset processes, and as a teacher and dean of the Yale School of Art, by the time of his death (...) in 2017, Benson had inspired over three decades of students and artisans through his mentorship and work. In words and images, Object Lesson stands as a testament to Benson's wit, wisdom, and incomparable obsession with how photographic images render and connect us to the world. (shrink)

Moral psychology studies the features of cognition, judgement, perception and emotion that make human beings capable of moral action. Perspectives from feminist and race theory immensely enrich moral psychology. Writers who take these perspectives ask questions about mind, feeling, and action in contexts of social difference and unequal power and opportunity. These essays by a distinguished international cast of philosophers explore moral psychology as it connects to social life, scientific studies, and literature.

Norman Wirzba, Bruce Ellis Benson, and an international group of philosophers and theologians describe how various expressions of philosophy are transformed by the discipline of love. What is at stake is how philosophy colors and shapes the way we receive and engage each other, our world, and God. Focusing primarily on the Continental tradition of philosophy of religion, the work presented in this volume engages thinkers such as St. Paul, Meister Eckhart, Kierkegaard, Husserl, Heidegger, Ricoeur, Derrida, Marion, Zizek, (...) Irigaray, and Michele Le Doeuff. Emerging from the book is a complex definition of the wisdom of love which challenges how we think about nature, social justice, faith, gender, creation, medicine, politics, and ethics. (shrink)

Bruce Ellis Benson puts forward the surprising idea that Nietzsche was never a godless nihilist, but was instead deeply religious. But how does Nietzsche affirm life and faith in the midst of decadence and decay? Benson looks carefully at Nietzsche's life history and views of three decadents, Socrates, Wagner, and Paul, to come to grips with his pietistic turn. Key to this understanding is Benson's interpretation of the powerful effect that Nietzsche thinks music has on the (...) human spirit. Benson claims that Nietzsche's improvisations at the piano were emblematic of the Dionysian or frenzied, ecstatic state he sought, but was ultimately unable to achieve, before he descended into madness. For its insights into questions of faith, decadence, and transcendence, this book is an important contribution to Nietzsche studies, philosophy, and religion. (shrink)