Literature and Ethics

Quixote is a caricature of a knight errant; steeped into his fictional heroes, he undertakes to revive a tradition long dead, and in the process leaves behind some unforgettable images of knightly virtue turned sour. This caricature, however, is not simply a ploy meant to arouse laughter, but also an occasion to revisit the emphasis on knowledge and good sense with which virtue has been aligned in the Socratic/Platonic tradition. The challenge Quixote represents concerns the relation between reasoning and the (...) ability to “get it right” in practice; by sundering these apart, Cervantes forces a reconsideration of the unity of thought and action. (shrink)

This paper explores jealousy in Unamuno’s drama El otro. Drawing on contemporary philosophy of emotion, I will argue that for the Spanish author jealousy gives the subject a sense of self. The paper begins by embedding Unamuno’s philosophical anthropology in the context of contemporary emotion theory. It then presents the drama as an investigation into the affective dimension of self-identity. The third section offers an analysis of jealousy as an emotion of self-assessment. The final section discusses how this drama can (...) be regarded as a piece of philosophical work. (shrink)

The topic of my dissertation is satire. This seems to excite many people, and over the past four years I have heard many variations of a similar refrain: “Oh, wow. You’re studying satire? That’s very topical. You must have a lot of material to work with.” There is a way in which this is true, though I suspect in a way that diverges from the way that most of my interlocutors believed. I suspect that the material they imagined me to (...) be working with was the output of Donald Trump, first a candidate for and now holder of the office of President of the United States. That is not the material I find interesting. More interesting to me is their statement. It evinces a number of beliefs that I find interesting, chief among them that Trump makes the current period particularly apt for satire, as if a doddery and incompetent ruling class is somehow a recent phenomenon. And I suspect that underneath this belief in the aptness of satire is a belief in the power of satire. Satire is somehow how people are going to strike back at the vice-governed fools who rule us. Those beliefs are the material I want to work with. This is my interest in satire, then: not so much what it is about satire that makes it powerful, but what is it about satire that makes people think it is powerful? And what is it about satire that makes people think it is powerful when there is pretty powerful evidence that it is not? Unfortunately, here is where I run into the problem that in a very important way I do not have a lot of material to work with. There is not an awful lot on satire within the analytic tradition: outside of a few references to satire, analytic discussions of satire are limited to two short articles. Accordingly, I have taken the task of my dissertation to be to create an account of satire that helps to bring forward why satire is a thing that people can imagine to be powerful, that they can imagine to be politically effective. My dissertation will effectively have two halves, one where I build my account and one where I begin to apply it. The purpose of applying my account, which will comprise the final two chapters, will not be to show its implications so much as how it can be used. My goal will not so much be to give definitive answers about the nature of satire, but rather to give a demonstration of how my account facilitates engaging questions about the role of satire in social and political context. (shrink)

The nature and consequences of readers’ affective engagement with literature has, in recent years, captured the attention of experimental psychologists and philosophers alike. Psychological studies have focused principally on the causal mechanisms explaining our affective interactions with fictions, prescinding from questions concerning their rational justifiability. Transportation Theory, for instance, has sought to map out the mechanisms the reader tracks the narrative experientially, mirroring its descriptions through first-personal perceptual imaginings, affective and motor responses and even evaluative beliefs. Analytical philosophers, by contrast, (...) have largely focussed on the problems fiction poses for traditional theories of rationality (as in the ‘Paradox of Fiction), challenging fiction’s wider epistemic value. The result has been a theoretical impasse in which the power of fiction to affectively ‘transport’ a reader is at once often lauded (by psychologists) as a privileged route to interpersonal understanding, and condemned (by philosophers) as an abdication of the authority of reason. This chapter surveys some of the central claims on both sides, tracing the source of the debate to competing conceptions of rationality. (shrink)

Why do things happen as they do in the universe of Oedipus Tyrannus, consisting of the play itself coupled with the myth that surrounds and informs it? Why is Oedipus fated to kill his father and marry his mother? What part does Oedipus play in his own destruction? What role do divinities play? And what of human free will? In what follows I consider the power of curses, prophecy, prayer, fate, the gods, and human self-determination as they serve to effect (...) the action.Generally accepted is the notion that the Greek audience knew the Oedipus myth before entering the theater. Sophocles's use of dramatic irony depends on this. But where does the myth begin? Sophocles starts in medias res with the plague, but the myth... (shrink)

During his period of exile in Scandinavia, Bertolt Brecht wrote “I don’t think the traditional form of theatre means anything any longer. Its significance is purely historic; it can illuminate the way in which earlier ages regarded human relationships […] [but] a modern spectator can’t learn anything from them”. To create a modern theatre fit for a modern audience, Brecht holds that not only would the content of plays have to change, but the experience of theatrical spectatorship itself. To fully (...) capture how Brecht’s work differs from that of previous playwrights, a close analysis of spectatorial experience and perception is required. In this paper, I compare the aesthetic techniques used in Brecht’s epic theatre to the genetic phenomenology of Edmund Husserl. Reading Brecht’s Verfremdungseffekt through a Husserlian lens, I argue that Brecht mobilizes phenomenological methodology in order to suspend the audience’s preconceived notions of theatre and to cultivate self-conscious, critically aware, and socially motivated spectatorship. Just as Husserl describes phenomenology as a presuppositionless science, so too does Brecht offer epic theatre as a way to free “[…] socially-conditioned phenomena from the stamp of familiarity”. (shrink)

In recent decades, the philosopher William Desmond has offered both insightful readings of individual tragedies and a striking reformulation of old Aristotelian standbys like hamartia and catharsis. This reformulation grows out of his wider philosophy of the “between,” which stresses humans’ fundamental receptivity or “porosity.” For Desmond, tragedy strips away characters’ self-determination and returns them to porosity. The audience is returned to porosity as well, a process of exposure that can be harrowing, and at times leads to despair, but that (...) can also lead, in Desmond’s take on catharsis, to a renewed sense of the worth of fragile beings. Both tragic “being at a loss” and catharsis are important for philosophy because they resist determinate conceptualization. Tragedy reminds philosophy of its limits, and it challenges philosophy to attend to the intimate and the singular. This essay situates, synthesizes, and extends Desmond’s many reflections on tragedy. It focuses in particular on Shakespeare's Macbeth and King Lear. (shrink)

We offer an account of the generic use of the term “porn”, as seen in recent usages such as “food porn” and “real estate porn”. We offer a definition adapted from earlier accounts of sexual pornography. On our account, a representation is used as generic porn when it is engaged with primarily for the sake of a gratifying reaction, freed from the usual costs and consequences of engaging with the represented content. We demonstrate the usefulness of the concept of generic (...) porn by using it to isolate a new type of such porn: moral outrage porn. Moral outrage porn is representations of moral outrage, engaged with primarily for the sake of the resulting gratification, freed from the usual costs and consequences of engaging with morally outrageous content. Moral outrage porn is dangerous because it encourages the instrumentalization of one’s empirical and moral beliefs, manipulating their content for the sake of gratification. Finally, we suggest that when using porn is wrong, it is often wrong because it instrumentalizes what ought not to be instrumentalized. (shrink)

One of the vexed questions in the philosophy of wonder and indeed education is how to ensure that the next generation harbours a sense of wonder. Wonder is important, we think, because it encour- ages inquiry and keeps us as Albert Einstein would argue from ‘being as good as dead’ or ‘snuffed-out candles’ (Einstein 1949, 5). But how is an educator to install, bring to life, or otherwise encourage a sense of wonder in his or her stu- dents? Biologist Rachel (...) Carson suggests that exploring nature and specifically undertaking walks along the rocky coast of Maine would keep alive a person’s inborn sense of wonder (Carson 1984). Philosopher Jesse Prinz thinks that exposure to art will encourage wonderment because artworks, as he puts it, are “inventions for feeding the appetite that wonder excites in us” (Prinz 2013). Weird fiction (a subgenre of speculative fiction) – and in particular the work of one of its greatest exponents, the early-20th-century American author How- ard Phillips Lovecraft – is likewise a catalyst for wonder. The reason behind this is that Lovecraft’s ‘wonder-stories’ are densely packed with wonder per design; and in support of this claim I shall in what is to come 1) provide a brief introduction to Lovecraft and weird fiction; 2) present a working definition of wonder; and 3) clarify what is meant by something being ‘densely packed with wonder’ via bringing to the fore evidence of Lovecraft’s literary wonder- mongery. The paper ends with some reflections on the notion of ‘dark wonder’, why this peculiar label might be suitable for the kind of wonder we find in Lovecraft’s work, and why exposure to ‘dark wonder’ can be edifying, and in that sense educational. (shrink)

Che ne dite di una diversa ripercorrere i ricchi e i famosi? Prima l'ovvio: i romanzi di Harry Potter sono una superstizione primitiva che incoraggia i bambini a credere nella fantasia piuttosto che assumersi la responsabilità per il mondo, ovviamente. JKR è altrettanto all'oscuro di se stessa e del mondo come la maggior partedelle persone , macirca 200 volte più distruttivo come l'americano medio e circa 800 volte più di cinese medio. È stata responsabile della distruzione di forse 30.000 ettari (...) di foresta per produrre questi romanzi spazzatura e tutta l'erosione che ne deriva (non banale come'è almeno 6 e forse 12 tonnellate / anno suolo nell'oceano per tutti sulla terra o forse 100 tonnellate per americano, e così circa 5000 tonnellate / anno per i libri e mov ies Rowlinge isuoi 3 bambini). La terra perde almeno l'1% del suo suolo superiore ogni anno, così come si avvicina a 2100, la maggior parte della sua capacità di coltivazione alimentare sarà andato. Poi c'è l'enorme quantità di carburante bruciato e rifiuti fatti per fare e distribuire i libri e film, bambole di plastica, ecc. Dimostra la sua mancanza di responsabilità sociale producendo figli piuttosto che usare i suoi milioni per incoraggiare la pianificazione familiare o acquistare la foresta pluviale, e promuovendo la tradizionale stupidità liberale della terza supremazia mondiale che sta distruggendo la Gran Bretagna, l'America, il mondo e il futuro del suo discendente. Certo, non è poi così diversa dalle altre 7. 8 miliardi all'oscuro - solo più rumoroso e più distruttivo. È il problema nessun pranzo gratuito scritto grande. La folla proprio non può vedere che non esiste una cosa come aiutare una persona senza danneggiare gli altri. I diritti o i privilegi concessi ai nuovi operatori in un mondo sovraffollato non possono chedim inish quelli degli altri. Nonostante i massicci disastri ecologici che accadono di fronte a loro ovunque ogni giorno, non possono fissarli alla maternità sfrenata del "diverso", che rappresenta la maggior parte dell'aumento della popolazione del secolo scorso e tutto questo in questo. Non hanno una combinazione di intelligenza, istruzione, esperienza e sanità mentale necessarie per estrapolare gli assalti quotidiani alle risorse e al funzionamento della società fino all'eventuale collasso della civiltà industriale. Ogni pasto, ogni viaggio in auto o in autobus, ogni paio di scarpe è un altro chiodo nella bara della terra. Probabilmente non ha mai attraversato la sua mente che un sedile su un aereo da Londra a San Francisco produce circa una tonnellata di carbonio che si scioglie circa 3 metri quadrati di ghiaccio marino e come una delle overprivileged che ha probabilmente volato centinaia di tali voli. Non solo i ricchi e famosi, ma quasi tutti i personaggi pubblici, compresi praticamente tutti gli insegnanti, sono spinti ad essere politicamente corretti, che nelle democrazie occidentali, ora significa socialdemocratico(neomarxista, cioè comunisti diluiti) terzo suprematisti del mondo che lavorano per la distruzione delle loro società e dei loro discendenti. Così, coloro la cui mancanzadiistruzione, esperienza, intelligenza (e buon senso di base), che dovrebbe proibire loro di fare qualsiasi dichiarazione pubblica a tutti, dominano totalmente tutti i media, creando l'impressione che l'intelligente e civile deve favorire la democrazia, la diversità e l'uguaglianza, mentre la verità è che questi sono i problemi e non le soluzioni, e che essi stessi sono i primi nemici della civiltà. Vedere il mio suicidio per democrazia 2nd ed (2019). (shrink)

Как насчет другого взять на богатых и знаменитых? Во-первых, очевидное - романы о Гарри Поттере - это примитивные суеверия, которые побуждают детей верить в фантазию, а не брать на себя ответственность за мир - норма, конечно. JKR как раз как clueless о себе и мире как большинств люди,но около 200 времен как разрушительно как средний американец и около 800 времен больше чем средний китаец. Она несет ответственность за уничтожение, может быть, 30000 гектаров леса для производства этих романов мусора и все (...) эрозии последующем (не тривиально, как этопо крайней мере 6 и, возможно, 12 тонн / год почвы в океан для всех на земле или, может быть, 100 тонн на американских, и так около 5000 тонн / год для книг Роулинг и movies иее 3 детей). Земля теряет по крайней мере 1% своего верхнего слоя почвы каждый год, так как она приближается к 2100, большая часть его потенциала выращивания продуктов питания исчезнет. Тогда есть огромное количество горючего сжигается и отходов, чтобы сделать и распространять книги и фильмы, пластиковые куклы и т.д. Она показывает ее отсутствие социальной ответственности, производя детей, а не использовать ее миллионы для поощрения планирования семьи или скупить тропический лес, а также путем поощрения обычных либеральной глупости 3-го мирового превосходства, что разрушает Великобритании, Америки, мира и будущего ее потомка. Конечно, она не сильно отличается от остальных 7. 8 миллиардов невежественных - просто шумнее и более разрушительным. Это - не бесплатная проблема обеда, большая. Толпа просто не может видеть, что нет такого понятия, как помогать одному человеку, не причиняя вреда другим. Права или привилегии, предоставленные новым абитуриентам в переполненном мире, могут лишь приглушить правадругих. Несмотря на массовые экологические катастрофы, происходящие перед ними повсюду каждый день, они не могут приколоть их к безудержной материнства "разнообразных", что составляет большую часть прироста населения в прошлом веке, и все это в этом. Им не хватает определенного сочетания интеллекта, образования, опыта и здравомыслия, необходимых для экстраполирования ежедневных посягательств на ресурсы и функционирование общества на возможный крах индустриальной цивилизации. Каждая еда, каждая поездка на машине или автобусе, каждая пара обуви является еще одним гвоздем в гроб земли. Он, вероятно, никогда не приходило ей в голову, что одно место на самолете из Лондона в Сан-Франциско производит около одной тонны углерода, который тает около 3 квадратных метров морского льда и в качестве одного из перепривилегированных она, вероятно, пролетел сотни таких рейсов. Не только богатые и известные, но почти любой общественный деятель на всех, в том числе практически все учителя, давление, чтобы быть политически корректным, что в западных демократиях, в настоящее время означает социал-демократической(неомарксистской т.е. разбавленный коммунист) третьего мира превосходства, работающих на уничтожение своих собственных обществ и их собственных потомков. Таким образом, те, у кого не хватаетобразования, опыта, интеллекта (и основного здравого смысла), которые должны запрещать им делать какие-либо публичные заявления вообще, полностью доминируют во всех средствах массовой информации, создавая впечатление, что умные и цивилизованные должны способствовать демократии, разнообразию и равенству, в то время как истина заключается в том, что это проблемы, а не решения, и что они сами являются главными врагами цивилизации. Смотрите мой Самоубийство демократии 2nd ed (2019) и другие. (shrink)

ABSTRACT Mary Shelley (1797–1851) developed a ‘Romantic Spinozism’ from 1817 to 1848. This was a deterministic worldview that adopted an ethical attitude of love toward the world as it is, must be, and will be. Resisting the psychological despair and political inertia of fatalism, her ‘Romantic Spinozism’ affirmed the forward-looking responsibility of people to love their neighbors and sustain the world, including future generations, even in the face of seeming apocalypse. This history of Shelley’s reception of Spinoza begins with the (...) fragment of the otherwise lost translation of the Theologico-Political Treatise (1670) on which she collaborated. It extends through her journals, letters, poetry, and her second great work of speculative fiction after Frankenstein (1818): a post-apocalyptic novel set in the year 2100, The Last Man (1826). Through a creative synthesis of Spinoza with Plato, Cicero, Wollstonecraft, and Glasite Christianity, Shelley developed an anti- apocalyptic conception of love as apocatastasis: a cyclical restoration of an ethical attitude of stewardship toward the whole world and its necessity. Through this recovery of a vital chapter in the history of European ideas, Shelley emerges as a central figure in Spinozan philosophy, especially the ethics and political philosophy of love. (shrink)

In his book Iris Murdoch: The Saint and the Artist, Peter J. Conradi suggests that “a task for critics today would seem to be to understand the indebtedness of her demonic, tormented sinners and saints and of the curious coexistence in her work of malevolence and goodness, to the dark tragi-comedies of Dostoevski.”1 In his 1986 essay “Iris Murdoch and Dostoevskii,” Conradi goes even further to argue that Fyodor Dostoevsky has been “unnoticed by commentators, a hovering or brooding presence for (...) at least two decades.”2 Both here and in his book Fyodor Dostoevsky, Conradi demonstrates “convergence” through a number of remarkable similarities: the parallels between Dostoevsky’s holy... (shrink)

What is the relation between democracy and second nature? What, that is, is the relation between a form of government that places a premium on a people shaping their shared destiny and a people who have been shaped by their past inheritance—an assortment of traditions, customs, perspectives, and practices? Does democracy fundamentally seek to escape custom and practice—the oppressive yoke of tradition—or does it, in fact, depend on a cultural inheritance, a second nature?In many standard accounts, Romanticism frees itself from (...) the encumbrance of tradition and discipline and thereby soars, unshackled, to the lofty heights of subjective expression, unrestrained imagination, and self-creation.1 In this view... (shrink)

I mention this story also as the best method I can advise any person to take in such a case, especially if he be one that makes conscience of his duty, and would be directed what to do in it, namely, that he should keep his eye upon the particular providences which occur at that time, and look upon them complexly, as they regard one another, and as all together regard the question before him: and then, I think, he may (...) safely take them for intimations from Heaven of what is his unquestioned duty to do in such a case; I mean as to going away from or staying in the place where we dwell, when visited with an infectious distemper.Daniel Defoe's fictional narrator H.F. introduces his account of the 1665 plague with the... (shrink)

Both Aristotle and Tolkien are authors of short works seemingly concentrated on one form of literary art. Both works contain references which seem to extend further than that single art and offer insights into the worth and purpose of art more generally. Both men understand the relevant processes of mind of the artist in a similar way, and both distinguish the value of works of art based on their effect on the audience. But Tolkien figures the natural human artistic bent (...) as an elvish strain in us, and in his legends the elves are passing away to make way for the new—human beings. The legendary tales are an image of the natural pagan man giving place to the new man coming to be after Christ. This implies that what Aristotle called the mimetic nature of man—the source of all artistic play and work—is being given a new shape and orientation. Further, the master of those who know, in explicating catharsis, must have been reaching for something that exceeded his grasp and he did not know it. The aim of this essay is to explore the agreements (seeming and real) and disagreements (seeming and real) between what can be built up as each author’s general literary and aesthetic ideas—so, the relation between pagan and Tolkien’s Christian poetics. This will include evaluating where each is more or less adequate to the task of a general aesthetic, ending in an exploration of the purpose of art for the “new man.”. (shrink)

Camus is defined by many as an absurdist philosopher of revolt. The Plague, however, shows him working rigorously through a well-known division between ancient and modern ethics concerning the relation of reason, feeling and happiness. For Aristotle, the virtues are stable dispositions including affective and intellectual elements. For Kant, one’s particular feelings are either that from which we must abstract to judge moral worth, or are a constant hindrance to proper moral activity. Further, Kant claims “habit belongs to the physical (...) nature of the determination of the will,” which seems to imply habit cannot be a moral determination at all. A related disagreement regards virtue and happiness. Aristotle’s happiness is “an activity of the soul in accord with virtue.” For Kant and other moderns, happiness is an ideal of imagination, “a maximum of well-being in my present, and in every future, state,” all the elements of which “are without exception empirical.” Thus happiness seems more the constant counterweight to moral action than its fulfillment. Kant and Aristotle agree, however, in their judgment of many characters and actions, as is illustrated in The Plague. The novel provides realistic insights into a philosophical agreement between these supposed oppositions. In particular, I show how both philosophers would agree in their judgements concerning both the relative goodness and relative happiness of Joseph Grand and Raymond Rambert. The illustration of this agreement proves Camus is valorizing a traditional ethic. (shrink)

Rumi’s story of the elephant in the dark room is the story of the reception of Ralph Waldo Emerson. Depending upon where they have touched, which constitutes their vantage points, commentators have come to believe Emerson to be, among others, the “philosopher of Democracy”, the theologian of the American religion of self-reliance, the philosopher of the ordinary, the “friend and aider of those who live in spirit”, a genteel soul “impervious to the evidence of evil”, or a naïve writer whose (...) essays “are already an encumbrance”. Was Emerson somehow all the above—a man for all seasons or a “Professor of Things in... (shrink)

Mr. Darcy spoke with affectionate praise of his sister's proficiency.I never spoke to you without rather wishing to give you pain than not.Pride and Prejudice has been read in many ways. I argue that this well-known love story not only foregrounds the battle of the sexes but also places center stage the pros and cons of different types of family systems and reciprocal altruism. Humans have long evolved to become homo familiaris. In its Latin origin, the word family does not (...) necessarily refer to blood relations or kinship. Rather, the ancient Romans used familia to refer to "household property—the fields, house, money and slaves owned by a man. The Latin word famulus means 'servant.'"2In Family and Friends in... (shrink)

Suddenly, my research was brusquely interrupted by romance. Conceptually, that is.The precipitant was an essay by Becca Rothfeld about the collected letters of Iris Murdoch, a philosopher at Oxford who strayed, and flourished, as a novelist. “Her scholarly area was ethics, and her primary preoccupation was love, both romantic and platonic,” Rothfeld writes. “This was a topic whose manifest importance she felt was chronically neglected by her peers, most of them analytic philosophers.”1Murdoch is right, I thought. Socrates and friends, lolling (...) around the Symposium talking about beauty and boys, downplayed the physical side of romantic love. Dante chastely chased his beloved Beatrice into... (shrink)

Is it possible to forgive oneself? If so, should the person who has done so, for a serious wrongdoing, be fully at peace with herself? Some philosophers, perhaps most famously Hannah Arendt, have denied the coherence of the very idea of self-forgiveness.1 Others, such as Charles Griswold, have recognized it as both coherent and important: a distinct phenomenon from accepting the forgiveness of others, and vital in circumstances where seeking such forgiveness is morally problematic. Yet Griswold still holds self-forgiveness to (...) fall short of what he calls "paradigmatic" forgiveness.2 One of the key ideas behind this article is that part of the problem with understanding self-forgiveness is a mistaken tendency to... (shrink)

Dedicated to the memory of Professor David Knight, a great storytellerRing the bells that still can ring Forget your perfect offering There is a crack in everything That's how the light gets in.In his "Thoughts on Poetry and Its Varieties,"2 John Stuart Mill suggests that an interest in narrative—plain, unadorned narrative for narrative's sake—betrays an uncultivated mind, and is at its most prominent in what he regards as unsophisticated cultures. Mill holds that literature can have two components: description of "outward (...) circumstances," consisting of narrative, chronological portrayals of events; and description of "inner feelings," conveyed poetically. These elements may be present in the same piece... (shrink)

In Romeo and Juliet, William Shakespeare examines the relationship of the political realm to the things that are outside or beyond politics: family, society, religion, friendship, and love. The play is thus a work of political philosophy, and no less so because it is a work of art in which these things are portrayed concretely through the relationships of the play's characters. The difficulties of interpreting the play are due in part to its aesthetic particularity, but more to the familiarity (...) of its plot, the common understanding of which has been shaped by misleading statements made by the Chorus. The Chorus is persuasive, but wrong: the Capulets and Montagues are not "both alike in dignity" ;1 Romeo... (shrink)

Skepticism about other minds is typically presented as a straightforwardly epistemological thesis. Eliminativism about folk psychology is typically presented as a straightforwardly metaphysical thesis. But having moral status entails having, or having had, some mental states. And relating to persons as persons presupposes the application of folk-psychological concepts. So neither view can be divorced from ethics.Mary likes watching others. She always has. "Stop," her mother said. "It's rude.""What's rude?""Staring like that. Making people uncomfortable.""How do you know they're uncomfortable?""Because they just (...) are.""But how do you know they're uncomfortable unless you stare at them?""Enough."They were in a... (shrink)

Beauty is truth, truth beauty.If this epigraph only rarely escapes English class, something like it has fascinated philosophers for a long time. Iris Murdoch remembers that "Kant said that beauty was an analogon of good, Plato said it was the nearest clue."2 I want to go further and posit that our means of perception of the aesthetic and the ethical share an organic connection, an understanding of which will help elucidate moral perception, a critical component of moral education.Or moral education (...) as it should be. But what currently counts as such is, directly or almost directly, simple instruction. I ask why this does not work. I ask why Jane Austen said, "We all love to instruct, though we can teach only what is... (shrink)

In her 1890 short story “Louisa,” Mary Wilkins Freeman explores nepotistic interference with female mate selection. Twenty-five-year-old Louisa Britton is pressured by her mother to marry against her inclinations, that is, to accept a suitor whom she does not “like.”1 The focal point of Freeman’s plot is the ensuing mother-daughter conflict, an evolutionarily significant issue that invites readers to consider the questions it raises in larger terms: What motivates parents to interfere with a daughter’s mating decisions? Is a parent’s assessment (...) of potential mates likely to be more accurate than that of the young woman herself? Is parental advice typically helpful—and, if so, helpful to whom? What are the potential... (shrink)

This contribution addresses issues of interpretation and translation in Derrida’s reading of Shakespeare’s Merchant of Venice in relation to the supposed opposition of the letter and the spirit of the law. Rather than supporting a supersession of the law’s letter in favor of its spirit and advocating a sublation of the law by means of mercy, as a traditional reading suggests, this essay’s reading of Shakespeare’s play suggests that it deconstructs the underlying opposition. By linking the insistence on “the letter (...) of the law” not to a kind of literalism or blind compliance with the law, but instead to an insistence on the textuality of the law, such a reading elucidates the law’s need for interpretation and highlights how the attempt to surpass the letter of the law involves a threat of a fundamental injustice. (shrink)

To Wayne Booth it was clear, authors seek to exert control and writers like Jane Austen endeavor to satisfy this imperative through rhetorical techniques that may include the creation of a wise male figure who can be counted upon to provide the necessary guidance for flawed heroine and reader alike. We require help "to direct our reactions," and thus throughout Austen's novel Emma, her hero and "chief corrective," Mr. Knightley, stands in the reader's mind for what Emma lacks.1 Subsequent scholars (...) have questioned Booth's interpretation of Mr. Knightley's role and narrative status, and the subtitle of Mary Waldron's influential essay—"The Confusions of Mr. Knightley"—anticipates her views on the subject.2In... (shrink)

Our moral lives are replete with acts of autobiographical story-telling. The stories we tell are intended to help others understand what we do by helping them understand “who we are” in a practical or normative sense. The act of addressing one’s stories to an audience, however, is as likely to destabilize as it is to confirm one’s understanding of “who one is”. Drawing on themes in Wally Lamb’s novel I Know This Much is True, I offer a dialogical account of (...) narrative self-transformation, and articulate a conception of forgiveness understood as compassionate acceptance of ourselves (and others) as fallible self-narrators. (shrink)

Did Plato see something that Aristotle missed? According to a familiar narrative, Plato regarded literature as dangerous to the aims of philosophy, and he accordingly exiled the poets from his ideal republic. By contrast, Aristotle is supposed to have reconciled literature and philosophy, not only through his appreciative account of epic and tragedy in the Poetics but also through his invocations of literary examples at crucial junctures elsewhere in his corpus, for example his use of the Trojan legend of Priam (...) in the Nicomachean Ethics.In this... (shrink)

This thesis comprises a study of the ethical thought of Iris Murdoch with special emphasis, as evidenced by the title, on how morality is intimately connected to self-improvement aiming at perfection and how the study of fiction has an important role to play in our strive towards bettering ourselves within the framework set by Murdoch’s moral philosophy.

Ever since Jonathan Bennett wrote about Huckleberry Finn's conscience in 1974, Mark Twain's young hero has played a small but noteworthy role in the moral philosophy and moral psychology literature. Following Bennett, philosophers read Huck as someone who consistently follows his heart and does the right thing in a pinch, firmly believing all the while that what he does is morally wrong.1 Specifically, according to this reading, Huck has racist beliefs that he never consciously questions; but in practice he consistently (...) defies those beliefs to do the right thing in the context of his relationship with his Black companion, Jim. Because of this, Huck is morally admirable, but unusual. Perhaps he is an "inverse... (shrink)

I am going to discuss two fictional characters, each of whom embodies opposite reactions to the problem of moral luck identified by Thomas Nagel and Bernard Williams. The two characters are Noah Cross, played by John Huston in Roman Polanski's film Chinatown, and Father Zosima from Fyodor Dostoyevsky's novel The Brothers Karamazov. Cross takes the existence of moral luck as a reason to fly from moral responsibility. Zosima leaps in the opposite direction, toward unlimited moral responsibility. The responses are the (...) same to the extent that each embodies an alternative and a challenge to normative ethics. However, Zosima's ethic of universal responsibility and altruism is opposed in practice and sentiment to Cross's... (shrink)

How can stories contribute to ethical education, when they reach people who have already been shaped by many stories, including ethically problematic ones? This question is pursued here by considering Plato’s allegory of the cave, focusing on a reading of it offered by Jonathan Lear. Lear claims that the cave allegory aims to undermine its audience’s inheritance of stories. I question the possibility and desirability of that project, especially in relation to ethical education. Some works of contemporary fiction by Jenny (...) Erpenbeck and J. M. Coetzee are discussed as stories that use more complex strategies for ethically constructive engagement with story-saturated audiences. (shrink)

The post-Holocaust suicide of a concentration camp survivor is particularly unsettling. One thinks, for instance, of Cliff Stern's devastated response to Professor Louis Levy's death in Woody Allen's movie Crimes and Misdemeanors. Loosely based on Primo Levi, Allen's professor provides in short documentary clips an astute analysis of the contradictions of a loving God in the Old Testament and stoically counsels embracing life despite the indifference and occasional cruelty of the universe. Having experienced, understood, and accepted the absurdity and injustice (...) of life, Levy, one might think, would rage to the bitter end against the dying of the light. But for no apparent reason, he kills himself. Cliff's response... (shrink)

The Theaetetus's midwifery metaphor is well-known; less discussed is the brief passage accusing Socrates of behaving like Antaeus. Are philosophers midwives or monsters? Socrates accepts both characterizations. This passage and Socrates's acceptance of the metaphor creates a tension in the text, birthing a puzzle about how readers ought to understand the figure of the philosopher. Because metaphors play a pivotal role in the dialogue's ethical project, the puzzle presents not simply a textual tension but a question of how and why (...) to be a philosopher. (shrink)

This important new book provides an original and compelling argument for a new theory of aesthetic education. Rafe McGregor proposes a model of interdisciplinary inquiry, applying a combined philosophical and critical approach to illuminate issues in a social science. The book makes an original contribution to the field of narrative criminology.

Історія публікації текстів у 1920-х рр., вивчення механізмів «спотворення» їх органами цензури порушує важливі текстологічні проблеми – відтворення оригінального авторського тексту, який часто виявляється захованим за владною розправою редактора та цензора. У цій статті ми подаємо деякі матеріали з Центрального державного архіву вищих органів влади України, які стосуються літературного життя 1927 року. Це документи, які можуть бути цікаві для реконструкції певних аспектів творчості українських письменників, уточнення їхніх біографічних даних. Це заява Володимира Свідзінського щодо видання його книжки «Вересень» (1927) та внутрішня (...) рецензія політредактора на неї. Це уривки статті-передмови Максима Рильського «Міцкевич» до перекладеного ним твору А. Міцкевича «Пан Тадеуш» (1927). Також у статті наведено матеріал щодо вилучення деяких уривків з передмови Андрія Ніковського до повісті Проспера Меріме «Коломба» (1927) та вилучення уривків із двох передмов Михайла Івченка до перевидань збірки оповідань Марка Вовчка (1927) та збірки оповідань Панаса Мирного (1927). (shrink)

Once upon a time, there was this pilot. His plane was about to crash and he had to choose whether to steer his plane to a less or a more inhabited area. You'd think his choice would be simple, right? But before you give your response, consider the following situation that is practically the same, only a bit different.A judge faces rioters. The crowd demands that the culprit be found guilty for a certain crime or else they will take revenge (...) on a particular section of the community. Since the real culprit is unknown, the judge realizes that he can prevent bloodshed only by framing some innocent bystander and having him executed to save the lives of many. But should he do it? Can he, like the pilot from the scenario... (shrink)

This study aims to grasp the two distinct artworks one is from the literary field: Penal Colony, written by F. Kafka and the other one is from painting: The Large Glass, designed by M. Duchamp. This text tries to unravel the similarities betwe- en these artworks in terms of two main significations around “The Officer” from Penal Colony and “The Bachelors” from The Large Glass. Because of their vital role on the re-production of status-quo, this text asserts that there is (...) a similarity between them in the name of being part of the dispositions of body and desire. First of all, the text focuses on Penal Colony, especially on “The Officer” in or- der to observe his obsession towards the order that ruled by former and the late officer of colony. Deleuze & Guattari conceptualize it as “abstract-machines” and it refers to a contingent state of being which is produced as an obligatory entity. Besides, The Officers’ application via a “labeling machine” on inmates creates a framewok of a dispositif in Foucauldian terminology. Secondly, it is emphasized that The Bachelors from the Large Glass for his context, due to its reference for the concept of desire and a metaphorical connotation for desire as “cocoa”. The Large Glass is also turn around the dispositif in a different way: love. It is stated that criticizing the love to nowhere which belongs to The Bachelors and it can be found that there is an abstract-machine again in back of this practice and it converts The Bachelors’ energeia to make an apparatus possible and operative. (shrink)

Consider two infelicitous apologies from modern American public life. The first comes from the former boxer Mike Tyson, who in 1997 bit off part of his opponent Evander Holyfield's ear in a match. He offered a public apology shortly thereafter: "Evander, I am sorry. You are a champion and I respect that. I am only saddened that this fight did not go further so that the boxing fans of the world might see for themselves who would come out on top. (...) When you butted in that first round, accidentally or not, I snapped in reaction and the rest is history."1 The second comes from Cathy Crowell, who in 1977 falsely accused Gary Dotson of raping her, resulting in Dotson spending six years in prison. In 1985, having recanted... (shrink)

Memorialization in the form of the architectural statue can suggest that our stance towards the past is concrete while memorials in the form of repeated social activity represent reconciliation with the past as a continual process. Enacted memorials suggest that reconciliation with the past is not itself a thing of the past. Each generation must grapple with its inherited memories, guilt, and grief and self-consciously take its own stance towards that which came before it. This article considers Dominik Smole’s post (...) World War II rewrite of Antigona as an enacted memorial within the context of socialist Yugoslavia. The practice of restaging Antigona in Slovenia may be seen as the practice of meta-memorialization, which routinely returns to the past while openly weighing the dangers of awakening the unburied dead against the dangers of letting the unaddressed conflicts of the past sleep. (shrink)

The story in "The Facts Concerning the Recent Carnival of Crime in Connecticut" and its telling are above all funny, but Twain himself was keenly interested in its philosophical content. Writing about the first reading of “Carnival” Twain referred to the “exasperating metaphysical question which I mean to lay before them in the disguise of a literary extravaganza.” There are at least two candidates for the operative “metaphysical question,” both of them quite “exasperating.” The first concerns the origin and valuation (...) of moral values. On this reading Twain may appear to be making a point similar to the central thesis of a number of Nietzsche’s most important works. Indeed, this Nietzschean reading of Carnival has been suggested before. Another possible interpretation is that Twain’s first concern was not with the nature of moral values so much as moral psychology. On this reading, “Carnival” may seem at first to be making a more or less Humean point about moral motivation. I argue that that Twain is presenting neither a Nietzschean nor a Humean position so much as presenting the questions that these theories purport to answer. Certain details of “Carnival” suggest that Twain had a remarkably nuanced understanding of these questions and the problems they produce. (shrink)

The starting point of this paper is a recent exchange in the Journal of Aesthetics and Art Criticism1 that pits moderate moralism against robust immoralism and has Humean antecedents. I will proceed by agreeing in part with both, but fully with neither, thereby annoying as many people as possible in one go. I believe, with Anne Eaton, the proponent of robust immoralism, that fictions which valorize what she calls "rough heroes" can arouse both aesthetically compelling and morally troubling reactions. On (...) the other hand, I argue that the troubling moral reaction targeted need not be a sufficient ground for attributing a moral flaw to the... (shrink)

In this existential reading of Kim Kardashian-West's International Women's Day selfie of 2016, I focus on the rise of selfie culture and public discourse around emerging digital representations of women's bodies. The selfie is a relatively new phenomenon, and is particularly curious because of the subject/object paradox it creates; in taking a selfie, a person asserts control over their own image, but at the same time, becomes object in their own gaze. My argument is that selfies, like other assertions of (...) bodily subjectivity in digital spaces, are a threat to patriarchal structures that paint women as immanent, object, as reflected in public discourse around Kardashian-West's International Women's Day selfie. I draw on both Jean-Paul Sartre and Simone de Beauvoir's work on subjectivity in existentialism and phenomenology, as well as Amy Shields Dobson's work on post-feminism and young women's projections of self, in order to delineate what it is about the selfie that creates this paradox. I also make reference to the work of Elisabeth Grosz and Frantz Fanon in relation to a colonial hierarchy that prioritises body over mind, as well as Laura Mulvey's work on the male gaze. (shrink)

© British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comThe essays collected in Fictional Characters, Real Problems: The Search for Ethical Content in Literature present unique perspectives on the representation of ethical concerns in literature. Edited by Garry L. Hagberg, these essays address different ways that ethical and aesthetic concerns are interwoven in works of long-form literature such as novels and theatrical works. The (...) majority of these essays also support a related claim: due to their long-form nature, these types of literary works provide a reader with ethical perspectives that are both more holistic and nuanced than is possible in typical philosophical thought experiments. Long-form literature affords the time and space to show us the breadth and depth of both our ethical motivations and their consequences.Hagberg has divided this work into... (shrink)