A story does more than recount events; it recounts events in a way that renders them intelligible, thus conveying not just information but also understanding. We might therefore be tempted to describe narrative as a genre of explanation. When the police invite a suspect to “tell his story,” they are asking him to explain the blood on his shirt or his absence from home on the night of the murder; and whether he is judged to have a “good story” will (...) depend on its adequacy as an explanation. Can we account for the explanatory force of narrative with the models of explanation available in the philosophy of science? Or does narrative convey a different kind of understanding, which requires a different model and perhaps even a term other than ‘explanation’? (shrink)

I guess I wont send that note now, for the mind is such a new place, last night feels obsolete.

The paper offers a mildly deflationary account of narrative, drawing attention to the minimal, thus easily satisfied, conditions of narrativity and showing that many of the more striking claims about narrative are either poorly supported or refer to distinct classes of narrative—usually literary or fictional—which provide a misleading paradigm for narration in general. An enquiry into structural, referential, pragmatic, and valuebased features of narrative helps circumscribe the limits of narration and the test case of the narrative definition of the self (...) is examined and shown to yield rather less that is often claimed. (shrink)

Here I defend response moralism, the view that some emotional responses to fi ctions are morally right, and others morally wrong, from the objection that responses to merely fi ctional characters and events cannot be morally evaluated. I defend the view that emotional responses to fi ctions can be morally evaluated only to the extent that said responses are responses to real people and events.

Immoralists hold that in at least some cases, moral fl aws in artworks can increase their aesthetic value. They deny what I call the valence constraint: the view that any effect that an artwork’s moral value has on its aesthetic merit must have the same valence. The immoralist offers three arguments against the valence constraint. In this paper I argue that these arguments fail, and that this failure reveals something deep and interesting about the relationship between cognitive and moral value. (...) In the fi nal section I offer a positive argument for the valence constraint. (shrink)

This chapter contains sections titled: Is There a Problem about Ethical Criticism? The Sensible Representation of the Moral The Theory of Disinterestedness Coda: The Beautiful as that which is Complete in itself.

A story does more than recount events; it recounts events in a way that renders them intelligible, thus conveying not just information but also understanding. We might therefore be tempted to describe narrative as a genre of explanation. When the police invite a suspect to “tell his story,” they are asking him to explain the blood on his shirt or his absence from home on the night of the murder; and whether he is judged to have a “good story” will (...) depend on its adequacy as an explanation. Can we account for the explanatory force of narrative with the models of explanation available in the philosophy of science? Or does narrative convey a different kind of understanding, which requires a different model and perhaps even a term other than ‘explanation’? (shrink)

In his inaugural lecture at Cambridge as Regius Professor of Modern History in 1895, Lord Acton urged that the historian deliver moral judgments on the figures of his research. Acton declaimed: I exhort you never to debase the moral currency or to lower the standard of rectitude, but to try others by the final maxim that governs your own lives and to suffer no man and no cause to escape the undying penalty which history has the power to inflict on (...) wrong.1 In 1902, the year after Acton died, the president of the American Historical Association, Henry Lea, in dubious celebration of his British colleague, responded to the exordium with a contrary claim about the historian’s obligation, namely to render the facts of history objectively without subjective moralizing. Referring to Acton’s lecture, Lea declared: I must confess that to me all this seems to be based on false premises and to lead to unfortunate conclusions as to the objects and purposes of history, however much it may serve to give point and piquancy to a narrative, to stimulate the interests of the casual reader by heightening lights and deepening shadows, and to subserve the purpose of propagating the opinions of the writer.2 As our colleague Peter Novick has detailed in his great account of the American historical profession, by the turn of the century historians in the United States had begun their quest for scientific status, which for most seemed to preclude the leakage of moral opinion into the objective recovery of the past—at least in an overt way. Peter also catalogues the stumbling failures of this noble dream, when political partisanship and rampant nationalism sullied the ideal.3 Historians in our own time continue to be wary of rendering explicit moral pronouncements, thinking it a derogation of their obligations. On occasion, some historians have been moved to embrace the opposite attitude, especially when considering the horrendous events of the twentieth century—the Holocaust, for instance.. (shrink)