An innovative and original study of the history, moral phenomenology and reliability of the concept of conscience.

This article examines a largely neglected theme in Kant scholarship, which concerns the importance of conscience in understanding Kant’s account of moral imputation. It is my contention that conscience, contrary to many traditional interpretations of Kant, plays a central role in grasping the lived experience of moral agency insofar as it brings into light the burden that autonomy places upon us. When approached from this angle, Kant’s account of conscience, far from undermining the coherence of his position, actually bolsters it (...) by showing his sensitivity to the ambiguity that underlies our moral experiences as embodied agents. The reason that conscience plays such a pivotal role for Kant stems from its intermediating function, which serves to reflect both the ontological reality of freedom, as well as that of the summum bonum, the relationship between happiness and virtue. What the Kantian account of conscience attests, then, is that it is only in discerning the limits imposed by our own facticity—our vulnerability as willing beings—that the weight of autonomy can properly reveal itself as the inexorable trial of being free. (shrink)

An innovative and original study of the history, moral phenomenology and reliability of the concept of conscience.

Although many scholars have recognized the pivotal importance that the notion of conscience plays in Hegel’s thought, much of the scholarship surrounding this notion has remained piecemeal. Dean Moyar’s book Hegel’s Conscience breaks new ground on this subject in offering a comprehensive analysis of the indispensable role that conscience plays in Hegel’s philosophy, demonstrating not only its foundational place for Hegel’s approach to ethics, but also the contemporary relevancy of Hegel’s account for understanding the performative character of practical reason. Despite (...) the novelty and intellectual rigor of Moyar’s position, my essay “Translating Convictions into a Clear Conscience” argues that in confining his approach to a “cognitivist” interpretation of conscience, Moyar ends up neglecting the richness and existential depth of Hegel’s discussion. And so although Moyar’s interpretation is clear, succinct, and plausible, it accomplishes this by overlooking much of Hegel’s original phenomenological fidelity to the actual experience of conscience. (shrink)

My article utilizes the insights of F. W. J. Schelling’s work on aesthetics to explain the unique appeal of cave painting for people of the Upper Paleolithic,focusing mostly on the caves of Chauvet and Lascaux. Schelling argues that the unique value of artistic practices comes in the way they reconcile agents withtheir deepest ontological contradictions, namely, the tension between biological necessity and human freedom. I argue that the cave paintings of Chauvet andLascaux fit well with Schelling’s approach and his insight (...) that art seeks to reveal the contradictory capacities of self-conscious beings in a state of fundamentalattunement rather than in discordance and disharmony. My contention is that in taking this approach, whereby aesthetic practices engender an intuition of theabsolute identity between nature and mind, we can better explain why the practice of cave painting endured for over twenty-thousand years as one common styleof artistic practice. (shrink)

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My paper utilizes the insights of F.W.J Schelling’s work on aesthetics to explain the unique appeal and power that aesthetic experience held for people of the Upper Paleolithic. This appeal is revealed most dramatically in the cave paintings of Chauvet and Lascaux. According to Schelling, genuine artistic activity expresses a fusion of the unconscious (der Bewußtlosen) and the symbolic (die Symbolik), which is irreducible to any other experience or product. This fusion creates a unique experience of self-transcendence and reintegration that (...) affirms the continuity between consciousness and the natural world. Consequently, genuine aesthetic products never have any simple pragmatic or utilitarian motive, but result from reconciling the deepest contradictions of the human experience. I argue that it is this experience of continuity and re-integration that is captured in the cave paintings of Chauvet and Lascaux, and which confirms the irreducible power of the aesthetic. (shrink)

In recent decades few moral concepts have suffered as much neglect at the hands of ethicists as the notion of conscience. My paper argues that this neglect is largely in reaction to an ‘authoritarian’ conception of conscience that is outdated and based on a naïve faculty psychology. When construed in terms of a narrative of self-integration, in which conscience designates our struggle to balance the affective and cognitive dimensions of moral experience, its neglect appears unjustified. It is my contention that (...) the phenomenon of conscience discloses the experience of moral agency in a way that is highly instructive, and that we miss a valuable window into moral behavior by ignoring it. In order to make this case I argue that the most serious criticisms of conscience—that it has no justifiablemoral criteria, clear distinguishing ‘identity,’ or motivating power—are leveled against a largely obsolete and essentialist reading of conscience. Once we see that ‘having a conscience’ refers to how people contend with the multiple moral warrants that anchor their own sense of accountability, and not some timeless moral intuition, the indispensability of the concept becomes clear. (shrink)