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Lydia L. Moland
Colby College
  1. "And Why Not?" Hegel, Comedy, and the End of Art.Lydia L. Moland - 2016 - Verifiche: Rivista Trimestrale di Scienze Umane (1-2):73-104.
    Towards the very end of his wide-ranging lectures on the philosophy of art, Hegel unexpectedly expresses a preference for comedy over tragedy. More surprisingly, given his systematic claims for his aesthetic theory, he suggests that this preference is arbitrary. This essay suggests that this arbitrariness is itself systematic, given Hegel’s broader claims about unity and necessity in art generally and his analysis of ancient as opposed to modern drama in particular. With the emergence of modern subjectivity, tragic plots lose their (...)
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  2. An Unrelieved Heart: Hegel, Tragedy, and Schiller's Wallenstein.Lydia L. Moland - 2011 - New German Critique 113 (38):1-23.
    In his early and unpublished essay on Schiller’s trilogy Wallenstein, Hegel criticizes the plays’ denouement as “horrific” and “appalling” and for depicting the triumph of death over life. Why was the young Hegel’s response to Wallenstein so negative? To answer this question, I first offer an analysis of Wallenstein in terms of Hegel’s mature theory of modern tragedy. I argue that Schiller’s portrayal of Wallenstein’s character and death indeed render the play a particularly dark and unredemptive example of modern tragedy (...)
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  3. Commitments of a Divided Self: Authenticity, Autonomy and Change in Korsgaard's Ethics.Lydia L. Moland - 2008 - European Journal of Analytic Philosophy 4 (1):25-44.
    Christine Korsgaard attempts to reinterpret Kantian ethics in a way that might alleviate Bernard Williams’ famous worry that a man cannot save his drowning wife without determining impartially that he may do so. She does this by dividing a reflective self that chooses the commitments that make up an agent’s practical identity from a self defined as a jumble of desires. An agent, she then argues, must act on the commitments chosen by the reflective self on pain of disintegration. Using (...)
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  4. Grasping the 'Raw I': Race and Tragedy in Philip Roth's 'The Human Stain'.Lydia L. Moland - 2008 - Expositions: Interdisciplinary Studies in the Humanities 2 (2).
    Philip Roth’s novel 'The Human Stain' recounts an instance of racial passing: its protagonist, Coleman Silk, is African-American but light-skinned enough to pass as white. Coleman’s decision to pass and his subsequent violent death, I argue, confront us with complex ethical questions regarding unjust social roles, loyalty, and moral luck. I also argue, building on Hegel’s definition of tragedy, that 'The Human Stain' is a particularly modern tragedy. The novel highlights conflicting role obligations, inadequate conceptions of freedom, and the tensions (...)
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  5. Commitments of a Divided Self: Narrative, Change, and Autonomy in Korsgaard's Ethics.Lydia L. Moland - 2008 - European Journal of Analytic Philosophy 4 (1):27-46.
    Christine Korsgaard attempts to reinterpret Kantian ethics in a way that might alleviate Bernard Williams’ famous worry that a man cannot save his drowning wife without determining impartially that he may do so. She does this by dividing a reflective self that chooses the commitments that make up an agent’s practical identity from a self defined as a jumble of desires. An agent, she then argues, must act on the commitments chosen by the reflective self on pain of disintegration. Using (...)
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  6.  59
    Inheriting, Earning, and Owning: The Source of Practical Identity in Hegel’s “Anthropology”.Lydia L. Moland - 2003 - The Owl of Minerva 34 (2):139-170.
    Hegel’s “Anthropology” considers components of an agent’s practical identity that are not chosen but rather inherited: components such as the agent’s temperament, talents, and ethnic background. Through a discussion of habit and happiness, Hegel explores how these inherited traits can become part of the agent’s self-determination. I argue that this process provides a model for explaining how we are obligated within roles we do not choose—roles for instance within the family or as citizens of a state. Through evaluation of an (...)
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  7.  60
    Fight, Flight or Respect? First Encounters of the Other in Kant and Hegel.Lydia L. Moland - 2002 - History of Philosophy Quarterly 19 (4):381-400.
    Immanuel Kant's description of humans' first encounter with each other depicts a peaceful recognition of mutual worth. G.W.F. Hegel's by contrast depicts a struggle to the death. I argue in this paper that Hegel's description of conflict results in an ethical theory that better preserves the distinctness of the other. I consider Christine Korsgaard's description of first encounters as a third alternative but conclude that Hegel's approach better accounts for the specific commitments we make--as family members, works, and citizens --in (...)
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  8.  45
    The Importance of Being Committed: Thoughts on Korsgaard’s Sources of Normativity.Lydia L. Moland - 2003 - Southwest Philosophy Review 19 (1):215-220.
    A subject’s ethical agency is closely tied up with her particular commitments: her ethnic group, her family, her beliefs, her occupation. The question of how these specific commitments relate to the subject’s actions is therefore pivotal to describing moral agency. Christine Korsgaard has proposed a theory whereby a subject’s commitments are an essential part of her moral agency, namely her practical identity. According to this theory, having commitments is normative, a necessary component of an agent’s respect for her own humanity. (...)
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  9. Taking Laughter Seriously in Nineteenth-Century Philosophy.Lydia L. Moland - 2018 - In All Too Human: Laughter, Humor, and Comedy in Nineteenth-Century Philosophy. pp. 1-14.
    Philosophers in the nineteenth century took laughter and its related concepts very seriously. Most philosophers before this period treated laughter as tangential to philosophy’s core concerns, but beginning with Kant’s immediate successors, the family of concepts relating to the laughable—including comedy, wit, irony, and ridicule—took on new significance. They went from describing something derivative about humans to telling us what we, in the most basic sense, are. Well-known philosophers such as Hegel, Schopenhauer, Kierkegaard, and Nietzsche offered substantial treatments of these (...)
     
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  10.  60
    Benjamin Rutter. "Hegel on the Modern Arts".Lydia L. Moland - 2011 - The Owl of Minerva 43 (1/2):202-211.
  11. A Hegelian Approach to Global Poverty.Lydia L. Moland - 2012 - In Hegel and Global Justice. pp. 131-154.
    According to Thomas Pogge’s theory of human rights, those of us in the developed world have a negative duty to the global poor. In other words, our responsibility to them is not merely to help them but to stop harming them by hoarding natural resources and imposing unfair institutional structures. I argue that Hegel would agree that we have a responsibility to the global poor and that he would also agree with some of Pogge’s institutional diagnosis. Hegel thought that civil (...)
     
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  12.  14
    Hegel's Philosophy of Art.Lydia L. Moland - 2017 - In Dean Moyar (ed.), Oxford Handbook of Hegel. Oxford: Oxford University Press. pp. 559-580.
    Despite Hegel’s effusive praise for art as one of the ways humans express truth, art by his description is both essentially limited and at perpetual risk of ending. This hybrid assessment is apparent first in Hegel’s account of art’s development, which shows art culminating in classical sculpture’s perfect unity but then, unable to depict Christianity’s interiority, evolving into religion, surrendering to division, or dissipating into prose. It is also evident in his ranking of artistic genres from architecture to poetry according (...)
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  13. Reconciling Laughter: Hegel on Comedy and Humor.Lydia L. Moland - 2018 - In All Too Human: Laughter, Humor, and Comedy in Nineteenth-Century Philosophy. pp. 15-32.
    Hegel’s philosophical system turns to a species of the laughable at three critical junctures of his dialectic: comedy appears both at the conclusion of classical art and of Hegel’s discussion of poetry, and romantic art ends with humor. But we misunderstand these transitional moments unless we recognize that Hegel did not use comedy and humor synonymously. Comedy refers to a dramatic genre with a 2000-year-old history; humor was a relatively recent aesthetic phenomenon that had become central to philosophizing about art (...)
     
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  14.  14
    Kant’s Politics in Context. By Reidar Maliks.Lydia L. Moland - 2016 - International Philosophical Quarterly 56 (1):113-115.
  15.  6
    Friedrich Schiller.Lydia L. Moland - 2017 - Stanford Encyclopedia of Philosophy.
  16.  7
    Art and Truth After Plato. [REVIEW]Lydia L. Moland - 2015 - Review of Metaphysics 69 (2):407-409.
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  17.  13
    All Too Human: Laughter, Humor, and Comedy in Nineteenth-Century Philosophy.Lydia L. Moland (ed.) - 2018 - Springer.
    This book offers an analysis of humor, comedy, and laughter as philosophical topics in the 19th Century. It traces the introduction of humor as a new aesthetic category inspired by Laurence Sterne’s "Tristram Shandy" and shows Sterne’s deep influence on German aesthetic theorists of this period. Through differentiating humor from comedy, the book suggests important distinctions within the aesthetic philosophies of G.W.F. Hegel, Karl Solger, and Jean Paul Richter. The book links Kant’s underdeveloped incongruity theory of laughter to Schopenhauer’s more (...)
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  18. Eighteenth- and Nineteenth-Century German Patriotism: Virtue, Cosmopolitanism, and Reform.Lydia L. Moland - forthcoming - In Mitja Sardoč (ed.), Handbook of Patriotism. Cham, Switzerland: Springer.
    The early history of German patriotism is complex and illuminates many of patriotism’s potential virtues as well as its dangers. Throughout the late eighteenth and early nineteenth centuries, patriotism’s overarching connotation was devotion to the greater good, but whether that greater was local, national, or global varied dramatically. Early uses of patriotism were devoid of national or military connotations and instead denoted local engagement in public projects and willingness to aid to those in need. The patriot moreover worked for enlightened (...)
     
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  19. Hegel and Global Justice.Lydia L. Moland - 2012
    According to Thomas Pogge’s theory of human rights, those of us in the developed world have a negative duty to the global poor. In other words, our responsibility to them is not merely to help them but to stop harming them by hoarding natural resources and imposing unfair institutional structures. I argue that Hegel would agree that we have a responsibility to the global poor and that he would also agree with some of Pogge’s institutional diagnosis. Hegel thought that civil (...)
     
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  20. Hegel's Aesthetics: The Art of Idealism.Lydia L. Moland - 2019 - Oup Usa.
    Hegel's Aesthetics is the first comprehensive interpretation of Hegel's philosophy of art in English in thirty years. It gives a new analysis of his notorious "end of art" thesis, shows the indispensability of his aesthetics to his philosophy generally, and argues for his theory's relevance today.
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  21.  66
    Hegel on Political Identity: Patriotism, Nationality, Cosmopolitanism.Lydia L. Moland - 2011 - Northwestern University Press.
    In Hegel on Political Identity, Lydia Moland provocatively draws on Hegel's political philosophy to engage sometimes contentious contemporary issues such as patriotism, national identity, and cosmopolitanism. Moland argues that patriotism for Hegel indicates an attitude toward the state, whereas national identity is a response to culture. The two combine, Hegel claims, to enable citizens to develop concrete freedom. Moland argues that Hegel's account of political identity extends to his notorious theory of world history; she also proposes that his resistance to (...)
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  22. Hegel's Philosophy of History.Lydia L. Moland - 2014 - In Michael Baur (ed.), G. W. F. Hegel: Key Concepts. pp. 128-139.
     
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  23. Intersubjective Norms and the Claims of Conscience: A Hegelian Ethics.Lydia L. Moland - 2002 - Dissertation, Boston University
    This dissertation argues that an agent's particular commitments are an integral and necessary part of his autonomy. I refer to Hegel's Philosophy of Right to argue that the autonomous self is in fact a committed self. According to Hegel, freedom is only possible when the agent inhabits roles within a family, civil society, and the greater community of the state. These roles make up the agent's practical identity, or the set of commitments and characteristics around which he orients his actions. (...)
     
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  24. Moral Integrity and Regret in Nursing.Lydia L. Moland - 2006 - In Sioban Nelson & Suzanne Gordon (eds.), The Complexities of Care: Nursing Reconsidered. Cornell University Press.
    Nurses all too often experience situations that threaten their identification with the caring aspect of their profession. This article examines systematic reasons for the loss of integrity they describe as their lived work experience conflicts with their self-conception. I examine Ruth Barcan Marcus' description of moral dilemmas and the role of regret, arguing that the real experience of regret should not be associated with a lack of integrity. I conclude that a more complex understanding of care in nurses' self-understanding is (...)
     
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